#every character exposition is so shallow

[boyapologist]

season one is so fucking BORING I'm 8 episodes in and I wanna off myself

[raven-at-the-writing-desk]

Do you think all the characters are assholes?

Because i think they are despite their tragic backstories and i also don't think they appreciate Yuu enough, except for maybe the first years

I mean, the TWST characters are (mostly) inspired by Disney villains... Plus, they’re immature high schoolers still in the process of emotionally maturing. Of course they're not going to be perfect balls of sunshine. They're all going to be rude or have faults in their own ways, but they also have their strengths and charm points. I do call them assholes (lovingly), but I would hesitate to slap a singular label on any of the characters when they're all very well-rounded and morally ambiguous.

On the topic of Yuu, I think it makes sense that most of the cast doesn't really "appreciate" them. To begin with, most of the characters are not the openly sentimental types; they wouldn’t overtly express that gratitude even if it were present. Then we have to consider that Yuu isn't directly involved in their character growth or arcs in most cases; it's often the other characters who are confronting the OB boys or instigating, physically battling them to snap them out of it, and then comforting them afterwards.

As early as book 1, that pattern holds true. Ace is the one that initially pissed Riddle off. Adeuce are dueling Riddle. Ace decks Riddle and claims his last straw. Trey is the one calling out to Riddle as he's losing it. It's the members of Heartslabyul who gather around Riddle when he reawakens following the OB. (I'm not going to go through and list off what happens in every single book, but I'm sure you can think of many other instances... Lilia insulting Leona, Deuce and Epel having the heart-to-heart on the beach, Octavinelle's plot against Jamil, the twins checking up on Azul post-OB, etc.) To me, it feels like it is the boys and their bonds with one another responsible for the change, not Yuu's involvement. Yuu is usually along for the ride and actually does and says very little despite all the fandom jokes about "being the school's unpaid but overworked therapist" or Crowley's shallow claim that Yuu can help the boys learn to cooperate (which feels more like a vague ruse only shown in the prologue to shoehorn Yuu into the plot). There's actually very little in-game that shows them being active in helping the students change for the better. Much of the time, the boys can resolve their own struggles to get along without Yuu being there (like all those pair-ups in book 6–sure, it may have taken a while, but the fact remains that they did eventually resolve their own issues and cooperate without Yuu having to orchestrate for them; this also happens many times in events like Port Fest, Wish Upon a Star, Ghost Marriage, the Halloween events, etc). A very common complaint (at least among English speaking players) is that Yuu isn’t “involved enough” or that they don’t have a big impact on the events of the story. Therefore, most of the boys not feeling close or indebted to Yuu makes sense from their POV. What has Yuu actually and explicitly done to help them? Not much. It’s mainly in individual fan interpretations where Yuu/a Yuusona/an OC in Yuu’s role is actually able to play a more substantial part in each characters’ life and growth. In general, the standard in-game Yuu is more of a "fly on the wall" character that witnesses events unfold rather than someone who plays a large role in each book. The boys are seemingly the main characters, not Yuu. It's just convenient to have Yuu/a blank slate in the story because they, as an outsider, need TWST concepts explained to them (thus making it easier to give exposition to the players who may also be unfamiliar with the information). The first years, by comparison, are closer to Yuu simply because 1) Yuu is implied to be in the same year level as them (so they're more likely to be exposed to one another) and 2) their preestablished relationships with Grim, Ace, and Deuce opens them up more to first year interactions. "Friends of friends", if you will. It makes more sense than Yuu being appreciated and loved by everyone/most people in the main cast of 22ish. (How many people do you know irl that have 22ish significant friends?) They spend the most time together. Everyone else tends to stick to their own groups (with maybe the exception of Heartslabyul, since Yuu is already close with Adeuce). They’re just... not as intimate with Yuu, and therefore not as inclined to find much appreciation for them.

I want to clarify that this doesn’t mean there are zero instances of the characters outside of the first years expressing gratitude toward Yuu. Like, of the OB boys, it’s only Vil who consistently apologizes for the trouble he caused (note though: it’s not specifically to Yuu, but to everyone in the VDC/SDC squad. Yuu is then given prize money from most of the other boys as thanks for letting them crash at Ramshackle… Of those, only Kalim cites being grateful that he was able to stay and have fun with everyone because of Yuu green lighting the decision. This makes sense, as Kalim’s one of the few who wears his heart on his sleeve and is friendly to most. It just isn’t true for the majority of the cast, and we shouldn’t expect it to be.

As late as book 5, you can see characters like Leona not being so happy to be called out to or for Grim to act all buddy-buddy with him. That indicates to me that the rest of the cast is not that close to Yuu + related parties and doesn't have a real reason to be. (Note: I'm not counting character voice lines here as proof of friendliness with Yuu, as it can be argued that the relationships and events explored in the cards don't run in tandem with the main story and are meant more as fanservice for the players.)

Again, while it's not that fun to read in a narrative, it does leave things open-ended for anyone who wants to self-insert or to expand on those blank relationships for their own characters. I believe this is by design to appeal on an individual level to players. You get out of it what you put into it!

[bishamontdn]

Ave Mujica Thoughts (not spoiler free)

Seeing Ave Mujica while knowing what is inevitably going to happen with Uika is such a wild experience, and I almost wish I’d gone into it not knowing what her voice actress has said about her (i.e. that she is truly scary, and that Sasaki Rico was genuinely surprised by some of her lines.) Seeing Uika and waiting for her reappearance these past few episodes, knowing this, has been like a ticking time bomb. But if you disregard what we know about Uika from sources other than the anime, her portrayal gets really interesting.

Without any sort of religious symbolism tied to her character directly, Uika is practically pronounced as a holy figure. She wears all white, and is a mysterious, far-away and untouchable singer, part of a popular idol band that is completely free of scandal, unlike Ave-Mujica. She has done nothing so far that could possibly be controversial to anyone, while the moral-greyness of every single other character is being explored. She continues to be a figure of kindness towards Sakiko, mainly. Even when Mutsumi accuses her of “lying” in episode four, it doesn’t really land, because Uika didn’t really lie so much as try to deflect to fix the disbanding situation. Even before Ave Mujica, Uika is atop a pedestal, shown when she gives Tomori advice… in the PLANETARIUM. Our perception of her since then has not changed much. 

Her character remaining sort of holy and free of sin up until this point is notable mostly because of her clear obsession with Sakiko. In my opinion it goes past just appreciation or yearning, and is a true obsession. Typically, when a girl’s obsession is unrequited (especially romantic, though I don’t know how far Bushiroad will go with that… Uika’s obsession does seem to be characterized differently than the rest) the character who yearns after the other is portrayed as gross, unbecoming, or weird. But Uika, through the eyes of the story, is never portrayed in this way. Additionally, the series doesn’t ever make it seem like Sakiko is in the wrong for not reciprocating Uika’s obsession. It can seem at first, like an unbiased account of the two girls’ interactions. Until you remember who narrates this story.

