#because there's this one pivotal scene where the characters find something out about someone they trusted

[thanatoseyes]

Please go read The Archive Undying by Emma Mieko Candon. It's gayer Neon Genesis Evangelion. It's technology melded into human form. It's staring at a painting for the first time and you don't have the words to actually describe it. It's profoundly something new to the scifi genre.

[twomiddlefingersforthehaters]

"My boby moved on its own" is an SNS trope . Sasuke is the type of person who always does something for Naruto and then finds a logical reason to cover that up.

1. His reason for offering his bento to Naruto

2. His reason for looking after Naruto who had been training all night.

3. His reason for to Save Naruto from Haku's attack.

4. His reason for why he wasn't able to kill Naruto in vote1

5. His reason for protecting Naruto from Obito

It gets so intense every time he protects Naruto from Obito. And Naruto notices how Sasuke protecting him from the attacks every time. Even when his Susanoo is already protecting Naruto, his hand is also going there to shield him.

We've never seen Sasuke do anything like this for Sakura, while with Naruto it's pretty consistent throughout the series. And Why do you think Kishi made 5 scenarios like this to point that out? Sasuke wouldn't do this kind of thing for anyone else. Absolutely no one. So what impression does it make?

In this war arc, Sakura herself acknowledged to the fact that Sasuke didn't care about her:

When Sakura ran up to Madara to get stabbed, both Naruto and Kakashi were either terrified or shocked as she plunged on someone she couldn't deal with. And Sasuke's expression was completely different from the others, he was just focused on the opening to attack madara. Where are Sasuke's instincts when it comes to Sakura? And the one who saved her was Naruto. Look at her dejected face! Even she herself accepting the fact that Sasuke doesn't even worry or care about her. Also, Sasuke put Sakura and Kakashi in their place by calling them "useless" directly to their faces while they were being protected under his Susanoo.

You know, Naruto is the one who asks Kakashi and Sakura to stay closer to him...without knowing what's going on up there. And, Sasuke was talking specifically to Naruto to not move around when he comes down to Naruto and he didn't mention the other two. He only wanted to save Naruto with his Sasunoo from the infinite tsukuyomi, but Sakura and kakashi just happened to be near with Naruto.

And Sasuke himself openly said Kakashi and Sakura just happened to be next to Naruto and that's all! Once again Sakura looked so dejected and realizes it even more in this scene. It's very clear that Sasuke didn't care about kakashi & Sakura. When Sasuke summons a hawk , and Naruto points to the right and says, "Sasuke!! Over there!!" to help Kakashi and Sakura, but Sasuke only saves Naruto

We know that Naruto cares about others and Sasuke knows this very well. And Sasuke is the character who will PROTECT those he cares about in dire situations. And who has he been saving repeatedly? NARUTO. But what Sasuke says and his actions are an underscoring for Naruto to prioritize his own safety and life in the war. Sasuke has a valid point that everything would be over if he and Naruto were to die, but it doesn't erase the fact that he doesn't care about Sakura and Kakashi and almost let them die because he was busy saving Naruto, a person who wasn't even in danger to begin with.

Simply put, he would protect Naruto, no matter what. And all Sasuke's actions are completely and purely instinctive and derived from his sub-consciousness.

To which Naruto said,

Raw: お前の言ってることも分かってるつもりだ... けど... こういう時は体が勝手に動いちまうもんだ ろ... 橋での時────

Romaji: omae no itteru koto mo wakatteru tsumori da ... kedo... kōiu toki wa karada ga katte ni ugoichimau mondaro ...kyōde no tokiーーー

Literal: I think I understand what you're saying. But...in this situation, a body moves on its own (unconciously)... Just like that time on the bridgeーーー

What he meant: " just like your body moved on its own to save me on the bridge.... my body also move on its own to save Kakashi & Sakura". Because Naruto does care about Kakashi & Sakura. Therefore, he cannot ignore them falling into the lava and dying.

The Land of the Waves arc, specifically the battle with Haku and Sasuke's sacrifice, was pivotal to Naruto and Sasuke's relationship, as they both realized for the first time how important and deeply they care for each other. It was a very emotional moment for both of them.

When they came back from Land of waves, Naruto couldn't even look at him without blushing, and then Sasuke couldn't even look at him at all. They'd rather die in this moment than admit that how much they care for each other, but their actions speak louder than words.

Whenever something happens between these two, there are always other characters pointing out what's going on. After they return to Konoha, Kishi uses Sakura to point this out, even though it's clearly visualized in the panel:

Raw: あ〜〜〜まだだわ!

Romaji: a〜〜〜madadawa!

Literal: Ahh〜〜〜 Not again!

Raw: この2人...波の国から帰って来てからちょっ と変なのよね...

Romaji: kono 2 nin...ha no kuni kara kaettekite kara chotto hennanoyone...

Literal: These two... have been acting somewhat/ a bit weird ever since we came back from the land of waves...

Raw: づ〜〜〜 何だか気詰まり...

Romaji: zu〜〜〜 nandaka kizumari...

Literal: oh〜〜〜 I feel ill at ease for some reason....

Raw: 早く来い来い! カカシ先生!! じゃーんなろー!!

Romaji: hayaku koikoi! kakashi sensei !! Shānnarō!!

Literal: Hurry up and get here! Kakashi-Sensei!!

Notes:

変な (henna) - strange; odd; peculiar; weird; queer; eccentric; suspicious; fishy; disturbance; funny; abnormal; unusual etc... It is used as a colloquial word that has many meanings.

何だか気詰まり (nandaka kizumari): somehow I feel awkward; Somehow I feel uncomfortable; I don't know why, but I feel ill at ease.

• the author choose the length of prolonged sound mark (ーーー) longer to implying that the sound is prolonged for longer than normal. e. g: Naruto saying "Time on the bridge."

• prolonged sound mark → a wave line (〜〜〜) is used instead of a straight line (ーー)...this often represents a deliberate prolonging of the sound by the character who speaks it or just a trembly, shaky voice of the character.

Only Naruto and Sasuke knew what happened on the bridge, others like Sakura and Kakashi didn't know about it or not very clear about what exactly happened there. Later, Sasuke & Naruto didn't talk about it, but this scene always comes at crucial moments that point to their "precious person". Finally after 5 years, saving Naruto from falling into the lava leads to Naruto talking about what happened on the bridge.

Sasuke saves Naruto even when he knows Naruto could have saved himself because of Kyuubi Mode, but Sasuke has been known to save Naruto even when he doesn't need saving. We also know that Sasuke would rather give Naruto a stupid and lame excuse than tell the truth straight to Naruto's face. So, this isn't the first time Sasuke prioritize Naruto over Sakura, a pattern that has been repeating since Kishi introduced Sasuke to the story in Chapter 3.

Naruto's feelings for Sasuke grew stronger at this point. After everything Naruto had been through and talking to Sasuke every time they met, Naruto knew for sure that Sasuke still cared for him. Naruto could see through Sasuke's actions. Naruto truly understand and knows that Sasuke cares for him and that's why he mentioned what happened in the Land of Waves.

Naruto only says "bridge", but of course Sasuke knows that he was talking about that time at "The Bridge in the Land of Waves."

Sasuke had a reaction to Naruto's words. No matter what Naruto says, he wouldn't say anything... Sasuke is probably trying to show that he's "unfazed," but in reality, he might be "fazed" because Naruto has seen through his heart.

Sasuke's reaction... His facial expression is hidden by his hair and "not visible," but this "invisibility" stirs up the reader's imagination

And he's confidently teasing Sasuke: "Even though I asked you to save them, you saved me...because your body moved on its own... because you cared about me. so I'm sure you understand my feelings to save them....Sasuke"

However, the "meaning" of this conversation...is something only Naruto and Sasuke can understand and it's their extremely personal thing (because the events on that "bridge" are memories shared only by the two of them). Kakashi & Sakura certainly not aware of this peculiar phenomenon that is unconsciously moving bodies.

