#foreshadowing to the story having to deal with both

[not-poignant]

Love how efnisiens progression with his ability to accept affection being like "I will absolutely not move even an inch into this guy patting my head or I will end my own damn self" to [casually crawls into Gary's lap, much to the guys awe]

Meanwhile Gary's progression overtime with his possessiveness being like "if you do anything to upset him, we'll be having words" towards anton in the first few chapters then becoming "if you hurt him I'll kill you" towards temsen, its so fucking funny

I do appreciate the little sprinkles of possessiveness Gary showed from the beggining, its all very consistent, and makes it all the more satisfying when he finally does go all "peak alpha" about it

Hi hi anon!

I do think by the time we see the full weight of Gary's possessiveness / protectiveness instincts, we'll be like 'oh yeah I guess...this isn't actually that surprising.'

Although I still think Gary will be shocked by his own actions!

But Gary's protectiveness instincts will save lives. Sometimes it's good to have a peak alpha around :D

[bylertruther]

i don't like season three when viewing it as a continuation of seasons one and two, but i do very much like season three when viewing it as the prequel to seasons four and five... hmmmmm.

[vidavalor]

Near the end of S2, two plots from S1 are directly referenced, so they'll be fresh in our minds as clues to what is happening in the S2 finale. While different plots, they actually have something rather interesting in common that could hint at the reason why it is these two plots we need to remember.

The first storyline is Gabriel not knowing that he was dealing with Crowley and not Aziraphale during the body swap.

What's interesting about this reference is that it is specifically about the body swap plot from Gabriel's perspective. Whether he figured it out or not between the seasons is unknown but, by the end of S2, we now know that since Gabriel has his memories back, he can put together what Crowley told him and he definitely knows now. What's the point here?

Gabriel thought he knew who he was looking at in S1 but it took until the following season for him to be told he didn't.

Hmm... hold that thought while we look at the other referenced plot...

That's the bookshop fire.

Aziraphale refers to it directly when explaining to Nina about the fire in the shop being the reason why they now have so many fire extinguishers. The reference here, though, is that the one having greater difficulty dealing with the fire and who is the reason for the battery-operated candles and fire extinguishers is the one who saw it happen and that's Crowley.

This is where these two, referenced plots start to have something in common...

Crowley's confusion during and immediately after the fire is regarding who is responsible for it. He thinks Aziraphale dead because he can't sense him and the shop is ablaze, leading Crowley to think that it was likely demons at the behest of Satan who did this. He's not entirely sure but when we see him soon after, he's drunkenly recounting how he wound up getting involved with Lucifer, indicating that he thinks Satan took Aziraphale from him.

Unlike the Gabriel story with the body swap, this question is answered almost immediately for Crowley so the story can go forward for the rest of the season. Aziraphale appears to Crowley and explains that he was discorporated.

So, we have two plots from S1 directly referenced ahead of the end of S2-- and both of those plots come down to having the identity of someone backwards.

Gabriel thought he was looking at the angel Aziraphale, but it was really the demon Crowley. Crowley thought it was Satan who took Aziraphale and the bookshop from him, but it was really The Metatron.

Crowley. Thought it was Satan. Who took Aziraphale and the bookshop from him. But it was really The Metatron.

And Gabriel thought he had identified the being in front of him as an angel... but it was really a demon.

In the mirrored S2, those are some pretty big hints that the being identified as The Metatron who just took the bookshop and Aziraphale is really Satan.

There's also writers-stand-in character Furfur whose only contribution to the group scene is to remind the audience to remember a specific part of the Job minisode from back at the start of the season:

The bit where it was an example of Hell doing Heaven's punishing for them.

Furfur then also draws another paralleling line between Job and Aziraphale by saying Job was a lovely man Furfur never met, which is a dialogue callback to this bit in 1941:

The bit where Hell walked through the door.

Are you totally sure this is The Metatron?

Or is it more likely that Bildad had the season endgame foreshadowed for us nicely back at the start?

[ellestra]

Beyond the Wasteland of Vengeance

I just watched Furiosa: A Mad Max Saga and I loved it. It was hard at times as this is a harsh world and the rule of prequels tells us who has to die. But it was so worth it. We already know this is story of hope in the end. We know how Furiosa's Fury Road ends. It's starts with the same unrelenting determination (like the way she makes sure no one could tell of her home).