Since Anon narrates MyGo!!!!!, she must learn about Crychic from the outside. At first, characters that Anon (and therefore, the viewer) have a bad opinion of, like Taki and Sakiko, are somewhat redeemed as we find out their backstories. Since Uika is the one who narrates Ave Mujica, I wouldn’t call it unbiased at all. Sakiko is understood from the get-go. Uika extends compassion to her through the narrative- making sure that the viewer will forgive her by positioning her exposition in the very first episode. By this logic, Uika also controls her own self image. The entire narrative falls away to center around Uika and Sakiko. Uika is the clear uncommon pick for Ave Mujica, and it causes her scandal to participate in both Sumimi and Ave Mujica. There are reasons that joining Ave Mujica HURTS her. She is the only person in the band who is there solely for Sakiko. Mutsumi is here because Sakiko has dragged her here. Nyamu is here because Sakiko guaranteed her fame (Nyamu DOES care about her band members, but cares about the audience more. I don’t think this makes her shallow, and I could better explain in another post.) Umiri is here because of her obsession with the band atmosphere. Uika is the only one here ONLY for Sakiko. She has crafted a narrative where she is the only person whose desire for Sakiko is pure, and all-forgiving. Uika is ultimately the one who pulls the strings, and the only one for Sakiko. Who truly wants and deserves her (other than maybe Tomori, who coincidentally… appears when Uika’s narration is absent). 

The last few episodes have been, in a sense, so scary because Uika’s narrative voice disappears. She has been markedly absent. She hasn’t had a huge personal impact on the story’s events so far, but she is certainly about to. This portrayal of Uika and her desire as divine and deity-adjacent has also done another thing; portray Uika as immensely powerful within the narrative. Her focus in the opening and practically any promotional work has also cemented this. I believe Uika’s desire is about to be usurped in some way, and I believe her reaction to this is going to be basically turning into a supernova. Her desire for Sakiko from now on may be seen as a corrupting force to her character, but she still nonetheless has the power if not the purity of a God. She is going to destroy the narrative in ways that I can’t even predict. 

[mari-lair]

I got some asks about aoinene before so i may as well get my view on them off my chest.

( warning: I have a negative bias toward this ship and despite trying to be brief and unbias, I very very likely failed.)

To me, Aoinene makes each other worse, not as people, but as characters.

It's the kind of ship that the more I look at it the more empty their friendship feels, and yes sure they have their problems, but I don't mind when a ship have issues (hakubo and sumire are such a cool dynamic, 10/10 for me and they are a million times more 'toxic' then aoinene will ever be), but the aoinene problem is that they feel like fanservice. There is no conflict. There is nothing. They become shadows of themselves.

Aoi isn't stuck in the "I am an exposition girl :D" role because she is oblivious to the bigger story, and all they need is communication, Nene put her there. Iis insane that they've known each other for 2 years but she don't know anything about Aoi. Every time we learn something interesting about Aoi, is when she is seen in other's people's pov, even characters that barely interact with her like Teru and Mei have a better understanding of Aoi than Nene.

To Nene, Aoi is the troupe of a perfect friend. Nene cannot process her flaws, she rejects the idea, and Aoi can't make Nene talk, face her own issues. So there is never conflict. Their friendship is a love that morphed into a horror situation. A staged friendship.

"Aoi is cute and nice and kind. I refuse to believe she wouldl ever be anything else, let's not think about how i was thrown in the trash by her, that aoi was mean, she was a fake. I will not accept her being the real aoi. I won't even think about it."

"I know Nene is going through a lot but I need to play the happy girl with no troubles role for her. I won't ask about her problems or even show hints that I know something is off after learning about supernaturals, and that her crush is dead, and human sacrifices are a thing that happen. That's not what she wants from miss popular me."

It reach the point where their fluffy arts feel like fanservice to me, more of a 'look! cute girls doing cute things!! Aren't they such good friends??' photoshoot magazine than a genuine bond.

Look at this beautiful and cute art for exemple.

You would imagine the chapter is about them, that they will have some form of talk about their feelings in it, so much happened since the last time they talked after all!

Maybe Aoi apologize for throwing Nene out while Nene apologize for planning to die without Aoi's consent, making the same selfish mistake Hanako had done to her when he sacrificed Aoi so Nene could live. Maybe is just a quiet talk about how much things changed? A lighthearted but warm chat of how disorienting seeing supernaturals are as former girls that never had to deal with it? Something, anything, to connect them. Maybe the oposite, a big conflict that gets ugly now that the masks are down...? We had a lot of those in this arc, like kou and teru in chap 87, aoi and akane in chap 69, nene and hanako inc hapter 91! But no.

There is nothing. Is always nothing when they talk.

This beautiful cover art is from the chapter where Aoi issues were immediately brushed aside when she tried to bring them up and the usual bubbly Aoi was forced to come back.

They are bafflingly shallow for how much time they spend together and how much potential is bubbling under their mask, keeping their basic dynamic from their introduction even when the characters are begging for something to change.

So that's why I dislike them, they don't make each other better, they don't even have the gall to make each other act worse, they just make each other boring. Aoi is only allowed to be a fleshed out character when we get away from Nene's pov.

Is only through her interactions with other characters that any hint of dept, or hell, even fun quirks and overall aspects of her personality that are hinted with her friendship with nene, are explored or allowed to shine.

There is potential though! And I could see myself enjoying writing a one-shot exploring how painful for both parties the shallowness of their relationship is in some alternative universe, but unfortunetely the fandom ruined it for me. Which is a shame, since Nene is aoi only other friend, and their charade friendship is genuinely valued/loved by the other.

I tried to read fics and analysis to see if I was missing something but the fandom have a 'omg they are so cute and can do nothing wrong! All their issues will disappear if they hold hands <3' take on them, with so much mischaracterization both girls become unrecognizable. There is also a lot of Akane and aoikane hate, even masked aoi hate, cause god forbid their dear girlboss angelic lesbian queen have any negative feelings towards her bestie or likes a boy whose main flaw used to be the same as Nene (idolizing her to the point of dehumanization), and while that is not the manga's fault, it does affect my negative bias for this ship, make it far stronger.

After 2 years in the fandom, I just don't have the patience for this ship anymore. I don't think people are secretly evil if they ship aoinene or project themselves onto the girls, but it just isn't my thing. I am not looking for a fight either Anon, I block people cause I want as much peace as i can, and if what they ship makes me uncomfortable, is not their problem, is mine. Let them have fun out of my sight so we both strive pls.

[sugarcoatednightshade]

I haven’t thought of Lily Orchard in years, but she just made a video on dungeon meshi and I wanted to hear what she had to say. I couldn’t even finish it.

It’s clear she hates anime as a genre and is pissed about having to review something she didn’t want to watch, and that anger permeates the whole* review. On top of that, it’s so fucking disingenuous to review a show that’s not even halfway over and then claim it’s thematically disjointed - like 1. Of course it’ll seem that way if you’ve only seen the first quarter of a piece of work, we’re still in the setting up stage, these themes haven’t had time to fully commingle and resolve and 2. Even considering that, dungeon meshi does actually know what it is/where it’s going, and at this point it’s fairly obvious how all the themes/mixed genera’s are gonna fit together.**

*to be fair, I haven’t seen the entire review, so maybe she calms down partway through. I don’t make a habit of watching things I know will upset me, and watching someone make bad faith criticism of something I like would literally ruin my week

Post chapter 65 spoilers below:

**Granted, cookings prominence in the show, while cute*** on its own, didn’t really seem plot relevant to me until around chapter 65 when it was revealed that in order to save falin they would have to eat her dragon half. Y’all, I went fucking feral over that reveal.