Sakura's "inner words"... they really express her current feelings. Sakura is convince herself that what Sasuke says is "reasonable." Look at what Sakura says, she herself agrees with Sasuke: "It's as Sasuke-kun says (we're useless)... but (thank you, Naruto for caring about us)...." Sasuke didn't care about her desperate attempts to get his attention. And Even she herself acknowledged it, you know!

Years ago Naruto & Sasuke couldn't even look at each other pretending nothing happened, but now Naruto was talking about it with confidence. And he's clearly flirting with Sasuke.

[haru-dipthong]

Ep 4 of my Utena fansub is out!

This has absolutely been the toughest episode yet. It has several difficult phrases, the most dialogue of any episode up to this point, and a few phases that are really important to future episodes and core themes.

This episode's translation discussion

ねえ、じゅり先輩

Can I ask you something, Juri?

The bane of every translator’s existence — 先輩 (senpai). As I’m doing with 様 (sama), I definitely don’t want to include it untranslated as an honorific, but unlike 様 (sama) there’s no English word that could possibly be used in the same context to convey similar information. Instead, I’m trying to slip in some of the hierarchy in the characters’ general speech patterns. Here, the translation invents a whole sentence for Miki to show a bit of deference to Juri, instead of using the honorific.

-----

テクニックでねじ伏せるようないつもの迫力じゃなくて、なんだか音に潤いを感じるよ。

Your technique is usually so forceful and commanding, but today the notes have a kind of richness to them.

According to jisho.org, ねじ伏せる means “to twist someone's arm and throw them to the ground”. 迫力 means “force, impact, strength”. Touga’s verbiage here is intentionally violent. It indicates that underneath Miki’s polite, almost feminine demeanour and appearance, lies a boy who is already being moulded by patriarchal forces into a force of oppression. It was important to keep that hint of Miki’s potential for violence and oppression in the translation.

-----

前に言ってた、輝くものでも見つけたのかな？

Did you ever find that "glow" you were talking about earlier? (from ohtori.nu)

It seems you may have found that guiding light you were telling me about. (my translation)

This was a really tough translation, and one that has implications for the future, because I believe 輝くもの is used when listing the council’s reasons for duelling in later episodes, so the translation I chose needed to fit in that context as well.

Depending on the kanji used, もの can mean either “thing” (物) or “person” (者). A Japanese transcript I found actually uses the “person” kanji excusively. So it could be translated as either “something that shines” or “someone that shines”. I think I managed to preserve this ambiguity in the translation: “guiding light” could be a literal light, or it could be a metaphor for a person who’s very important to you.

-----

自分の中に永遠の美しさを持ってないと引けない曲なんだ

It's an ode to a beautiful life, where things never change. You need to believe in that to play it.

The Japanese literally translates to "This is a song [you/I] can't play unless [you/I] carry [eternal beauty/the beauty of eternity] within yourself". The subject of the sentence is omitted - is he talking in general or specifically about himself? Is 永遠 here acting as a noun (eternity) and の marks 美しさ as belonging to it (beauty of eternity) or is it acting in the genitive case and modifying the noun 美しさ instead (eternal beauty)?

These are all questions that matter in terms of making sense of the line, but not in the immediate sense of the translation, because the translation pivots on a different axis: 自分の中に…持ってないと. In english, translating this literally (carry … inside yourself) sounds unnatural. I think the Japanese gives more of an impression of carrying a worldview of eternal beauty; of seeing the world as a world that has eternal beauty. Textually, what Miki is talking about is carrying a dream of reliving the happiness of the past again, and then keeping it forever. He’s desperately trying to preserve that perfect time in his life, with him and his sister side by side playing that song in the sunlit garden. That's actually what this is about. And his duelling loss, and the scene where the image of the garden shatters, represents him finally being forced to move on from that need for permanence.

Permanence (or as most translations have it, “eternity” — 永遠) is a core theme of the work. All of the characters, in some way, are trying to preserve a form of status quo, or regain and retain a status quo that has been lost to them. Though Miki uses the word 永遠 here, I decided not to directly translate it. Rather than relying on the recurrence of a single noun to carry this theme, I wanted to allow the theme to stand on its own merit. I think translating it variously as “permanence”, “eternity” and other edge cases as I’ve done in this line ("where things never change"), will allow me to better convey this theme of wanting to keep things as they are, and the necessity of change and of letting those things go.

-----

Thank you to my editor @dontbe-lasanya (I still can't believe I get to say "my editor" lol), I'm sure it was as tough to edit as it was to translate!

For all episodes released so far, see the below drive folder. Be sure to follow the blog for updates if you want to watch along!

[jayceshammer]

The subtext in Jayvik

Viktor has now changed, merging with the Hexcore. He admits he doesn't feel "coldness", but rather senses an electric pulse. This could indicate he doesn't experience emotions, but this is contradicted by what happens in the later episodes, so I won't comment much on it. Regardless, Viktor doesn't feel positively about this change of events:

"I was supposed to die, you were supposed to destroy the hexcore"

This is the final breaking point of their relationship. The truth is coming to light, and Viktor finally confesses that the Hexcore killed Sky. We see a vision of her in Viktor's point of view. Some people point out that it’s the Hexcore manipulating Sky, I’d argue there’s still a piece of herself that remains.

In response, Jayce tries to salvage what he can by telling Viktor he'll resign from the council. He affirms he "understands now" that his true place was always in the lab, alongside Viktor.

"I understand now. We'll make this right, together"

This is a pivotal part in their relationship–Jayce is acknowledging, for the first time out loud and to Viktor, how important Viktor is for him. So much so that he doesn’t need anything else, cementing Viktor’s irreplaceable role in his life. It can be seen as a declaration of love because there’s a romantic motif; the idea of finding home or belonging in another person.

The word use is also peculiar. The use of “always” makes the viewer feel as though there’s an inevitability, implying that their connection was destined to be. It also plays into a common romantic trope, where a character realizes their romantic feelings for another when faced with their absence.

Jayce’s willingness to give up his political position is a selfless act, akin to that of Viktor’s in season 1. He’s giving up everything he’s worked for and his position of power to prove to Viktor that he’s someone worth sacrificing personal ambitions for.

However, Viktor's far too gone and proclaims his final goodbye. When confronted with their partnership, we get a hint of something we have suspected was there all this time:

"Our paths diverged long ago"

"It was affection that held us together"

This can be analyzed in a platonic light, but it can also be interpreted romantically. Jayce's finally coming to the understanding of his faults with Viktor, and he’s ready to sacrifice everything for him (in exchange for forgiveness). It could be said that his feelings for Viktor are deepening as he's faced with his departure, realizing a little bit too late what he's lost. 

It's also worth mentioning that he calls Viktor his "best friend" in this instance, drawing distance from the word he used in season 1 (brother). This shift in language marks an evolution in their relationship.

"You think it’s so easy? To turn your back while your city looks to you for salvation? To cling to principles while your best friend bleeds out in your arms?"

"I never asked for this"

This can be read as an apology. Jayce might be indirectly addressing his neglect towards their relationship; he’s finally expressing the pressure he has felt to take responsibility and lead the city, which  has distanced him from Viktor. 

In Viktor's scenes, we can hear Sky's voice guiding him. In my opinion, she symbolizes Viktor's guilt, and is used as a way for Viktor to "redeem" himself in his own eyes through the act of saving others. Sky presents herself in a different way at this point. As others mentioned, it could be because she’s a projection of Viktor's idealized memory of her, shaped by his collection of her notes and her book. This is quite a different Sky from the one that we got in season 1, much more assured and confident. Of course, this might have to do with Hexcore's influence as well. I do believe there’s still parts of her true self in there.

We can see he’s seeking her approval as a way to alleviate the burden of her death. It's also worth noting the religious imagery that's used with Viktor, which I feel there's no need to explain because the iconography is evident. Regardless, here are a few images for reference:

Episode 3

Ekko, Jayce and Heimerdinger are transported to different dimensions after the Hexcore is corrupted, encountering a "wild rune" (according to Ekko). There is no Viktor scene in this episode. I will not be discussing the episode as there isn't much to say in regards to Viktor and Jayce's relationship.