The cast is great (even if Chris Hemsworth fake face is somewhat distracting) but I think the most impressive was Alyla Browne who is Furiosa much longer than I expected for a film marketing Anya Taylor-Joy so heavily. She has some of the most badass parts (if you thought you hated Immortan Joe's sons before... well, thinking of their deaths is even more satisfying now). She is also made look so alike Anya that I initially missed the moment they switched.

But Immortan Joe and his band of monsters are just background creeps showing the decay of the world in general. The main villain is the one who took everything she loved from Furiosa. And didn't even remember half of it because he destroyed so many lives hers was nothing special. The one who set her on this path.

There is something sad about Dementus. You can almost feel, not compassion, but at least pity. You can see glimpses of a person he used to be before children died and you see how the end of the world destroyed him. It's like the voiceovers at the beginning describe what happened to his mind and soul when everything fell apart.

He's embodiment of that rot (and him going through white to red to black phases makes it even more clear). And he destroys everything he touches. At least the lords of Citadel, Bullet Farm and Gas Town built something. Something horrible and cruel but something. He can only destroy. He thinks finding Abundance will save him but he will only destroy that too. As I said, allegory.

Furiosa is his opposite because she doesn't let the cruelty of the world destroy her like this. She doesn't let the rot take hold of her and use her to spread. She never trusts the monsters surrounding her and she doesn't believe any of their promises. There is no safety in just letting them do that one thing. The cruelty will not end and will not be just that one thing.

I loved how she never stopped fighting. Not during her kidnapping. Not during her imprisonment. And then she found a way to escape one into another and then escape that one too. Using the very way those men wanted to poses her to plan her escape. Even when she loses her way home (figuratively and literally) to have her revenge it doesn't last. Even if she needed help in to follow her dream.

It's hard to trust in this world because a single act of kindness may cost you everything. But not everyone is evil. Even in Wasteland she finds someone who actually gives her help she needs. Someone she wishes to share her goal with. This films actually did "not all men" and it was great because it was earned but also because it helped explain why she would trust Max eventually. She already knew there are ones you can trust.

I tried to be pretty generic so far but behind this cut are SPOILERS for the very end (even though I don't say what it actually is - you can watch it yourself).

That ending was perfect both as foreshadowing who she will become but also as a callback to the beginning of the movie. Dementus tried to make her his daughter and use her to replace his children but she rejected him completely. Even if that was just swapping one monster for a bunch of even worse ones. And here at the ends he gloats about turning her into his daughter anyway. One in spirit anyway.

That like him she becomes creature of revenge and cruelty that nothing will ever satiate. Someone so obsessed with vengeance she will never stop even when the other side just want to leave (the mirroring of all the time he chased his prey and her chasing him was pretty nice). He thinks his death would just seal the deal because his suffering will never be great enough to soothe her pain.

You know, your standard - you will become like me spiel a villain does in moment like these. And lesser movies have heroes let villain go to prove them wrong (and then he tries to kill the hero anyway so the hero can have “my life was in danger” excuse to kill them anyway).

And she does lets him live but she doesn’t let him win. Once again she rejects him just like she did as a child. She remakes him into a symbol of her new purpose. She creates life out of a rotten man who did nothing but destroy lives of those around him. She makes him suffer for all the suffering he caused but that suffering is to build something new. And to create hope and future for those who have been abused by men like him.

And just like he asked she made it epic but as one last “fuck you” to him trying to control her story no one knows (well, almost no one). It’s epic and it’s a secret.

There is also something poetic that Furiosa eventually took over the Citadel - something he wanted so badly and never achieved. It retroactively made ending of Mad Max: Fury Road even better. And since it only took few days of them being gone he’s probably still there as she remakes it into the new Green Place.

[crazy-ache]

It's very, very interesting to me....

Tower of Dawn (September 5, 2017) and A Court of War and Ruin (May 2, 2017) were released in the same year, only months apart. So I don't think it's far-fetched to believe that there was an overlap in writing, plotting, and planning these books. When you really think about it, you can see many parallels that likely influenced each other.

Specifically Chaol/Yrene and Elain/Lucien.