***cute meaning: it’s used mostly for worldbuilding at first. That’s really cool if you’re into it, and an integral part of the story ryoko kui is telling, but not technically necessary in every story. There are plenty of storys who spend needless time expositing about the world instead of focusing on the interesting bits, and if you’re only a quarter of the way into DM, I can see how you might think that this is one of those cases.

But obviously, as time passes, the worldbuilding aspects become more important, because the entire show is about worldbuilding. Or more accurately, it’s a deconstruction of the fantasy genera. It spends time setting up familiar tropes and then examines how those tropes would actually play out in a realistic world, setting up and then questioning our expectations for the world in a really nuanced way.

My favorite example of this is how dungeon meshi treats dark/ancient magic.

1. The words ‘dark magic’ and ‘dark elf’ have negative but vague connotations in traditional fantasy. “The thing is bad because it is bad.” It’s a fact we’re primed to believe, but shallow and easy to question

2. We learn that marcille uses dark magic, but that she’s using it for good. “Actually dark magic is forbidden because the people in power were afraid of The Plebs and want to restrict the populaces access to knowledge” is also a common fantasy trope.

3. As we learn more about dungeons and how they intertwine with dark magic, we learn that it does truly have the power to end the world. Not by itself, but because the dimension it pulls power from is populated by beings who would use that bridge of power to enter our world and cause havoc. Holy shit, we think, black magic is actually dangerous and was banned for a reason. Naming it ‘black’ was part of a smear campaign intended to save the public by dissuading them from using it

4. And then we learn that the so called catastrophe scenario has never happened, no demon has ever escaped a dungeon and successfully ended the world. Is this because of the work of the Canaries and ppl like them, or are demons perhaps not as much of a threat as they are made out to be?

And it’s great because there is no one correct answer. We learn things through the characters, whose perspectives are limited and realistic and based on their own life experience. Nobody knows the whole story, and neither do we.

[tc-doherty]

Hey! In your practical writing tips - post you said novels require lots of telling. I've noticed this too when I read, amazing books that tell a lot vs. showing but all advice gears to show and that's what I've been learning to do. Since I can't find anyone that teaches when to tell vs. show and how much tell vs. show is right and why telling is good etc. I was wondering if you could elaborate on this? Why some books that tell a lot are very engaging and others can't keep my attention? I'm so interested to see your thoughts! Thank you.

Like I said in that post, teaching people how to write isn't really my jam so this is less a teaching guide and more just my assorted thoughts on the subject based on my own opinions and the habits that I follow.

I guess what it boils down to is this. You can't really say that either showing or telling is more important in a novel, but the things that you show are perhaps more relevant.

For example, if you describe the morning routine of your character in great detail every single morning, readers are going to get bored. The story will grind to a halt. Yes you're showing us that, which most people would say is a good thing based on "show don't tell", but the information isn't relevant. If you're setting up a fantasy or sci-fi story it might be relevant once or even twice to show us how things work, but not every single time.

Similarly, if your character gets news telling them that someone they love has perished, you don't want to simply say that it made them sad. You want to show us their reaction. What do they do? What do they say? What physical sensations do they have? Are they lightheaded, do they feel out of breath, does their throat hurt because they're trying not to cry? That information is all relevant to the character, the scene, and the reader. If you simply say they're sad, then your story feels too shallow.

Many people might consider dialogue a kind of telling, but really it's both. What the characters say, how they say it, and also what they don't say can show us a lot about who they are as a person, which is relevant information to the audience even if they're simply explaining something that would be considered exposition. But what do your characters actually need to say or hear? And what can you relay to us through something happening in the background, for instance?

And what about the genre? I like to write road trip novels, which means I spend a lot of time showing the minutiae of the journey. That's relevant because the story is the journey that's being taken. But sometimes your characters just have to get from one place to another, and you don't need to get bogged down in it. You can just say that they took a bus or boat or horse or whatever.

Balancing it in any given story is the writing equivalent of "this meeting could have been email". What do you actually have to get together in a conference room to discuss (show the readers in detail) versus what can be summarized in a few sentences in an email? What will make you bored out of your mind if you see too much of it, versus what will leave you lost and confused without it?

And of course just because something is telling or summarized doesn't mean that the way that you write isn't important! Your writing should still be engaging even when you're telling. Pay attention to the words you use, the rhythm of your sentences, the variety of sentence lengths, things like that. If something is pleasant to read it will keep the reader's attention on the page. If the sentence rhythms or lengths are too similar, it becomes "monotone" and causes people's attention to wander.

Something I pay special attention to is that - unless the narrator is subjective or unreliable - I don't tell something about characters in the narration which is shown to be false. Nothing gets me riled up like supposedly objective narration which tells me a character is like so and I should feel like this about them, but then their dialogue and actions reveal that to be patently false and I feel some other way. Of course that is something that relies on the narrator being objective and having access to more information than we do. If it's a POV character who might just be unobservant, overly arrogant, biased, or kinda stupid, that's fine

When it comes to showing versus telling in regards to the background/description...well. I struggle a lot with description because I have almost complete aphantasia and can't visualize things easily. So I cheat! Anything that I describe in detail is something that my POV character is actually paying attention to. The level of detail varies from book to book based on what kind of person has the POV and what sorts of things they notice. And again, that's relevant to the audience because it's information which is relevant to the character. This is also really great way to start building up to any kind of romantic interest, because people do tend to pay a lot more attention to people they're interested in!

I feel like this has gotten really long, so if there's anything that you would like me to elaborate on more or I wasn't clear about, feel free to send another ask! I won't say I'm objectively right (usually lol) but I'm always happy to talk shop.

Hopefully some of it can be helpful to you or at least give you some things to start thinking about. And of course, it's always a good way to start by studying books that you read and seeing what you like and what you don't like and how it's been handled in both.

[lover-of-mine]

i'm fine with the bt scene being what it was because it showed what is. a shallow superficial relationship that is not being written as endgame so I'm fine with them not having a more emotional connection make it more obvious its BONES in s8.