Episode 5

Fast forward to this episode, Jayce is teleported to the Hexcore again, where he encounters Viktor, now in the form of Salo. We can see how disheveled Jayce is, in comparison to Salo's pristine form. After a brief talk, Jayce kills Salo.

Scenes

When Jayce confronts Salo, we can see the visions he gets from being in his alternate dimension:

He asks him how he's able to walk, to which Salo responds with: "Who do you think could mend such a broken creature?"

There's a certain subtext within this line of dialogue. First, Viktor is positioned as a saviour in Salo's eyes. He also uses particular words: mending the broken. This is what Viktor believes he's doing: fixing the brokenness in people. 

The brokenness and faults he perceives within himself is something he seeks to heal, and this drive to "mend" is extended to those he considers flawed or in need of salvation.

Then, Viktor takes control of Salo's body in order to speak with Jayce. 

"I'd feared I wouldn't have the chance to speak with you again"

We can see the marks in Salo's face. Jayce's reaction to hearing Viktor's voice is somehow hopeful and defensive at the same time: though the tone of his voice sounds like disbelief, he grips his weapon tight. Jayce longs for Viktor's return but is also wary of the changes that have taken place.

While they “catch up”, Jayce asks Viktor this:

"Is salo's still in there?"

We know this is just setting up their future arc in regards to Viktor taking people's autonomy away after "curing" them. Salo himself shows a deep devotion to Viktor, declaring he "owes him everything". 

We also get these lines of dialogue:

"I thought you were done with Hextech"

"And me"

In this instance, the word “me” is being emphasized as it’s set apart by a noticeable pause. This pause conveys Jayce's remorse towards Viktor abandoning him; he’s implying that Viktor's abandonment goes beyond their Hextech partnership (which is why they're separated grammatically). Somehow, Viktor leaving their partnership feels synonymous with Viktor leaving him. It’s not uncommon for this to be a trope in romantic rivals to lovers relationships, where one character yearns for the other. We’ve seen it before.

"Because you left me"

Even though in the previous episodes Viktor has said he didn't feel much but an electrical pulse, he uses a different excuse this time:

“I was clouded by emotions”

Jayce attempts to confront Viktor, trying to reach a peaceful resolution, which doesn't work:

"We have to end it Viktor"

In regards to this, Viktor notes that Jayce is different, and deduces he has touched the Arcane. Jayce's response?

Episode 6

Summary

Viktor tries to heal Vander. After Jayce comes back from his alternate dimension, he attempts to kill Viktor.

Scenes

In one of the first scenes, we can see Viktor replaying the moment Jayce killed Salo. He appears concerned, saying:

"That isn't Jayce"

He doesn't really mention anything about Salo, like Sky. This is another point where we can see he’s no longer in touch with his humanity, or his past morals.

He claims there's another will at work within Jayce, which he describes as a "singulation (...) simultaneously self-replicating and self-annihilating". He doesn't realize at this moment that he's talking about himself. Sky mentions they've never seen complexity like this, to which Viktor responds:

"Flawless, exquisite chaos"

Near the end, when Jayce arrives at their commune, Viktor leads him with the help of one of his followers, a child. The child's actions are marked by confusion, yet unwavering acceptance towards Jayce. These could be interpreted as the child's actions on their own accord, without Viktor's influence; regardless of the case, Viktor probably knew that Jayce was coming, as we've seen he's aware of everything his followers sense.

Parts | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |

[grandlinedreams]

Hi there! I'm slowly working on a One Piece OC and she has a logia devil fruit that allows her to turn into water/ control water (like Ace's devil fruit). I was wondering if you could do something with Law x femme reader with this type of power? Maybe something to do with him finding out about her devil fruit because she doesn't like people knowing about it.

(My character's story is that she was forced to eat the devil fruit because her parents hated that she loved spending time in the water and swimming with her mermaid friend, so they wanted to take away the one thing she loved. Her parents are aholes if you couldn't tell lol)

AAAH that sounds really cool!! I've got an oc that got forced/coaxed into eating a DF too and ough the angst that comes w that 😔👌🏼 but I hope I can do this justice for you!!

[Heads up!: canon typical violence]

"Come on, just a sip! A tiny one, you won't even notice!"

"For the last time, no." You inch away from where Penguin'd been leaning over you, making grabby hands at the canteen looped over your shoulders. "If you're that thirsty, find somewhere to get your own."

"Rude," he huffs. "Not like Captain'll let us stay long enough to actually relax."

"Should've thought of that when picking a career choice," Law answers. "Not exactly smart to stick around anywhere when your face is on a Wanted poster."

Penguin wilts before he starts his pleading anew by slinging his arm around Law's shoulders. "Come on, Captain. It's been forever since we've been allowed fool around."

"Get off me," Law snaps, "and stop playing around. We're not on a vacation, damn it."

"Just give in," you intone, "you know he'll just get the others to pester until you do."

Penguin grins, and Law scowls. "Don't encourage that behavior," he tells you before he pinches the bridge of his nose. "Fine. But I better not regret this."

ㅡ

"This is your fault, you know." Shoulders slumped, Law watches the scene unfolding just a few feet away with a look somewhere between embarrassment and annoyance.

"Don't be such a grouch. They deserve to remember don't have to be so serious all the time." You take a sip of your drink and peek at Law, who's sitting beside you. "You could learn to do that too."

Law looks away, even as his knee bumps against yours. "I'd rather not."

You shrug. "Suit yourself." Glancing at him, you can tell that he's far from thrilled to be here, from the set of his jaw to the tension in his shoulders, gaze sharp beneath the brim of his hat. "We can leave if you want to."

"I doubt they're ready to," he says, dipping his head at the tableful of crewmates who are engrossed in whatever party trick Clione is trying to attempt.

You slide off your seat. "I can come collect them later, or they'll find their way back on their own."

Law debates for a moment before he follows you, aware of the eyes that follow your departure. Outside, he quickly falls into step beside you. "We're being followed."

"I'm aware," you answer, listening to the additional set of footsteps. Reaching down, you work the the cap of your canteen open as discreetly as you can.

Law listens as the foosteps quicken, hand moving to use room, but you beat him to it. Pivoting on your heel, your hands come up, and all Law sees is the barest hint of blue before the footsteps stop.

Turning, his eyes widen a fraction at the sphere of water encompassing the man's head, bubbles spilling from the corners of his mouth as he struggles, trying to claw at the water.

"I wouldn't if I were you," you say, tone level despite the fact that you're casually drowning someone, a pale blue glimmer to your hands that Law realizes belatedly is also water.

You wait until the man's eyes roll back and his arms drop before you bring your hands down, guiding the stream of water back into your canteen before you approach the collapsed stranger.

"He's still breathing," you report before you rummage around, producing a crumpled wanted poster with Law's face on it. "Bounty hunter, maybe. Not a very good one, though."

There's the melt of your hand into water, quickly turning the paper soggy and illegible before turning towards Law, who's staring at you.

"You never told me you'd eaten a devil fruit."

"It never came up," you say, and when his eyes narrow, you look away. "It's not something I'm comfortable talking about. Figured the less anyone knew, the better off I was."

"That's understandable," Law says, "but I don't appreciate being left in the dark, especially about my own crew." He takes in the slump of your shoulders, expression easing a fraction. "I won't tell anyone, if that's what you're worried about. But from now on, I want you to be honest with me. Got it?"

You nod. "Got it."

"Good." He gives you a small, barely there smile. "Now lets go get our crewmates before they get us into more trouble."