Both books bring to light:

A soft FMC that does not want to be a warrior or wield a sword

A MMC that is dealing with feelings of guilt and worthlessness

"The world needs more healers." / "I think the world needs more gardens. "

Yrene's healing is a form of light / Lucien's parentage to the Day Court HL

A MMC that has been dealing with issues behind the scenes, separate from the main cast, but that significant work is revealed at a later time

FMCs that are living in a place they call home but aren't truly home

FMCs that try to avoid/maintain distance from the MMC due to prejudices in their heart that are related to the MMC but not directly caused by them (Chaol's identity vs Lucien's bond)

Both encompass a love story that is filled with tension, healing, and growth from both the male and female

And what I also take away from this...

SJM surprised her readers with ToD. Chaol was not mentioned at all in Empire of Storms, but she had always planned to bring him back into the story.

Could this have influenced the way she wrote Elucien in ACOWAR? I think so. She has put their relationship/development on the back burner since that book. There are clear parallels between the two ships, and I wouldn't be surprised if Chaolrene foreshadows a similar path for Elucien.

In terms of what their book will be like....but also how their book will come to be...

Meaning that just because Elain/Lucien were largely missing from ACOSF/HOFAS, she is likely taking her inspiration from ToD (which she was writing when she was in peak Elucien mode in ACOWAR)...and has been intentionally planning the timing of their story.

And just like she did with Chaol/Yrene, she'll pull them back into the story when you least expect it. After everything with Nesta/Az/Crossover....I think this means in this next book.

[saruslumber-01]

Quick take on Jiaoqiu’s trailer

As always, I love to take screenshots whenever there’s some images flashing and this time, I did the same thing.

Before I actually talk about the trailer, I want to point out how (to me at least), the theme/ost doesn’t really match him. Or rather, how he appears to be.

(Imo it’s a similar case to jade’s trailer, you’d think she’d have something more… idk tempting in a unsuspecting way, like when you believe you made an amazing deal, only to later meet the terrible consequences.

Well anyway, the thing that I noticed is that both in jade’s trailer [or at least splash art and references/motifs] and in jiaoqiu’s, they hold an apple in their hand. I get why in jade, but in jiaoqiu’s? That very weird to me)

(Here you go, the moment, I’m talking about ^)

What I ACTUALLY wanna talk about that caught my attention, is the eyes we see all over the trailer.

I get it, he always keeps them closed, but from the trailer it seems it was not just a stylistic choice to make him this way, but actual lore behind it. (Ofc I might be wrong since we still know NOTHING about his backstory, and I’ll probably talk more when I’ll read his char stories after his release)

Idk, to me this feels kinda weird to get his eye to pop out like that (and it reminds me of firefly’s trailer). Not only that, but we get a moment where we see a fox spirit (?) made out of fire which is oddly similar to Tail’s ‘true’ form (huohuo ult). AND then from the fox’s eye it smoothly transitions into jiaoqiu’s eye. Coincidence? I don’t think so.

To me, it might foreshadow that the “eye thing” that is going on with jiaoqiu is becase those are not his natural eyes. Rather, they’d ‘changed’ (idk how to explain that) into the golden ones, as if he got possessed by that fox spirit (or maybe I’m just reading into things too much, who knows).

More eyes screenshots (which kinda remind me of sunday AND bring us to my next point)

What I want to talk about is the placement of those eyes.

Please don’t tell me I’m the only one who didn’t think it looked somehow familiar…

Rings a bell now?

I also ‘circled’ the flower she has on her ‘crown’ as it resembled the anise jiaoqiu uses in his skill, and ALSO popped up a few times in the trailer.

I know I might be digging too deep, but I feel there something very eerie and off about jiaoqiu as a character in story, and as a playable character.

I’m sure everyone remember how jiaoqiu’s a cook, a healer, right? Then why on earth is he a nihility unit? I’ve seen sooo many people being confused about it, and I’m sure HoYo wouldn’t mention it that much, unless it was important to the story.

And before anyone goes and says “wdym phantylia got a new victim?” NO. That’s not what I’m talking about. I’m trying to prove that jiaoqiu isn’t probably just some random foxian who knows how to cook (and take care of feixiao). That there’s connections that all come back to the word “possessed”.