Okay, I'm gonna say this and I need everyone to know I genuinely mean it, I'm not fine with it. I am tired of the show giving Buck and Eddie love interests that exist to have no agency besides girlfriend/boyfriend or plot device for an exposition dump. I desperately wanted to care about bt. Buck being bi is such incredible representation and I spent the whole season waiting to be convinced I should like T and bt together for anything beyond the fact that they are a queer relationship but I keep coming up empty-handed. I like being a hater right now because no criticism of him is allowed without someone screaming that you're homophobic or hate gay people and that everyone in the show is problematic why doesn't he get a pass too so I am grabbing on to every wrong thing about him the same way people are blowing the good things to justify my aversion to him. But the thing is, T is a character who's being written in a way that is so hard to sympathize with when it comes to Buck. He has this shell that makes him rigid and he has this dry sense of humor and he could be interesting if he was willing to bend a little bit for Buck. That relationship was not something I could get behind when T left Buck on the curb, because while I do believe T was incredibly justified in not liking the situation Buck put them in, he could've communicated that better before he was literally in the car leaving Buck behind, so there Buck was once again in a relationship with someone who left him because they can't handle who he is. That was the impression I got from that first date and I keep waiting for them to be cute for me to move past it and the show is giving me nothing. Why did they make the choice to not let T dress up for the bachelor party and indulge Buck when the job by definition requires for him to change into a uniform so he could've put in some effort? Why did he let Buck walk around with his face covered in soot when they could've shown us a shot of him cleaning Buck's face before they walked into the room holding hands and give the impression that there's more going on there than a few makeout sessions? Why weren't they affectionate at the ceremony? Why wasn't that conversation in the hospital, where it would've shown a level of care and that joke could've been seen as an attempt to make Buck feel better about what was going on? Why are they always two steps to the left of being cute or having any fighting chance? And that's ignoring how intertwined Eddie is with the beginning of their relationship because that's just disturbing. The triangle thing is annoying as fuck if Eddie was not gonna get confirmed as queer and the sides wouldn't actually connect.

I think narratively Buck and Eddie getting together is the thing that makes the most sense for both of their characters, but if that's not gonna happen, I wanna care about the people they're with. I love Buck as a character, I want him to have a nice love story if for whatever reason we are not getting buddie because love is the thing he's been searching for, and whatever bt has going is not it. And the thing that's killing me is that it could be. It's the same thing they did with Taylor because if Taylor was as intense about Buck as she is about the job, they could work, but the show made a choice to use the development of her character to stir away from Buck. And T, he's just there. And it's frustrating. I don't even wanna get into the comparisons between buddie and bt because imma be honest I'm still processing the way the show had T refusing to dress on theme and then had Eddie suggest matching outfits in the next scene, what even was that?? But the way the show constantly takes the chances they have to give depth to their relationship, looks it in the eye, and runs the other direction it's just........... yk? This is Buck's fifth relationship and I can't for the life of me look at it and see where it's going because they are making it seem like it's going nowhere. T parallels Taylor all the time visually, when it comes to screentime he's just a step above Ali, he's nowhere near as developed as Taylor was at this point. I had hopes for that scene when they started to talk about parents, for 20 seconds, I believed they were gonna give emotional depth to them, but they didn't. And I was literally sitting here begging them to give me something to care about when it comes to them if they are gonna keep them together but I have nothing to show for it and I hate it. There's no emotional connection, they will probably breakup at some point during s8 and I'm just gonna be there "oh wow another failed romance what a surprise" while they keep playing up Buck and Eddie's partnership and not letting them go all the way, and it's just tiring.

And this is ignoring the way we keep getting yelled at for not resonating with them. I sincerely don't want to hate them but I can't find a reason to care about them.

[am-i-the-asshole-official]

Spoiler for Jujutsu Kaisen

I'm sorry it's so long and looks like a vent post. I'm sorry for those of you who had great luck in avoiding Jujutsu Kaisen until now. With that, let me give some context before the assholery.

Jujutsu Kaisen has a breakout character, Gojo, he is unique, flawed, well written, well loved, overpowered, and the most misunderstood character in this series. He recently met his end in the most infuriating way possible. It was an unceremonious death, off screened, after the biggest most violent battle in the series. Before he was brutally offed with just meaningless exposition detailing how he was killed and him uncharacteristically justifying the death in an afterlife scene that's written to appease a large part of the fandom (shippers- he's gay coded, no waifu here). His death completely destroyed his legacy and the future of this manga.

Problem: This is a popular series with disproportionate numbers of haters, casual fans, fans who get their information from tiktok or fanworks instead of the manga, fans who did a surface level reading of it, opinionated fans who didn't read after a certain point but discuss every new chapter like they're experts, people who hate it because they compared it to their favorite series and Jujutsu Kaisen didn't go that way, people who harass the readers and wish bodily harm on the author for not conforming to FANON, the works.

Gojo was MIA for almost 3 years which made fanon takeover the fandom, when he came back the author was accused of mischaracterization and bad writing because he didn't match 3 years of fanon. Reiterating, I mean fanon not headcanon, the headcanons here are almost all fanon based too and you will get nasty anons if you say you dislike FANON or praise CANON but I believe in people's right to headcanon.

My relationship with this: I've been a fan since 2019, this character of Gojo resonated with me like no one did in my 20+ years in fandom, he is my specialest blorbo, his relationship with his best friend has moved me etc. I'm autistic and this is my special interest as well. Needless to say depression has hit me like a freight train.

MY problem: My friend of 7 years who's currently deeply into yuri and danmei, who shared many fandoms with me, has been through the thick and thins with me, has decided to make me an enemy. When the chapter came out he chatted with me sent his condolences. Then he in his own social medias started talking about how he knew it was going to be a bad series, how he's glad he quit after struggling through 50 chapters, made all the jokes in the world about this death, discussed every little thing he hated and mocked this with his other weeb friends who are like the people I mentioned in the Problem section, validated all their complaints based on their reading of the FANON. He has had many discussions with me about this manga and very rarely did he express any of this negativity.

My assholery: I got frustrated, it was like he wanted me to see how much he could hurt me. I messaged him saying, "Hey what are you saying here, that's not how this character is written. The chapter is bad but this criticism is baseless and in bad faith" He laughed it off, "It's not that deep, this is fiction." I argued that's a shallow thing to say, he said it should have been like FANON since that makes more sense. I said that's conventional writing I thought we wanted different things than the same old nice characters in found family and such.

Then I said something about his favorites and hypocrisy, he said he's not so into it that he couldn't take criticism. I said that was a lie he's always writing essays about those characters. I also said criticize it for the right reasons damn it. He kept denying his own love for his fave so he could keep criticizing mine, because he at least had the sense to not fall for a shounen series. I asked if he was enjoying hurting me. He said are you for real, get a grip and stop justifying your behavior for fiction, they won't giving you cookies for defending them, if you can't bear to see negativity then feel free to mute or block. I snapped and said this is why no one likes casual fans, you can't keep your mouth shut about things you don't know. Have fun with being a two faced friend to everyone. Then I blocked him everywhere.

Some of my friends said I should have muted him long ago, I said this was inevitable if he was just going to validate everyone in vicinity, he had to pick a side. Others said I was right to tell him off. I regret some of the comments I made now.

AITA for the way I handled it? He is right, I could have muted him, I could have not spent my time doomscrolling and seeing all the bad takes he agreed with. I could have waited it out and not dropped an old friend over fiction. I could have done many things.

Please don't comment about touching grass, that's the least helpful thing anyone can say on blorbo the website. It's not a real advice we all know that. Therapy is also there for the depression and it will take years for me to get over the death, you don't need to remind me.

What are these acronyms?

[coraniaid]

I know that Halloween isn’t really one of the very best Buffy episodes.  (I mean, it’s not even the best Halloween-themed Buffy episode.)  I know that its discussion of gender roles is, at best, kind of questionable; I know that  Buffy’s idea of what a noblewoman would actually do all day is laughably shallow; I know that this is pretty clearly one of the early episodes when the show was mostly being written by men.  I even know that the special effects aren’t that good.  And I definitely know that Angel’s “you’re not like other girls (who by the way I find beneath contempt, so don’t necessarily take that as a compliment)” speech to Buffy at the end is almost certainly meant to be romantic and not the huge red flag it actually is.