[tomwambsgans]

if someone who's actually knowledgeable about star wars has already made a better version of this meta post pls link me but in the meantime. i'm up thinking about the rich vein of character implications and foreshadowing done by the star wars references in 1x3 lifeboats (and where it briefly resurfaces in 1x6)

like, firstly, upon rewatch this becomes a clear symbol of waystar being a fascist organization (prior to the audience seeing evidence of that) and tom's likely consciousness of the fact, as he ascends:

i'd assumed that the "grill on the exhaust vent" line was directly from star wars for the longest time, only to search it and find that it comes 100% from succession lol. of course it's tom saying "all the death star needed was a grill on the exhaust vent and then the rebellion wouldn't have had anything to exploit." but even that alone, funnily enough, feels like a solid parallel to what's to come. whether he knows it or not, tom is accurately calling out waystar's very simple weaknesses for what they are. and he's right that he'll be the one fixing it, or at least trying to.

also you get the sense from this that tom has either recently watched the movies and/or that he's just a big nerd about them and has that reference on tap. which isn't part of the analysis as much as it's just fun but anyway,

...kendall as vader/anakin is a pretty fun parallel, but tom as c3p0 is both fucking hilarious and perfect in the scheme of things.

the humor is that if tom was placing himself in a SW role in his head, here, it was likely a general or something. only for kendall to swiftly knock him down to something so much more accurate -- a protocol droid. you're built from scrap, tom. programmed for etiquette and it's made you high-strung and constantly anxious lmao. now, i've covered the robot thing in a more thorough parallels post, but with c3p0 specifically it's just so fun in particular not only bc of c3p0's personality (and how this scene hints what we'll learn about tom's), but bc of the matching roles that he and r2d2 play in star wars:

constantly together, basically immortal due to being droids, defectors from the republic, comic relief... and integral to very important events. these seemingly unimportant hunks of metal just keep lucking (or unlucking) into the most pivotal moments in history.

i also think it's important to note that tom immediately accepts his role as c3p0. because then, when he later says this,

it's completely undeniable that greg is the r2d2 to his c3p0, not anyone else. therefore not mine as in "i'm his owner." therefore a different kind of mine.

and of course, it works. r2 is the droid between them who can act spontaneously. who may get them into more trouble but who can also get them out of it. who may not be able to speak basic, but who 3p0 can understand while most others can't. and who is EXTREMELY useful, with a lot of unexpected skills and tools under his belt. it's uncanny.

finally, these are basically the same image:

[bg-brainrot]

Sooooo curious as to your writing process. What is it like ? How do you come up with plot points ? Or how do you decide one idea is better than another ? Where do you find inspiration ? Sorry for so many questions !

Hello Anon! No need to apologize, these are all awesome questions ✨✨ thanks for asking them!

This is going to be a long one, so a quick read more...

I'm actually going to answer them out of order, so I hope you don't mind!

A quick disclaimer: this is just how my brain approaches it, but everyone is different! Also I'm a fanfic writer doing this in my free time, none of this is professional advice or anything so take it with a grain of salt.

Where do you find inspiration?

I am one of those people who cannot stop reading, writing, watching, listening, etc. because if I'm left alone with my thoughts for too long nothing good will come of it lol. So I am constantly, constantly doing something, usually two things if I can (writing and listening to music, working out and reading webtoons, playing games and listening to audio books, playing D&D and doodling, embroidery and watching TV, the list goes on). So, to answer your question: everywhere!

Every thing I do, even if I ended up hated it, is such great inspiration to draw from. If I were to give a few things extra props, I would say D&D is phenomenal experience in putting yourself in various characters shoes and learning how to react, and webtoons are great for tropes/subverting them as well as pacing (both good and bad hah). Edit to add: Anime. I've mentioned I based my fic's arcs on anime arcs and completely forgot to list it-- very key to my inspiration!

Also lots and lots of hobbies and I will always try anything once. I've rock climbed, I've crocheted, I've done pottery, I've lockpicked (for real), I've danced, I've metal worked, I've done martial arts, etc. ADHD helps with this one 😅

Real life experiences are super helpful, but it's kind of harder to pinpoint how those are inspirational, they just kind of are.

How do you come up with plot points?

I think I once vaguely mentioned that writing BG3 fanfic feels like playing solo D&D. And that's basically how I approach plot points!

So rather than like, this happens then this happens, I look at it as if I have a framework of what I would like to happen, with certain beats that need to be met, but then I just kind of let the characters roleplay that out. Sometimes it leads to things I wasn't expecting, sometimes I need to pivot like a DM with an unruly party lol. But, since I'm working with a framework, it's usually really easy to write around the characters' choices.

For the framework itself, I usually just have a vague idea that I try to poke holes into until it turns into something bigger. So like, "reincarnation story" -> how long are they dead? Is that long enough to be impactful? Why do they care about their previous life? In what ways can they pick up from where they left off and in what ways can't they?

I do the same with one-shots to be honest: "proposing to Astarion" -> who would be involved and how? How would Tav's behavior change? How would Astarion interpret that? How would Tav react to him and pivot?

It's just a lot of questions 😂

How do you decide one idea is better than another?

This is kind of tough to do, and not always a conscious choice I'd say, but roughly two factors:

1. Is this true to the character? Which idea am I more likely to go 'oh yes, he would absolutely do that'? And if they both seem equally likely, which idea would lead to the character experiencing more growth or more actual challenge?

2. Do I like it? Honestly, the most important one for someone like me with ADHD. Because if I don't like it, it won't get written lol. If I like two ideas, but one of them is pulling me toward it with half written dialogue and full on scenes playing in my head, I know which one I'll pick every time.

What is your writing process like?

With all of the above said, my writing process is kind of all over the place. But a very, very rough outline, using one of the one-shots rotting in my drafts as an example...

First comes the idea. Ex: 'Tav and Astarion sparring early game'

Then comes a rough framework. Ex: you're sparring with a party member -> Astarion is watching, amused -> you convince him to spar you somehow -> sparring happens -> Astarion is impressed, intrigued

Then usually comes dialogue (though admittedly sometimes this comes first hah), because I like to build around the decisions they make. Ex: "Oh my dear, surely you can do better than that!" -> first thing I wrote for the fic. Kind of sets the mood, the tone.

Then I kind of write whichever scenes either need to be added to help me understand where the story is going or I add the scenes I want to write (knowing that's a dangerous game, since I might lose interest if all the fun is done upfront).

Once I'm done writing, I reread it once for typos, flow issues, inconsistencies and the like. If I read it too many times I start to overanalyze it, so I try to just release it into the world before that happens lol.

A few added steps that don't always happen:

If I get stuck on a scene: I read the sections leading up to it out loud, hoping my mouth will just fill in the rest (works out a lot of the time 😂)

If I don't like the way the dialogue sounds: I put on my best Astarion and Tav accents and act it out. Usually helps me figure it out or at least catch where it's snagging.

If I think something a character does just isn't making sense: 'ugh, that's ridiculous, why would you do that?' -> usually it means I either didn't set the scene up right, didn't give it enough background or context, or I'm not understanding the motivations enough-- all of which I need to go back and flesh out more.

If I don't like what I'm writing anymore: deadly for a brain like mine, really, but I've found ways around it pretty well. First, reread the fic! I usually want to know what happens next and my brain will kick back into high gear. Then listen to a song that evokes the feel I want from the fic. Sometimes I'll listen to it on repeat as I'm driving, doing dishes, playing a game. Like it's infusing into me lol. And if neither of those work, I try to give myself a challenge. Like, write a sentence and see if I can make it fit into the fic -- it doesn't actually need to go into the final version, but the challenge is what gets me up and going.

Anyway! That was a whole lot. I hope some of it was helpful, and most of it made sense hah. Again, thanks so much for the question anon! I love answering these ❤️

[kylesvariouslistsandstuff]

More info regarding Disney's cowardice with the now cissified transgender character in Pixar's Disney+ series WIN OR LOSE, from someone who auditioned for it:

So, we now know WIN OR LOSE was originally envisioned as a movie, and it had been held up for a long while because of it having a trans character. That it had to be held up and then lose an element of it that could help/empower so many young trans folk tuning in... because we apparently have to cater to neanderthals who need to fix their hearts.