Tingyun? Possessed by phantylia (and spexulated to return in later versions)

Huohuo? Got her tail ‘possessed’ (I don’t remember too well, sorry) by Tail, AND in her trailer (which has a lot of flashing images and yin yang in there [I’ve got screenshots for both trailers to prove]) she is possessed by Tail, a heliobus. And what is a heliobus? Some kind of fox spirit! (Or at least I think so…)

What I’m trying to say is that there’s some kind of ‘possession’ when it comes to jiaoqiu.

(And another character that got flashing images and got possessed [outside of jade and huohuo] is sparkle! And don’t you agree that in terms of the overall vibes, their trailers does seem quite similar?)

So uh, yeah! That’s all I wanted to share.

I’ll probably do one more post for just the similarities in the trailers of jiaoqiu, jade, huohuo and maybe sparkle

Thanks for reading my ramblings and getting through to whole thing, I appreciate it a lot!

[writingquestionsanswered]

Every writing tip tells you to read a lot to write a lot, but I have been having a hard time reading after I started writing. Everything seems so predictable, you start a book and notice a hero's journey and boom you know exactly what the story is going to be, or after you learn how to foreshadow you get all the little references and know exactly what the thing is leading to. It just feels boring. Do you know any way to overcome this?

Trouble Reading After Writing

Honestly, that really is the one big drawback to being both a reader and a writer. Once you have a grasp on how to tell a story, flaws in others' stories are more apparent to you. And that's what's happening, unfortunately... if the hero's journey is that obvious, even to another writer, that's a flaw in the storytelling. If the foreshadowing references are that obvious to you, that's a flaw in the storytelling. Because top quality writing should generally pass muster even to other writers. And I say "generally" because it's all subjective anyway, so what seemed predictable to you may still not be predictable to another writer.

So, where you're at is where a lot of more experienced writers find themselves... the books you're going to enjoy will have to clear a higher bar, and sometimes it can take some time to find authors who meet your personal criteria... but you will. You may want to take advantage of e-book deals, library books, ARCs, and samples for a little while as you try to find books and authors that work for you. Because I'd say probably the number one key to this stage in your writing/reading relationship is to not be afraid to DNF. I used to really struggle with DNF-ing, so I would force myself to read the book and end up reading like a page a day if I was lucky. My personal rule is I give a book 3-5 chapters. If I absolutely hate it by the end of chapter three or so and it shows no promise or merit, I'll happily DNF. If it shows some promise or merit, I'll give it a couple more chapters to see how it goes. If I'm not invested enough to keep reading of my own volition, I'll DNF then.

But... keep at it, because you will find writers and books that work for you. Also: if you've read enough that you're to that point--where you understand storytelling so well that you can spot the flaws in others' stories--you're probably past the point where you need to be reading voraciously. Because the whole point of reading voraciously as a less experienced writer is to learn how stories work through firsthand experience. So, don't feel like you have to be inhaling books if you're past that point. Read what you want, when you want. A lot of writers don't read a lot while they're writing.

I hope that helps!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[sevensoulmates]

where you look at it as tim confirming buddie is happening the way he's talking about bucktommy purposely echoing buddie means that he's replacing buddie with bucktommy or buck and another guy and that makes me sad.

I really don't want to be snarky here, but I do truly feel like some people in this fandom are just looking for reasons to be upset. I understand that optimism is a learned and practiced skill and that this fandom has a disproportionate amount of people who lack media literacy, but for a lot of you, I truly think you won't ever be happy with anything you see on screen, even when buddie do finally get together, you'll find something to be unhappy about.

This is your burden for not being able to comprehend the story that's being told, even when tons of people in this fandom have put in countless amounts of time and emotional energy to try to explain it to you all in excruciating detail. I feel really sorry for the people who just can't sit back and enjoy the story unfolding and have to spend every waking minute trying to find something to make them mad.

Truly good stories take time. The current world we live in has trained us to crave instant gratification, and this time you aren't going to get that, plain and simple. Deal with it.

I'm glad the writers aren't just jumping headlong into buddie to appease impatient people who have never experienced the beauty of delayed gratification in their whole lives.

If you truly want to learn how to analyze media with a logical eye rather than just having purely emotional/reactive responses like this, I would recommend picking up some books or YouTube crash courses on the craft of storytelling, the art of foreshadowing, red herrings, unreliable narrators, dramatic irony, thematic patterning, etc, and also probably some books on the history of queer portrayals in the media, both in fiction and in marketing.