But.  Unfortunately I also know that I love this episode.  As a certain recurring vampire would say, it’s just … neat.

A couple of interesting things have been happening over the past few episodes of this rewatch.

One is that the world of the show has been getting bigger, or rather more solid.  We’re starting to see characters outside the Core Four who actually seem to have lives of their own and don’t just vanish back into the void once their episode is over.  Spike and Dru are the big ones, of course (the Master is a fun enough villain but he isn’t by any stretch of the imagination a person you can imagine having a rich inner life), but in Inca Mummy Girl we also met Devon and Oz and Jonathan, all of whom will appear multiple times this season, and this episode introduces Ethan and Larry.

(Purely coincidentally, Larry and Ethan have more in common than just first appearing in this episode. They are both gay men – or at least a heavily queer-coded man, in Ethan’s case – who will recur only a few times before being written out of the show in ways that I’m actually still kind of mad about.  But I’ll save that rant for later in the rewatch, assuming I get far enough.)

One of my biggest criticisms of the first season is how many times the show will introduce a new student (or group of students), insist that they’ve always been there, then completely forget about them forty-five minutes later.  The only genuinely recurring minor character that season was Harmony, and she was only in two episodes and not even mentioned in any of the others. Amy will return later but so far she’s just another example of the show introducing a character, establishing that Willow’s known them for years, then insisting that they don’t exist the next episode.  But that’s starting to change now, even if we’re not quite there yet – the next episode’s Lie To Me will arguably pull a variant of the exact same trick with Billy Fordham – and even if it isn’t something the show ever really grows out of completely.

Speaking of Willow, that’s the other big change that’s been happening, and the one I want to talk about most: Willow’s been slowly becoming more central to the show.  This is another slow process which won’t really finish this season, but the signs are there already.

In the first season of Buffy, I’d argue that there’s a very clear hierarchy in terms of how much attention the show gives the Core Four: Buffy is, of course, the central character, but after that the writers clearly think Giles is more important than Xander who is more important than Willow.  

This shows up in a few ways.  Speaking time is the one that’s easiest to quantify (roughly speaking, over the whole of the first season for every four minutes Willow speaks Xander will speak for five minutes, Giles will speak for seven minutes and Buffy will speak for eleven minutes), but I think this claim is also true if we consider things like how often they get to directly impact the plot or how much attention the show gives to both their relationship to Buffy and their lives outside of Buffy.  (Outside of I Robot, You Jane S1!Willow mostly exists to pine over Xander, to be rescued from danger by Buffy and to provide the sort of high school level exposition that Giles can’t deliver.)

That’s still true to a large extent in early Season 2 – Willow definitely is still pining over Xander, Buffy did go to rescue her in When She Was Bad and Willow still does get to deliver a lot of exposition – but it will stop being true by the time the season is over.  From Season 3 onward, I think it’s very clear that Willow is the most important member of the Scooby Gang after Buffy herself.  (In fact, in Season 6 I think you could argue that they’re almost co-protagonists.  That season is Willow’s story almost as much as it is Buffy’s.)

This post-Season 2 change is reflected in all sorts of ways: Willow’s average speaking time suddenly overtakes both Xander and Giles; she starts having proper arcs of her own (learning magic, dating, coming out as a lesbian); and, of course, she starts to play increasingly active roles in the plot.  And there are signs of all of this happening already, even if we’re not quite there yet. 

Taking speaking time, for example.  In Season 1 Willow had the fourth most speaking time of any of the Core Four in eight episodes, the third most speaking time in three episodes, and the second most speaking time in just one episode (The Pack).  She only had more than 12.5% of total speaking time in two episodes (The Pack again and also I Robot, You Jane), something that Xander managed in three episodes and Giles managed in eleven.  (Buffy has more than 20% speaking time in every episode of the season, as is only proper and correct.)

But although she had fourth most speaking time again in When She Was Bad, Willow did get 13.16% speaking time.  And in Reptile Boy and Halloween she is second in speaking time for two episodes running for the very first time (with 14.29% and 19.61% of all speaking time respectively).

She manages that by becoming much more assertive (that is, because the writers decide to make her more assertive).  She has, by now, mostly accepted that her romantic interest in Xander is doomed.  In Reptile Boy, she gets to dress down both Giles and Angel for their poor treatment of Buffy before leading them to go and help her.  And Halloween, more than any episode prior, really does belong to Willow. 

Willow, as much as anybody else, is responsible for saving the day here.  Not Xander, for all his costume-inspired military training.  Not Buffy, who hides behind Willow when she sees a car and asks her fearfully “what does it want?”.  And not even Giles, who does confront Ethan and  break the spell but who was so busy sitting in the library pretending to enjoy cross-referencing that without Willow he wouldn’t even have known there was anything strange going on that night.

And, of course, Willow seems to be the only one of the people changed by their costumes to retain their memories of their real lives.  Partly this has to be for plot reasons – somebody has to remember who they are if we’re going to figure things out before the final ad break – but I suspect there’s a little more to it than that.

For the most part, Ethan’s spell shows us who the Scooby Gang aren’t.  Buffy isn’t really a helpless delicate princess who’d rather die than fight and who faints at the first sign of danger.  Xander isn’t really a heroic man of action who beats up pirates and rescues damsels in distress.  Giles, we’re told, isn't really the “sniveling, tweed-clad guardian of the Slayer” he’s been pretending to be.

But the increasingly self-confident and self-assured Willow we see at the very end of this episode, as Oz drives by in his van?  The Willow who’s not just smart and knowledgeable but also willing to take charge in a crisis?  The Willow who learns to embrace the idea of wearing different outfits and taking charge of how the world perceives her?  The Willow who had more speaking time this episode than Buffy herself managed last episode?

That isn’t who Willow Rosenberg is yet.  But it’s who she’s going to become.

[miloscat]

[Review] Legend of Kay Anniversary (Wii U)

An unremarkable PS2 action-adventure.

After immersing myself in Avatar media for so long I looked around for any other games set in Asia-inspired fantasy worlds but made by Westerners. This let me knock one off my Wii U backlog, the 2015 remaster of the 2005 PS2 game Legend of Kay. Neon Software, the German studio behind the original game, are known to me for their Amiga Sonic clone Mr. Nutz: Hoppin' Mad, and it's somewhat fitting that their final game before closure was this other furry platformer. Some of the Neon cofounders went on to form Keen Games, which seems to have morphed into a new Kaiko... the original Kaiko being the company that the Mr. Nutz Hoppin' Mad team left to form Neon in the first place! Who knows how long they'll survive now under the aegis of the troubled and layoff-happy Embracer, but it's been four years since their last remaster...

Anyway, this game is a sort of 3D Zelda-like-slash-3D platformer filled with anthropomorphic animal characters, which as a Rare fan sounds up my alley. Comparing it to Starfox Adventures may be a little generous though: this is very much a B-tier PS2 action game, and a graphical revamp for new generation consoles can't magically fix the mediocrity.