And of course, it's no surprise that Disney overlords kept blocking this. Pixar, Disney Animation, and other divisions are filled with creative folks of different backgrounds, their hard work and passion is always on the screen and is far more valuable than their parent company's name and capitulating bullshit. After all, LIGHTYEAR and STRANGE WORLD managed to have such "inappropriate" stuff in them, the first one against some odds.

Isn't it great that Disney let NIMONA get away? I couldn't imagine a de-queered NIMONA movie. Thank goodness they let Annapurna have it, instead of dooming it to a black hole.

But yeah, these studios DO want to get such stories out and reach all kinds of people... But their corporate "superiors" would rather bow down to the fascists and demographics who can quite frankly fuck off and go watch something else.

At least boards of the storyline are now out for everyone to see.

Honestly, I think Disney blew it in every way. Not only did they try not to offend fascists, but they got so far as including the trans character (and cast a trans girl to voice her) only to remove the character... The public knows there was GOING TO BE a trans character in one of their projects. I've seen some right-wingers saying something to the tune of "I can't believe Disney was gonna put that in there!!!"

Like, there's no winning. If they did indeed finish the animation of the character's scenes, where she's a trans girl... Just put 'em back in, the world knows there was going to be a trans character in the show in the first place. Might as well just do it. Those who hate that are already mad anyways, and they'll find something else to burn Disney at the stake over thereafter. Like I said before, that whole demographic is an insatiable beast, and they'll find other things in the company's releases to call "woke", "DEI", etc. You may keep them at bay now by excluding trans characters, but they'll get mad about something else. Maybe they'll go back to being angry about characters who aren't male, white, etc.

Disney appeased these sorts of losers before, and those times when Disney did so are often regarded as periods of creative stagnancy. (i.e. the majority of the '70s) I feel they're in such an era again, as evidenced by a spotty Marvel track record, STAR WARS pivoting heavily to nostalgia once more and having no sense of real direction, endless photoreal remakes and spin-offs of said remakes (they just greenlit a PRINCE CHARMING movie, seriously go kick rocks), Disney Animation's noted-to-death movies and hastily movie-ified MOANA sequel, and now Pixar being leashed in some way or another.

Do better.

[aristocrating]

Hot Take: Jack and Bitty are good for each other. Y'all are just mean LMAO

YEAH YEAH YES GOOD I LOVE THIS

fandom is just one hermeneutic cycle of being an anti until arguing for the ship that's on the front of the book cover becomes a hot take again!!

ok so (looks straight at camera) im a confessed zimbits-snarker, right? hate those guys. fuck those guys. BUT. i would love to play devils advocate for *checks notes real quick* the most popular pairing in the fandom for a minute. watch me, i'm about to do the mental gymnastics meme where both the top and the bottom just say "zimbits good"

one thing i think that draws people to zimbits is the aspect of wish fulfilment. with bitty serving as the reader-insert, it's easy to see why: bitty begins the comic as a fish out of water to college hockey, he undergoes the journey of being integrated into the group and learns to be part of its larger culture. add to that that Jack is literally set up as a handsome prince with a dark mysterious past who serves to sweep up Bitty and usher him off into the sunset. the author has even said that Jack specifically has to fulfil certain hunk duties as eyecandy. its cute! whats not to love! another thing that intrigues me specifically is that zimbits kind of starts out as enemies to lovers. me at age something-teen reading Check Please for the first time, seeing tall dark and handsome year 1 asshole jack yell at Bitty? i was like "oh i need him carnally", and evidently so did Bits.

Next, coming from the Jack side of things, it's just such a cozy concept for the ending of his character arc, right? After all these years of torturing himself, here is finally someone who is just willing to shower him in affection, who loves nothing more than to dote on him and bake him homemade pie, which is a very fitting image for the domesticity that jack could use after the fuckery that is his Icarus arc.

Another thing that I would love to see explored more is how Bitty's and Jack's stories end up falling in parallel when it comes to their upbringing. Both of them feel like they can't live up to being their fathers, which neither of their fathers necessarily want of them, but it's a sort of self-imposed expectation for both of them. As a woman who is certainly "my father's daughter" i find that very relatable.

Now here's where I'm gonna come in with my own hot take and say that, Jack and Bitty are good for each other– for a while. And that's okay. When I read their relationship, it always gives me the sense that here are two people who found each other at very pivotal points in their lives (i mean whats more epitomic of the college experience than that) and who profit from each other's company while they're going through that growing process. They work because first and foremost they're each other's friends. I think in year 2 this is especially evident when the buildup to their romance happens. Bitty cares about Jack's safety, his happiness. Jack wants to give Bitty what he can to make him happy.

When I think about where I see them in the future I always think, like. Happily divorced. There's a scene in Company by Sondheim where Peter and Susan, a sexually repressed guy who lusts after the protagonist and a southern belle ray of sunshine, get a divorce and it's the best thing that's ever happened to them. I rewatched the 2006 revival recently and at that scene I went "oh shit that's them. that's zimbits". At one point the protag asks Peter where he's gonna live now that they're divorced and Peter says like "Right here. I got Susan and the kids to take care of, I would certainly never leave them?" And obviously the scene is highly facetious and satiristic, but I think it's emblematic of how I see their relationship work out. They're probably not longterm compatible romantically but they'll still have each other's backs.

At least until Jack finds out about the vlog.

Idk I don't think there's anything to rate here. Zimbits good is a scorching hot take on this blog. To ME.

[shysublimecoffee]

I felt icky seeing Ladybug fall for Adrien alter-ego in "Kuro Neko" ngl because it implies to me he has to drastically change himself or at the very least fit into the mask he performs at school to please her and somehow her falling for it just got to me because it felt like a lie. It's like when I saw her falls for the idealized version I'm just like is this even a romance at this point? The theme song being " The power of love, always so strong" yet this is how weak and fimble that love is for her to fall for this side just made me point my eyebrows at her. She never apologized or seemingly felt any remorse for anything. Her instant thought was finding a replacement.

At times, I encounter the trope of falling for someone's true self rather than their facade. However, Marinette's infatuation with Adrien often seems to focus more on his perceived perfection. In "The Origins," it's evident that his kindness touched her heart, not just his looks. It's unfortunate that this crucial moment isn't discussed more, and Marinette's reflections on why she initially fell for him are overlooked. It sucks. It weird the writers forget she also fell deeply for him because that moment of handing the umbrella to her touched her . If the show intended to portray Marinette as deeply infatuated, I wish there were additional scenes developing Adrien and Marinette's interactions in class. This could have provided a more substantial basis for why she is so in love with him.

This pivotal aspect of Marinette's affection for Adrien was revisited only in the finale. The writers finally paralleled that earlier scene, emphasizing that Chat Noir had made the same kind gesture, albeit without a physical object. Chat Noir had consistently been there for her during challenging moments, standing by her side when the world seemed to crumble around her. This dynamic had played out numerous times before, making it perplexing that Marinette would seemingly fall for Catwalker before he even attempted to offer his support. It felt like a significant deviation from Marinette's established character.

LB crushing on Catwalker directly undermines the reason she loved Adrien in "Origins." Despite Adrien's politeness, Marinette initially assumed it was an act until he proved it was genuine. Her falling for Catwalker's act, and the audience knowing it's just a facade, essentially reverts the dynamics of the love square.

I always found myself a bit confused because the show seems to emphasize that Marinette's feelings for him stem more from his perfection but it contrasts how her taking finally taking notice of him began with him handing the umbrella and his apology to her.

In S5 though, man I'm not even gonna go there the boy is officially her prize and she won him from his father. This ain't even a romance no more lol do the writers smoke something or check the genre because wtf what girlfriend would lie about something this huge and hide it from their significant other by controlling the narrative like that and sweeping it under.

Like at this point now... There no 2 way or compromise it's not love it's just fucked how much after 8 years everything accumulated into this shitshow of a relationship where one is subservient and the other is the leader.