Lastly, if the show is causing you this must distress, you should log off tumblr.com and stop watching the show. Find a show that suits your needs better. They're out there. This one might not be for you.

[nikethestatue]

Moriel--A Cautionary Tale

Let me tell you a little story.

Before ACOWAR was released, there was a group of pretty serious shippers, who were violently convinced that Mor and Azriel were going to be endgame. Basing their assumptions on what they found in ACOMAF, they had an unshakable belief in Moriel.

Now, you see, *I* was never a Moriel. What I saw in Moriel was one person deeply disinterested in another, while participating in a strange dynamic between herself and two brothers. What's more, what I always found curious and strange about Moriel in ACOMAF was that everything about it seemed to have come from other people. The 'relationship' such as it was (and it was strange) was told from the POV of others, namely Rhys to Feyre. And yet, at no point, have we ever seen Azriel act upon this intense infatuation that he supposedly had for Mor. There were 'longing looks' that he supposedly sent her way, but they were told through the biased lens of Feyre's observations, who took what Rhys told her at face value. Now, what *I* personally found curious and what made me more and more doubtful about Moriel in ACOMAF was that it was Feyre herself, the protagonist, who through her OWN observations (not through Rhys's) said the words 'and I think that Elain would cling to Azriel, just for some peace and quiet'. They didn't need to be included, those words. Not at all. She could've just said 'Elain would also love Velaris and would adore walking through the gardens and the flower stalls'. Yet, then the still human and engaged Elain would cling to Azriel...If he stopped loving Mor.

Hmmmm. Did that mean that Azriel could and WOULD stop 'loving' Mor because of ....Elain?

That if Elain was there, with him, 'clinging' to him, that would make him drop his 500 year old obsession? But why? I wondered. If Moriel were supposedly endgame, why would Elain be brought up as a possibility at all? Why, in Feyre's mind, did the two of them make sense?

Yet, the Moriels did not let up, though the hints were already there. The fact that it's been 500 years and nothing's happened between 2 people who seemingly had no obstacles to being together didn't seem to bother them. And what's more, none of these so-called 'evidence' came from Azriel himself. Or Mor. But especially Azriel. A man in love, he did not seek to touch this woman, help her, care for her, spend time with her. Once, he agreed to go to Rita's, and that was a big deal, it seemed.

So why am I telling you all this?

Because I've seen it all before. One of the biggest fandom members ever, was an ardent Moriel shipper. Moriel. Moriel. Moriel. The 'breadcrumbs' and the 'foreshadowing' were all there in her mind. Theories were written. Great Moriel fanfics. Art. Moodboards. In A COWARD, Moriel was finally going to happen. The next book was basically Moriel's.

Reminds you of anything?

Good, ol' Gwynriel.

Same shit. Different day. Taking questionable sentences from the books and thinking that they mean something that they don't. Constructing elaborate headcanons. Writing endless theories. Heavily relying on assumptions. And by God, Moriel actually had way more material to go by than Gwynriel. You COULD almost get confused--it would've been much more understandable than Gwynriel.

But what never convinced me about the validity of Moriel is that one sentence.

"Elain would cling to Azriel'.

THAT, my friends, is foreshadowing.

It hinted at the FUTURE. That there was an untold story there.

As she was tending to Rhys and his wounds, Feyre laid out the future for both sisters in her monologue.

Both Moriel and Gwynriel speak of the past--the rescues of both Mor and Gwyn. But never of the future. SJM never paired Gwyn and Azriel and gave them even one sentence of how they might come together in the future. Same with Moriel.

So, when you become worried and begin questioning yourself, when the noise gets too loud and you begin wondering whether Elriel is going to happen remember Moriel. A loud majority was advocating for those too as well at some point. Loud doesn't equal 'right'. Sometimes, it's just loud.