To get the plot out of the way: it's extremely Normal. Kay is a "plucky" (read: obnoxious) protagonist, using his martial arts training to fight back against the occupation of his cat village by evil gorillas and rats. He travels his island to settlements of rabbits, frogs, and pandas to free them from oppression. I think it's telling that there are no credits given for story or writing; anything story-related is constantly undermined by overly shallow characterisations, completely functional video game progression (go here to get key to open door to go there etc.), and the most brain-dead "banter". For example, Kay thinks the height of action hero quips is to call a rat "cheese-breath" about a hundred times.

The latter issue is not helped by some misguided voice acting choices. It's a fully voiced game but you'll wish it wasn't with Kay's bland sarcastic schtick and almost every other character uncomfortably presenting as a borderline racist caricature. Mostly it's white people doing faux-"Asian" accents, although apparently crocodiles are Eastern European and frogs are... Jamaican, for some reason? I was glad to find a setting that let me skip any dialogue scene with a quick tap of X, because there's no other way to speed up the tedious exposition and pointless back-and-forth when you meet enemy groups.

There's only a handful of what you might call "puzzles", and the platforming ranges from "not bad" to "OK", serviceable but doesn't excel. The biggest strength and biggest weakness of the game is its combat, which is pretty involved. You can swap between three weapons which have different attributes, you often have to get around enemy blocks so there's a Wind Waker-style roll around move to hit their back, but you can also zip between targets during a combo, or use rolling, crouching, or jump attacks. You can carry up to 5 usable items which sometimes are used to explore but you have to rely on them for combat encounters late in the game when they start throwing waves at you with hordes of armoured enemies. When the difficulty spikes like this, it all just becomes too much and goes from an exercise in creatively using moves to keep your combo up to a struggle to survive (and if you die, you lose any consumables you used in your last attempt, also there's a lives system for some reason??).

I said combat might be the game's strength and it was clearly a focus of the project, but I had the most fun exploring the little worlds. There's lots of goodies to collect, mostly in the form of chests and pots containing money. You quickly end up with more than you'll ever spend but I still liked finding it. The point multiplier mechanic may seem superfluous but when you get accustomed to the flow of the platforming sections, grabbing coloured crystals to keep this combo going to make your fights and coins worth more points becomes addictive. The level design may be nothing special but the zones you traverse have some character to them.

It should be noted that this is a semi-linear game, in that the levels are mostly open to explore with events and sub-dungeons within them, but you progress from one field to the next with no way to go back. This bit me on more than one occasion when I blundered into the story trigger to move on before turning in one of the rare sidequests or going down a side path to find a health extension, making it permanently missable. This frustration prompted me to occasionally consult a Gamefaqs guide with maps during each subsequent chapter. The game does give you a minimap in the corner of the screen but it can't be expanded to a full map so it's less useful than it could be.

Legend of Kay would have felt middling even at release but rereleasing it just makes its deficiencies even more obvious. It's still got some charm for being "of that era" (I was often reminded of The Hobbit's action-adventure game from the same generation, but with fewer instant death pits), so I got some enjoyment from it. And it has some ideas that work, like the acrobatic combat and combo system. While some of the environments look nice there were just as many drab areas, and the repeated character model reuse got old. Oh, and sometimes you ride an animal and it's not fun. On the whole, I can't recommend this one... even if you ignore the cringey cultural stereotypes!!

[ilikereadingactually]

Asunder

Asunder by Kerstin Hall

i've been seeing a LOT of marketing for this book, so i was pretty excited to get around to reading it. i think there are many really intriguing ideas here! the world Hall has created certainly feels broad, and her characters are distinct and each have their own charms. I can definitely understand the kind of reader this book is for! unfortunately it didn't really make full enough use of the ideas and world and characters for me, and what was probably intended to be a heartbreaking ending instead felt somewhat confusing and a little bit flat.

the cosmologies and political/social divisions in this world are quite complicated: there are dead (or mostly dead) old gods, the Bhatuma, who were slayed by the newer demonic Ephirite, and humans might work either Bhatuma or Ephirite magic depending on their culture. the main character, Karys, has sold her soul to a horrifying Ephirite in order to be able to communicate with ghosts and see the inner workings of both kinds of magics by opening the Veneer. there are also clearly political divisions, marked by borders and by bias; Karys's status as a deathspeaker clearly holds different connotations to different secondary characters and in some cases puts her in danger, while other kinds of magic—like the Hounds, dog-like taxis with bowls for backs, and the Silkess, a giant spider that serves as a kind of train—seem ordinary, or at least not scorned. i wanted to know so much more about every single one of these elements! this is the sort of fantasy that drops the reader right in without a lot of exposition up front, which i personally adore, but that method requires eventual payoffs for the trust we're asked to extend. i was very willing to go with the flow, but i never felt that any of the underpinnings of this world were adequately explained or demonstrated.

then there's Karys, and the man she is accidentally sharing a body with, Ferain. their banter is very charming; as i've said on this blog before, romantic plotlines are not really my thing, but the slow building of trust and camaraderie between them will definitely appeal to many readers! we get to see bits of their backstories, particularly Karys, and i did grow fond of them both as the story went on. but the side characters who gather along the quest felt charming but a bit shallow to me; i wanted to know them, and wanted to like them, and by the end still felt that i didn't have a good handle on who they each were as people at all.

i have to say though, this was a pretty long book, but it was a speedy read in spite of my struggles with it! the plot moves along at a good clip, and it was compelling enough to carry me through. i often felt a bit unsure as to why plot points were happening, and how they connected to the rest of the story, but the prose itself was very readable and hooked me right in. that said, the ending really didn't do it for me, emotionally or narratively—but again, romance is not my thing, and the book took a much more romantic turn at the end, so ymmv.

i think my final takeaway here is that i had a really good time reading this book, even though it didn't blow me away—and i think for readers who are less invested in the whys and hows and more interested in fast-paced action, some h/c goodness, and the romance of it all, this will be a hit.

the deets

how i read it: an e-galley from NetGalley, as per usual these days!

try this if you: dig a big-feeling fantasy world, enjoy some demonic horror in your books, love a fraught and fun "there was only one body" situation, or are into bi tsundere heroines.

a line i really liked:

Marishka watched her eat, smiling slightly. She stroked her rabbit's pale ears. "I heard an interesting story this morning," she said. Karys swallowed a mouthful of dipped bread. "Oh?" "Apparently Scuttlers was visited by a Lure during the night. A naked woman rose out of the sea, tempting the good people of Psikamit to a dance below the waves." Karys finished the last bite of her bread, and reached for another piece. "I wasn't naked," she said.

pub date: August 20, 2024! it's out there, go forth and find it!