[veliseraptor]

1/2Hello! I've been desperately searching for tgcf meta around the Black Water arc, and stumbled across a post of yours that I really liked and really thought hit upon a lot of the nuances of the situation. A question I would love your opinion on is, I know it would never have happened for multiple reasons, but do you think SQX would have still chosen to go to SWD instead of staying at the Rain Master's if SQX had known at the time that Ming Yi was and always had been He Xuan? I'm asking because

2/2 when I went to try to find fic that would explore the character dynamics at play here, I was so so surprised by the characterization I've seen of He Xuan, Shi Wudu, and Shi Qingxuan. But especially Shi Qingxuan. Not just in reimaginings of this pivotal moment, but I find it is especially obvious when exploring the other ways this could have gone.

whoa, I wrote a meta post about Black Water that was even remotely coherent? this is kind of news to me. exciting news but also news

but regarding the actual content of your ask! I think the hard thing about this for me (and also possibly why I don't tend to go in for canon divergence AUs where the events of Black Water Arc fall out differently than they do in canon) is that the fact that Shi Qingxuan does choose her brother even though she knows what her brother has done.

not how personal/close to home it is for someone she cares for, no! that is true, and that might well make a difference (I'll try to poke at that in a minute). but Shi Qingxuan is someone we see is pretty principled about fairness, reacts to the understanding of what happened with her ascension by vehemently trying to reject divinity entirely, and very clearly recognizes the injustice of Shi Wudu's actions - but when it comes to Shi Wudu being in peril she still can't walk away or turn her back on him. despite "Ming Yi's" warnings and repeated "are you sure? are you sure?" pushing, Shi Qingxuan ultimately just loves her brother enough that she can't turn her back on him. and that's one of the things that makes the Black Water Arc so miserable and also so good; if Shi Qingxuan isn't legitimately struggling with that crisis of conscience set against her love for her brother, then something really gets lost and the arc becomes less compelling to me. which is to say: "I need her to not stay out of it and remain at the Rain Master's house, because otherwise we don't get that final confrontation that's one of my favorite scenes in the whole book."

if I were to take this seriously as a possible alternate scenario, though, absent what I might want or prefer (or questions of how it would happen/what else it would change about events)...I think the biggest impact on Shi Qingxuan wouldn't be "staying out of it" but rather "trying to focus Ming Yi/He Xuan's attention on herself and directing it away from Shi Wudu to protect her brother." I just...don't see Shi Qingxuan as being okay with letting He Xuan go on his merry vengeance way without at least trying to intervene. Shi Qingxuan just can't stay out of it, and I don't think ever could - ultimately, that's part of the problem.

(though it's also possible, tbh, that Shi Qingxuan's presence in the midst of events actually only makes things worse, and if she did stay put...well, for one thing it changes how He Xuan handles Shi Wudu, because now he doesn't have the two of them to use as bait for each other. but I also don't know what He Xuan would actually do if Shi Qingxuan had taken one of the outs; I don't know if there was a long term plan for what would happen, or if, despite offering those opportunities for Shi Qingxuan to step out of the way, He Xuan knew that she wouldn't.)

[breitzbachbea]

💖🛒🎢

(And I wanna ask more, but this seems like enough for now.)

Ohhh, inch resting ones!

Fanfic Writer Emoji Asks

💖 What made you start writing?

Already answered here!

🛒 What are some common things you incorporate in your fics? Themes, feels, scenes, imagery, etc.

For obvious, be it very personal reasons, grief plays a major role in many of the things I write. Loss of a loved one, but also the mourning of chances not taken, of paths now seemingly blocked. (The latter has a lot of overlap though with me trying to not romanticize Organized Crime, so it's not just 'here is someone grieving for their past self and that is something normal we all go through', but 'Living this life will never make you happy and instead lock you into one of your potential worst selves').

I liked some good eating metaphors, even far before I knew what was going on metatextually, but now it's kicked into hyperdrive. Food, teeth, hunger, all those are things that often find their way into my writing, in minor ways.

I also love a good historical allusion, goddammit. To be fair, I don't know how many I've actually written into my writing, but I very often think about how I could represent characters with elements from myth or history. I adore a historical nickname, even if it is rather for the parent generation. Fernando's nickname being 'El Rey', and thusly Antonio at first being called 'El Principe', before the other senior Spanish mobsters realized he's pursueing a different style of business conduct and so he got stuck with 'El Conquistador'. Salvatore being known as 'Caesar' or 'Dionysius of Palermo'. Haunted houses, HUGE thing. The English office being a former Victorian era factory, Michele's house made to resemble a Roman villa, the O'Connel's house formerly being a house where in Industrial times, dozens of people lived in crammed conditions. Two of the Danish subordinates are directly based on two heroes from the medieval German epic 'Kudrun'. Dolcetto's cat is named Machiavelli and Lovino is the reason.

🎢 Which of your fics would you call your wildest ride?

I can't judge this one on subject matter (Though I guess, as far as fucked up shit goes, La Sicilia dell'eterna notte gets disturbing very quick for something with less than 500 words). Therefore, I will go for the writing process. No Rest For The Wicked was written within a week, with no prior planning whatsoever and with a deadline for rarepairweek to meet. That was some topsy turvy shit. And the latter half of Italian Affairs, like the last third I guess, is a rollercoaster ride - both in its creation and within the actual text.

But the award has to go to The Amulet. I still have to have a call with Emi and iron out the last comments, before I print the 70 pages out and proofread them. And then I can finally, FINALLY upload them.

I started writing the first draft of the story on paper in January 2017. The idea of wanting to write something with my Greek and Turkish OCs had been ghosting around my head for a while. But I initially started writing because I was stuck on Italian Affairs and none of the characters would talk to me (e.g. everything I wrote in their voice sounded ooc), so I started writing something else to 'make them jealous'. Absolute pro tip btw, pivoting away from one story when you are stuck with another will do wonders for making you inspired for the first story again. Get out of that rut. Anyways, so I started writing that draft and then continued doing so when I had a free minute at school, until the story was done. I then typed up the draft and did a first round of revisions. I tried to find beta-readers for it, which also worked in 2019. But I still didn't publish it, because the beta never made it to the end. And then it sat and sat in my drafts, while I worked on other projects. My writing improved, my standards raised themselves. And I began to see why the story had always bugged me. I saw that I would have to scrap the whole thing and start from scratch, with extensive research and some soul-searching. And this is what I did - Before I was able to write part 3, I spent weeks hovering up information about the Turkish Republic and the 2014 election and so on. Only for it to vaguely matter for half a page in this 70 page epos. (But worth it, I love learning stuff). I eventually got dear Emi as a beta, who immensely helped to improve this text. Let's all hope that after 6 years of work, it'll finally see the light of day.

[bearpillowmonster]

DD3

Wait, so you get denied a raise because of your credit score...and they tell you to sort it out- before the raise that will raise your credit score? Wait-

It's so easy to forget that there were successful comic book shows and movies outside of what we see today. You know how many we get a year now? 7 mainline live action in universe Marvel and DC movies plus 2 live action shows. These are straight from the source so why is it that Netflix, the company that redid Avatar and is famous for their goofy live action anime adaptations did something more quality years ago versus what we get today with super inflated budgets? Whether you like the show or not, whether you rank this lower than the other seasons, doesn't matter, the production quality is objective.

Bullseye in this season is top notch. I seriously didn't expect that or some of what the dialogue considers, I pondered some of that for days, the writing really shines. Everyone talks about Karen and Foggy reappearing for the reboot but Karen's still whiny. They even give her a whole episode on number 10 out of 13 and it's really something we should've gotten- um- not at the last moment. It doesn't even change context. Seeing it titled 'Karen', made me think there was this cool long hunt for her and she'd have to use her wits and ideals that she's built to fight back until Daredevil stops Bullseye's attack. Yeah, no, it's pretty straightforward.

It's strange how they really made Kingpin staring at a white wall a plot point and it's actually not bad, like how do you make that a successful character trait?

Sometimes it reverts to a stage play though, more often than not it's the most pivotal moments too. There are some great fights, don't get me wrong, it goes back to a lot of the corridor fighting and innovates really nicely but then there's the Bullseye fight in episode 10, it just didn't hit the right notes for me and neither did the last episode's fight. It's not even just the fights either, it's the dialogue. I expected Vanessa to die then Wilson concedes so DD will kill him, but DD doesn't give him what he wants and refuses after all this time. I ended up with half of that. But it's all done so rushed like there's no reason behind it. And Matt's speech is just over the top cheesy "You will go back to prison and live the rest of your miserable life in a cage knowing you'll never have Vanessa." Blah blah blah, I beat you. Stupid, like a pissing competition. I complained about Ultimate Spider-Man and it still gives me horrors thinking about it but there was one thing that followed in line with what I want and that's actually Daredevil.

There was a scene where he knows he can't beat Fisk at his own game so he sneaks and finds Vanessa- here, flocked right to it. Issue 110

She's comatose in that story and now he shows that he has all the cards, he's in control, he could break both his and Kingpin's life at once. It's Spider-Man that talks him down and we don't need that here but he stands for fear but how do you scare the person that isn't scared of anything? You scare those closest to him. "It was just business. Don't make it personal." Kingpin leaves the country but he ends up calling a hit on Spider-Man and DD anyway. That is until he gets what's coming to him, sidelined and distracted so that the cops come and get him for a murder he barely even remembered.

It'd be interesting if they made the season a murder mystery where it turns out it was Fisk even though he's in prison and then it starts the FBI thing then him barrelling through cops as they try to bring him down at the end. In fact, when I first heard of this season and saw Bullseye with the outfit, I thought that maybe he was A. a wannabe. or B. Someone framing him. DD going back to his old costume so not to be confused (or the other way around) and they're trying to uncover his identity all the way through until they figure it out in the end and DD reclaims his costume and beats him. That didn't happen and I love his character study but I feel that they kinda pissed on him in that final episode too. They kinda just chalked him up to another crazy guy by that point.

I didn't mind them hoping for another season and teasing for it but there are some things left undone, (what's that stain on my rug?) I won't really complain about them but I can say that the beginning where we get caught up on stuff that happened off-screen goes nowhere. Should Elektra have appeared, it'd undermine her death but if she was apart of his visions like Fisk and his dad were then it'd make more sense like "oh, he hallucinated her." I realized that Elektra's story more fit Blade's type of playground than what ended up being S2 so it does seem a bit weaker.

All in all, I see why the series is so heavily regarded and I probably agree with a lot of the consensus in terms of ranking.

[acmoorereadsandwrites]

An Interview with Maureen Marshall, Author of The Paris Affair

Maureen is a fan of the Romance genre, traveling, helping other authors grow in their craft, and spy novels with a Queer and neurodivergent twist.

Her debut, The Paris Affair, is a Queer historical suspense set in Paris during the building of the Eiffel Tower. When Fin Tighe, the illegitimate son of an English lord living in Paris, starts catching feelings for Gilbert, a member of the Parisian elite, he is given the choice to reclaim his birthright or to return to Paris where he made a name for himself. 

AC: I think most of us understand the difference between a thriller and a mystery by now, but what is the difference between suspense, thriller, and mystery?

MM: So, I could be technically wrong, but for me, the distinction between those three would be that suspense has you guessing if there is a mystery, or if people are just behaving in a shady way, haha! A thriller is going to be like a roller coaster with twists and turns and a mystery is definitely more clear that something wrong is happening and the MC needs to figure out who and why!

AC: Why did you select the Eiffel Tower from all of the beautiful Parisian architecture?

MM: As for why I chose the Eiffel Tower, it's kind of funny. I found an article about how ballet dancers at the Paris Opéra were treated like a sexual commodity at that time period, and I needed to tie my engineer into a project that made sense at that precise moment, so the Eiffel Tower subplot fell into my lap, almost as an afterthought. However, through many rounds of editing, I made it more and more integral to the story.

AC: As a huge fan of ballet, I loved the bits about the Paris Ballet in the book. What's your favorite ballet and why?

MM: Oof, the ballet one stumped me a little because I get really nerdy about the technical aspect. I love watching the moves blossom, if that makes sense, even more than the storytelling aspect. So, I am actually almost as content watching a rehearsal as the completed ballet. I am such a behind the scenes personality!

AC: I love that. I’m the same way; I did the behind the scenes stuff when I did theater and it was a blast.

AC: You have a strong background in the Romance genre. Was the pivot to historical suspense a big jump?

MM: I actually wrote this book before I wrote the published historical romances--and I received a lot of agent notice but no one was sure how to place the book. So, I wrote the romances because I figured they were closer to what the market wanted, and I love writing romances. I held onto The Paris Affair until I could convince someone to publish it, ha! I love the romance aspect of all my books. I love, love! Still, I really enjoy digging into the psychology of suspense and I feel that personal relationships can really amp it up. For example, I have a favorite manuscript about the fallout for the queer community in Edinburgh during the Oscar Wilde trial sitting in a drawer because it’s rather quiet and character-based. Hopefully, it sees the light of day sometime.

AC: Aurelie and Fin’s relationship is so sweet and there’s a real gentleness to Fin and Gilbert’s romance. Was it conscious to make Fin’s relationships that way or did they fall into place as a reflection of his character?

MM: I'm so glad the sweetness shows through. I feel that Fin is complicated and believes he is much tougher than he really is. That he thinks his armor is stronger than it actually is. It is clear in my mind that he allows his kindness show with Aurelie much easier than with anyone else. I feel like Gilbert was working hard to lure Fin in until Gilbert finds that it's no longer a ruse. I wanted to show the two men truly falling in love with one another even though Fin is so adamant that it's not how he feels. He doesn't have many representations of long term romantic relationships to use as a template, so he doesn't recognize it until it's gone. When I'm drafting, I do a lot of character work up front and so his prickliness pops out in ways that I hope come across as real and not just character affectations. But honestly, I am so pleased that they shine through to someone who doesn't love Fin as fiercely as I do.

AC: There's all kinds of advice out there in regards to the writing process, but I've found that the best thing to do is experiment with a lot of authors' processes until you find a combination that works for you. What's your drafting process like?

MM: Usually, I draft a chapter at a time, in order--even if I really want to write a different scene, I don't allow myself to do it out of order. (I did once for a book I then never finished because I had the dessert before the main course, I guess!) Then I edit as I go. I keep reading back over newly completed chapters before writing for the day, which I know is the opposite of conventional advice, but writing is the only thing (almost) that I get perfectionistic about.

AC: We talk a lot in writers spaces about how you have to read modern authors to be part of the conversation going on in our genres. What books are your book in conversation with?

MM: I feel like there is a lot of similarity with M/F historical fiction/upmarket with the suspense angle and then again, it's sort of more modern because the queer relationships aren't dug into as an anomaly of any kind--because they weren't. Just not as discussed as the drawbacks were legion. But it is a bit of a canary in the coal mine for more queer upmarket in the historical space, for sure.

AC: Author as Brand feels like a big part of being a writer these days. What do you want your Brand to be?

MM: I'd say that my author brand is absolutely historical settings with queer characters and ND representation--even when it isn't completely overt. Fin struggles with anxiety and C-PTSD, for example, and in my romances, there is a character whose life is stymied by his anxiety and ADHD.

AC: Some authors focus on food, others on clothes. What's your favorite way to show time and place?

MM: I grew up in a house full of antiques and I like to add objects that we don't use in our modern lives to show time and place, as well as food and clothing. But I'd absolutely say my personal emphasis is on everyday objects from the time period that are being used or noticed casually to dig into the setting.

AC: Are there any writers you wanna give a shout-out to? 

MM: Rose Sutherland who recently debuted with A Sweet Sting of Salt is my behind-the-scenes ride-or-die, and I’ve been draft-swapping, critiquing, and friending with Felicia Grossman who writes Jewish romance à la the Once Upon the East End series since 2016. I read anything Cat Sebastian, KJ Charles, and Alexis Hall write, and am tickled by Emma Alban’s Don’t Want You Like a Best Friend. 