[fagcrisis]

poppy war thoughts, aka this book was so bad it made me want to get a goodreads account just so i can shit on it in an official capacity

so what initially sold me on this book, is that despite my friend ellis absolutely hating rf kuang's babel, ive only ever seen raving reviews for it anywhere else, and a brief description of its magic system reminded me of gergő és az álomfogók. i love that mainstream fantasy is finally starting to rely on drawing from cultures other than the sort of western mainstream and i was actually super excited to get into it. well it sucked (this contains spoilers obviously)

its 11 am this is not gonna be very structured but let me start off by listing some things i did enjoy. first of all its low hanging fruit and im better than this so im only gonna shit on tpw for being so directly about the sino chinese war that the only actual interesting bits of exposition in the book was what was just a description of actual events a Little bit. listen lotr is about ww2. its fine its all fine. anyway, i had fun with the bits of worldbuilding that were yk, actually worldbuilding. the magic system was really interesting and just super not explored enough, the book handled drug addiction about as sensitively as the dare program, but nevertheless it was a cool concept. shamans who have to get high as hell do do anything and then putting those guys in a combat setting is crazy. really fun concept. speaking of shamans i loved jiang. his archetype is impossible to fuck up and he was loveable and fun till the very end. uhh what else. the fight descriptions were good its something kuangs is decent at, as someone whos watched just truly an inordinate amount of wuxia as a child i rly can appreciate a stupid convoluted fight scene. oh i found it hysterical that the west was just one country that was really fun.

NOW ONTO THE SHIT I HATED

rin is incredibly unlikeable i know its not the point of every book ok but tpw isnt good enough to have a protagonist who is just impossible to relate to this isnt 1984 okay this is contemporary ya. i GET that she sucks and thats the point but im supposed to emphatize with her and throughout the book she just seemed stupid and easy to manipulate and not very interesting. shes an incredibly shallow character which is i guess what happens when you base your ya teenage girl protagonist on CHAIRMAN OF THE COMMUNIST PARTY MAO ZEDONG. HELLO. anyway. all her personal relationships are very much carried by the strenght of the characters close to her, and because most characters in this book are not very interesting that makes for a shitty fucking protagonist.

most of the conflict in this book is extremely artificially generated until maybe the second half of part 3. everyone in rins life is unnessecarily mean to her because shes just so smart and good at things. the part where they accused her of cheating on the exams and she owned them like crazy came to define much of the book. some kind of mean cunt whose purpose in life is to cause misery is an asshole to rin bc shes so smart and strong and talented, and she owns them with a witty remark. she punches nezha on the first day of school for fucks sake.

speaking of the school, the majority of the book is spent at sinegard academy and it is an extremely predictable and dull affair. i long for the wizard of earthsea. kuang is not a very good writer on a technical level and everything that she tries to imply she ends up spelling out (usually by having a character say it out loud) only a couple pages later. you can get through 2/3rds of this book by just reading every other page and correctly guessing what has happened and what will happen. in possibly the funniest paragraph of part 2, rin thinks about how everybody thinks altan is the coolest guy and yet he has no friends and at this point shes been experiencing quite severe racism from all of her peers and then instead of leaving you to figure out the quite obvious conclusion kuang literally has her say "oh his skin is dark and mine is too. i wonder if he knows what racism is like" just, truly hysterical.

her feud with nezha is unbearable, i knew immediately that he would become a romantic interest because a ya protagonist cannot hate a boy for perfectly good reasons. it always has to be bc shes horny. anyways thankfully when she starts studying with jiang, jiang is there and the terrible dullness of it all is lifted somewhat

as i mentioned before, the actual historical elements in the book elevate it greatly and the third part is almost enjoyable in some sections. however, unfortunately, this is also the part of the book where rin and altans darkling situation begins. i have a sinking feeling altan may not have died, which sucks because i hated this bit. they have virtually no relationship to eachother except altan yelling at rin occasionally. now again there were bits and pieces of their relationship that i didnt quite hate, but honestly i still dont entirely buy the rin is a seerly thing emotionally because she is so detached from it. the revelation only seemed to shock her a little bit and then she was busy with being at war and her boss hating her, when she actually gains the power of the phoenix at the very end its her own hatred and egoism fueling her rather than any connection to her people. overall this again comes back to her being quite weak as a character, and the worldbuilding suffers as a result of that

in any case, ill mull over continuing the series. the ending was actually quite strong i love a genocide as a result of being a stupid fucking 19 year old (dont quote me on this please), so maybe the next one is better maybe ms kuang learned to write inbetween these 2.

[okayprairie]

tagged by the endlessly kind @shichidikai !🙏💌 honored to take this opportunity to yap about myself for way too long

how many works do you have on ao3? nine

what's your total ao3 word count? 51,392

what are your top five fics by kudos? A Single Nail, A Single Ruby (to this day I don't understand how this got so much traction?? did someone on here post abt it??)

I'll Keep My Lanterns Lit (trc fandom is anyone still alive i miss you guys)

The Whirlpool Radius

Shallow Heavens 

Like Soft Water Holds The Sun

what fandoms do you write for? Current WIPs include The Locked Tomb, Jujutsu Kaisen, Monkey Man, and The Queen's Thief (with a prediction of HOTD on the forecast...) Published works are TQT, One Piece, Dune, Raven Cycle, and The Secret History

do you respond to comments? why or why not?i try to always respond!! as a very shy person irl and chronic lurker in fandom i think every bid for connection is a tiny miracle to me

what's the fic you wrote with the angstiest ending? Hmmm maybe Seeing Blue/Be The End of Me? I don't aim to write angst most of the time. Imo it requires a lot of plot maneuvering in order to be both satisfying and believable, and my interest is mostly in the mundane moments between big canon plot points

what's the fic you wrote with the happiest ending? Like Soft Water was the closest to a good ol "ride off into the sunset" but the ending that made me happiest to write was Morning Bird Noon Flower

do you get hate on fics? No thank GOD i don't think i've even gotten called out for grammar mistakes which like. the gallows await me

do you write smut? Ok here is what I've been mulling over the past few months- yes I write smut but every time I finish an explicit scene I get hit with horrid block!! Or stuck in the middle of it! So it drags everything to a trudge and I feel like the quality of the writing in these scenes is never as strong as the rest of the piece. I'd really like to experiment more with my style, maybe try moving through these sequences more gesturally while keeping the heat cranked up. If anyone has recs like that please divulge, maybe I just need to read more ?? SOS

do you write crossovers? Honestly never considered it, characters feel so dependent on the context of their own franchises to me

have you ever had a fic stolen? No thank god. There are much better fics worth stealing

have you ever had a fic translated? Very interested the creative negotiation of translating but no!

have you ever cowritten a fic before? Not since middle school...But i love bouncing ideas if anyone ever wants to swap lore about their own WIPs, I'm too shy to bring it up but i am🥲very available🥲🥲👋

what's your all time favourite ship? Listen it's always going to Bel/Freddie from BBC's The Hour like god i have seen what You have done for othersss the childhood friends to codependent rivals slash coworkers plus [REDACTED??] and they're sooo secret-third-thing that everyone around them is 1. irritated to the point of violence 2. sick with jealousy. Like I have whatever autism makes you feel like no one understands a single word you say so imagine having someone who understands everything you're thinking with a single look?? to communicate so effortlessly and be so studiously known???? Christ on a bike

what's the wip you want to finish but doubt you ever will? My white whale my pandemic lifeline 75,000 words that will not under any circumstance see the light of day... (band member x OC childhood friends to lovers) (not saying which band) (if you see me pillage any scenes for future works: no you didn't)

what are your writing strengths? *putting my foot in the stirrup of my highest horse* there's one thing I'm always working on- I want to align all the imagery, metaphors, everything toward worldbuilding without exposition. Like I'm not going to say "Gen's coat was acid green" because that evokes a color in the reader's mind that's too modern and people in Gen's world wouldn't call it that, they'd describe it as "a sickly, flamboyant green" or "an eyesore," but not "a total eyesore," because 'total' evokes a 90s feel. Everyone sort of does this I just agonize over every word choice (HOWEVER incongruous language can be a tool especially for characters in a setting that demands formal-ish speech. AO3 user Molter deploys these moments to the effect of that first thrilling gasp in an icebath, or the electric chair. Nicola Griffith (author of Hild) also uses them, more so to press Hild's warm cheek against yours across the centuries. I aspire to their talents)

what are your writing weaknesses?

How much time do you have- KIDDING. Sort of. I have TV script brain and my first instinct is to not dictate anyone's interiority, as if I can just rely on the actor to telegraph the character's thoughts n all those subtle layers of emotion. I'm also hyper conscious of how repetitive my sentence structure gets🫠 and how often i write events happening to characters instead of characters making choices that cause events to happen🫠 criminal over-reliance on the semi colon🫠 sentimental🫠🫠🫠

thoughts on writing dialogue in another language for a fic? I have a basic grasp on french but if it's a language i don't know i don't much see the point? words have meaning, why would I sling around ones that might evoke connotations I'm not aware of. Tldr control freak tendencies

first fandom you wrote for? The very very first fanwork I ever made was a hardcover diary I kept in middle school that was harry potter self-insert journal entries written as if i were a student at hogwarts. i would poke holes with a needle through the margins and say it from was my cat's claws🥲

favourite fic you've ever written? To this day I feel like The Color of Want came from someone else. Like who tf wrote that, tell her I just want to talk-

***

I don't really know anyone on here so if you're reading this I tag YOU and if you fill these out please @ me in your posts so i can snoop🫶

[intermundia]

i have recently learned that all three of the prequel books are in my classroom library and your commentary has me so close to reading them should i do it?

ohh you MUST read revenge of the sith. i beg of you lolol please read that. it is S tier star wars where every page has something beautiful, profound, or funny on it; the combat and the description of the force are both perfect. it elevates the material in a way that is surprising and devastating. 10000000/10.

the phantom menace by terry brooks is a solid star wars novel. it has some lovely moments, and some good action with insightful characterization. while it doesn't have any lyrical poetry sections or transcend its genre like rots, it's still a fun read and complements the movie well. 9/10.

the attack of the clones...... deeply skippable. it's like r. a. salvatore just put two lines of clunky exposition around each line of dialog in the script he was given and turned it in. there's no exploration of character or enjoyable prose or action, nothing that deepens or improves the movie. it's shallow, rote, and deeply infuriating to me. 2/10 salvatore can catch me outside.

[frogspawned]

what's really disappointing about natla is that it feels cheap. it drops nuance in favor of speed. yeah, they only have 8 episodes, but they are shooting for the idea and not the context: aang can't run away, because we want to show the air nomad genocide, and it would feel bad to watch the avatar flee into the night after we showed people being violently burned to death. so he's just stepping out for a moment. sokka can't be sexist, he's the good guy! forgetting that that showed us a great deal about the characters, setting, and culture right away. because it feels bad to watch her brother belittle her, let alone adult men. the absence does a massive disservice to katara's arc. we learn nothing about her from it. aang being unconscious for the entire first meeting of the gaang is so lazy. characters can't just talk to each other -- every scene is now exposition. aang gives the audience a thorough rundown of his traits and character arc barreling right into the camera.

start with the flaws. characters should make mistakes, and learn from them, or learn nothing at all, or pretend they never happened, or whatever at all. your characters should make a choice. that's where the interesting stuff happens.

natla's writing, ironically enough, feels shallow and childish.

[hojichasunrise]

Finally finished NATLA. Thoughts:

They ruined Yue's character. Why would a princess be helping casually in the kitchen. Why would a princess display 0 manners around someone she just met. personality completely different.

They had Yue faint repeatedly just to magically sit back up when they needed an exposition dump, then faint again.

They made Hahn a good person? Why is Yue suddenly a waterbender and traipsing around the spirit world? It doesnt add anything and feels out of place.

The interactions between Pakku and Katara were stilted and forced. In the cartoon she had a training period and earned his trust, but here it was just instantly granted that she was the person to report to during battle, yet she doesnt know AQa's defense layout or anything else because she just arrived.

battle pacing in Agna Qel'a is weird. too much standing around talking.

The dialogue is so Marvelized. quip quip quip quip quip.

Aang is joyless and talking like Iron Man. (not the actor's fault.)

Zuko is perfect, 11/10. Every change they made is perfect.

Combining arc beats (e.g. Jet + mechanist) worked surprisingly well.

They made Bumi into an asshole and his dialogue was repetitive, that arc dragged out way too long.

Wasn't atmospheric enough. everything felt like a set.

How did Momo, half the size of a housecat, push that girl out of the way? physics are not mathing.

Why did they take Momo to the spirit oasis to heal but not any of the battle participants or injured civilians. Scene ate too much screen time and sapped urgency from the battle. Makes AQ'a look stupid.

Jet was perfect.

Multiple issues with logic, too long to post. Writing is shallow.

Azula is snarking to her father too much considering she just watched her brother get half his face melted off for one instance of disrespect.

Pecs. 🙏

not enough in-series justification for why Ozai wanted Zuko out of the way in favor of Azula. We know why, but they aren't standing on their own for this beat and have to lean on the cartoon.

Katara and Sokka getting btfo by Koh felt... really strange. they were just there to job and create stakes.

Kuruk and Kyoshi were great inclusions.

Jee/the 41st was a great detail, best part of series.

Azula being the puppetmaster behind Zhao is strange. She knows things by magic I guess, they made a 14 year old girl not just plausibly cunning but straight up omniscient. Logic breaking keikaku doori with her and Ozai.

Ozai using AQ'a as a distraction to take Omashu makes zero logical sense and I don't want to write an essay so just think about this for 5 minutes. I almost screamed.

bf's contribution: "this feels like it was written during the writer's strike."

Visually it was beautiful and the scenery and costumes were great. Other than Yue and Pakku the actors were all fine. Zuko's actor was beyond perfect and his firebending was next level gorgeous.

Sokka's new backstory was a good inclusion. Sokka got a lot of great scenes and the actor is a perfect fit.

Gyatso was also astonishingly perfect. chef's kiss to the actor, his performance was beautiful.

Very much noticing the Kataang scenes were all removed and we got some Zutara allusions. I ship that so yay.

The Sokka/Suki scenes were spicy. However she removed her makeup in 3 seconds flat and that broke my immersion. Please ask a woman next time. otherwise yes I ship that. Just kiss already!

I like the beautiful older lady they put in charge of Kyoshi Island. Nice to see more females in leadership positions.

The lack of the Azula chime is criminal. Her using feminine charm to lure rebels into a trap was a great scene to introduce her. Glad to see rebels, it makes it feel more politically realistic.

The opening scene in ep 1 had Mulan's opening scene vibes in a good way.

Overall: enjoyable with a few caveats but writing quality falls apart upon critical inspection. Much better than I expected, rewatch-worthy. 8/10.