AC: I am a huge fan of both Felicia and Rose’s books. Rose really captured yearning in a gorgeous rendition of The Selkie Wife and I love how Felicia puts Jewish characters in stories that we never get to see them in.

AC: I really loved Fin’s complex relationship with his father's title as well as his desire to make a name for himself as independent from his father as possible. What are your favorite relationships to write?

MM: I really like to do sticky relationships in family's that aren't the usual kind ones most people have (or seem to have--I know families are complicated for lots of people). I like digging into people who are in some way ND and struggling to voice their needs because they've been overlooked so many times before.

AC: Do you have any advice for writers trying to breakout in the historical section of the bookstore?

MM: I believe–in my very limited knowledge–that there are a lot of oversaturated time periods that will be difficult to get your foot in the door with as a debut. And also, many time periods that publishing is unlikely to take a gamble that readers are interested in. I think that the best advice is to find something that is recognizable to audiences but hasn’t been done to death, and figure out a way to make that recognizable aspect really fresh and exciting. 

AC: What's next on the horizon for you?

MM: I am currently drafting a project that is a look back at Jane Austen's works which are the basis of modern regency romances, but with an emphasis on the village life rather than the high rolling aristocratic vision that most regencies work with. I'm hoping to branch it into a series, and my village is peopled with the sorts of characters that could be in an Austen novel, but with a bit of a modern lens in their attitudes. I pitched it as "What if Lady Catherine de Burgh was running a British spy ring during the Napoleonic Wars?" After that, I have begun writing and plotting another historical suspense!

AC: Thank you, Maureen!

Where to buy:

Amazon

Barnes and Noble

Grand Central Publishing 

Astoria, a Queer woman-owned indie bookstore

[rriavian]

🥳 and 🦷?

🥳 How are you going to celebrate when you achieve one of your writing goals?

This is a good one! I’m trying to celebrate a bit more, usually I post something, flop backwards onto my bed like thank goodness I’ve finished it, then go ‘right what’s next’ because I’m always feeling like I’m playing catch up

My first real celebration comes with reading the first comment I think, it unknots the ‘what if this was awful’ tension and lets me have my ‘yay! I wrote a thing’ joy moment. I usually smile and maybe have a little happy cry (and then it always takes me ages to respond because how can I calmly explain to this person that they have made my whole day?)

I am looking at other ways of celebrating, but while it sounds silly I’m not really sure how to do this.

🦷 Is there a chapter, scene, or WIP you're dreading to write (but is necessary to your plot)? Share a snippet or tell us about it!

Ooh this is an interesting question. It really made me think because I don’t usually dread scenes too much until I’m in the middle of one and realise…oh. This is a problem. It can happen if it's pivotal or if there's a theme that I need to tie off, but there are times when I struggle to describe exactly what the issue is. Which is odd as writer haha!

Usually it’s related to a certain type of detail I need to include but I'm struggling to figure out what it should be. So things like what car someone might drive. Or what music they like. A recent example is a question I had about ice cream flavours and what the Corinthian and Dream’s favourites would be. I'd had that scene in draft for about a year because I couldn't get that detail right. Sometimes I dread scenes where I know this is going to be a problem. For me it’s picking the ‘right’ detail to represent the right thing, even while knowing that different details mean different things to different people.

It's usually a problem I have with supporting details. So one's that aren't integral but are very important finishing touches. The 'feel' of something in a narrative is very important to me, and if I need to use a detail as a layer in a metaphor/theme then it needs to link properly with the other layers.

So some of those scenes I find tough. 

Another can be points of conflict where no one is supposed to be ‘wrong’ because it’s important to balance that right so that both characters can be seen equally innocent/to blame. There's two real instances of this in current WIPs so it's been tricky. Every reader has a different threshold for this, and I can’t make it work for everyone, but I still try to make it as close as I can.

[teafiend]

CW: Critical, subjective opinion on a vital aspect of “A Time Called You”

Some final thoughts on “A Time Called You”. That show niggled still because it was such an excellently plotted show, and Jeon Yeo Been was blindingly bright in it, yet something felt off. And that piqued my interest in the Taiwanese original because I anticipate that the “something off” would not be an issue there.

At first, I thought my main issue with the show was mostly the - personal opinion - lacklustre male lead and his appeal for me personally.

But I have had many experiences with unappealing male leads making me fall in love with their characters. ”Coffee Prince” and ”I Hear Your Voice” - two of my top favourites - come to mind.

(Yes, I found Gong Yoo iffy initially, and still not particularly fond of Lee Jeong Seok, though Park Su Ha remains one of my favourite MCs). So, it was less because I was resistant to having my initial impressions changed. Unfortunately, Ahn Hyo Seop’s portrayal of his characters - as the romantic leads - were “meh and uninspiring” till the end, despite the wonderful elements of the writing of his character(s).

It had nothing to do with the character himself, who was amazingly written, honestly. Turned out it was him after all, or precisely, the lack of chemistry.

I don’t think I have felt that lack this keenly in all my years of watching dramas, especially in such a solidly-written and performed show. I have had shows where the chemistry between the leads saved what were otherwise mediocre shows, even given spotty performances, but ATCY stood out because of the opposite. LOL 😂🤣😭

There have been many instances where I had the Second Lead Syndrome, some worse than others, but not once did I find the main pairing lacking in the chemistry department or of not being convincing, except ATCY. That was painful because in what was a fantastic show, they lacked one of the most important ingredients which makes a successful romance, IMO.

It galled me even more because as someone highly allergic to fictional BL/m/m, I was bummed by the few scenes of the male lead with the Rowoon cameo, but I was even more chagrined when those two sweet boys died. WHAT?! Please don’t bury your gays!

What was worse, I thought AHS had more chemistry with Rowoon for those few minutes - and even with his friend In Gyu - than he had with Jeon Yeo Been’s character(s). As someone prone to ignore “bromance” and any related chemistry, it felt weird to notice that in what is a ROMANCE, and a brilliantly written romance at that.

I suggest the lead actor to pivot to BL and forgo trying to make it with straight romcoms. I read that in another of his more well-known romcoms, the female leads carried the show too. Figures.

I say this because the second lead - Kang Hoon aka In Gyu - had more chemistry with JYB (Min Ju/Jun Hee). At least his longing was palpable in a quiet, poignant way, which was more than I could say for the main lead.

His “love” felt very scripted and simply of the going-through-the-expected motions variety. He did and said all the ”right words” but little came through as convincing (for me).

I say this with sad irony because the character was written so fabulously as this kind, faithful, devoted and love-driven male character, which if the chemistry was there, would have propelled this remake into another minor hit. Alas. (And I personally simply love, love characters like these, yet I was not particularly impressed here).

Because JYB carried the whole show and in a romance, I don’t think it is a good thing at all. Personally, I love that fact. However, this is supposed to be a fantasy/romance targeted mostly at a women audience, and when the male lead is unconvincing, I think it is a terrible situation all around.

Of course, this is just my very subjective opinion, but this is the first time I have felt that way about a good romance, so it sucks quite a bit. Especially since Jeon Yeo Been was so beautifully awesome in it. I know that this show is more than romance, but that particular element is a major narrative driver, so I don’t think I am being too unfair.

JYB had memorable/explosive chemistry with all her co-stars in a few of the dramas I have watched her in, so I am not going to put the onus on the lack of chemistry on her. Because her performance was not an issue at all. Not even a little bit. There was chemistry with everyone in the show except her main love interest. Sorry, not a problem with THE QUEEN.

And also in a Romance, the female lead does not need to be as convincing as the main male character, so…

I am also not trying to pan AHS’s performance because except for the romance, he was quite solid. Mayhaps this is not his genre at all.

I was also a bit weirded out about the sequence of the credits, TBF. How come JYB was not the No 1 in the intro? By age and acclaim, I do not think it is unreasonable that JYB should have gotten top-billing.

Yeah, yeah, we live in reality, I get that. *sigh*