[italiantea]

bit of translation+parsing through the shooting scene

saw someone say they didnt know it was a model gun so yeah. gun's not real guys free my boy he did nothign wrong

so the insomnia mv was edited together in a purposefully ambiguous way, with scenes that are nonchronological or metaphorical, representing fuchi's chaotic mental state.

first there's the shooting

then this shot of a truck driving itself

which then cuts to the seven car pileup

and then transitions to the news story covering it, presumably the next day

translation: indiscriminate shooting with a model gun at shibuya scramble crossing. an indiscriminate crime?

below that: passenger car, truck, minivan etc. involved in seven-car serial collision incident

the date and time is 11pm on the 28th of march, which happens to be 1 hour before what I'm assuming is fuchi's 18th birthday

sidenote: this crossing is literally the busiest pedestrian crossing in the world

anyway the police come for him and he runs for it.

'under arrest: occupation unknown, suspect fuchi sunao (18)'

then there's this sequence of him wrestling for control with his inner child, which is obviously not meant to be taken literally

along with this shot of him tumbling down the stairs into the path of a truck

however, that stairwell is nowhere to be seen in the shot after he's actually been hit by the truck, and if you look closely he still has both shoes on his feet

so we can infer that the whole sequence did not happen in reality

then there's this newspaper from the 30th of march. the headline says 'successive accidents in tokyo'. on the right: 'collision with a driverless* truck' and on the left: 'accident in the same spot as...' (cut off) *literally: in motion with no driver(human), not referring to self-driving technology

the words are blurry but basically the right part describes the seven-car pileup from the 28th again, and the left part describes fuchi's collision with the self-driving truck. the good news is at least the pileup doesn't seem to have killed anyone, with the text describing 10 people with light to severe injuries, and 2 people in a coma.

the caption to the left of the photo says it's the scene of the accident, taken at 11pm on the 29th in shibuya, tokyo

so yeah piecing all that together, fuchi went on a sleepwalking shooting spree with a model gun on the night of the 28th of march, caused a massive traffic accident that injures several people, presumably just??? left?? and went home?? they just let him? i guess all the people ran away or were too busy dealing with the 7 smushed cars. then on the night of the 29th he sees the news on the tv, the police knock on his door and he runs. one mental breakdown and dreamworld sequence later he ends up getting hit by a truck in the same intersection as before.

edit: as some in the notes have pointed out, the truck is reported as 'driverless' because his zingai mr. creepypasta was the one driving it, and it's invisible to most normal people. it's also foreshadowed (represented?) by this shot during the scene where his child self is rampaging.

anyway now he's in jail. rip.

[kirjavas]

lyra and her death: on overcoming mental illness

tw: mental illness, depression, suicide mention

after rewatching all of his dark materials, i wanted to touch on something i noticed in the final season that i hadn't picked up on before, and that is how lyra's journey to the land of the dead reflects her mental health.

in the secret commonwealth, lyra is likely dealing with depression as well as recovering from her trauma of separating from pan, which has clearly taken a toll on their relationship. and i think there was a deliberate choice to bring this character arc forward into season three of the show, when it wasn't really there in the books. the amber spyglass highlights the theme of loss of innocence and and moving away from childhood, which was made even more explicit by lyra being an older teenager in the show. this was also depicted by a more obvious change in lyra and pan's relationship that we didn't see in the books until the secret commonwealth. the two of them argue much more than usual in the first few episodes, and they don't seem to be on the same page, particularly when it comes to the land of the dead.

since lyra and pan are one being, this shows us that lyra's mind is divided and she is not at ease with herself as much as she used to be—a feeling that is very natural as she awkwardly transitions from child to teenager. but i also think it goes deeper and may reflect a level of self hatred we haven't seen from lyra before. she's always been sure of herself and this is reflected by how much she loves and cares for pan. but in season three she becomes more dismissive of him and guided by a different part of her that is leading towards roger. there are obvious parallels to be drawn between her and mrs coulter, who in contrast has gone from abusing her dæmon to becoming more allied with him. mrs coulter's treatment of the golden monkey represents her discomfort with herself/her soul, but when both their intentions match that is when their relationship is healthier.

in the land of the dead, pan and will both seem to be afraid/cautious of the idea of death, whereas lyra shows no fear in summoning her own death and making a journey she may never return from (cue an incredible shot of lyra's death standing between her and will... till death do us part anyone?? but i digress).

it's really interesting how this slightly different dynamic kind of sets up their inevitable separation, as the episode foreshadows that there will be a heavy price to pay for bargaining with death. rather than it coming as a complete shock like in the books, it feels like a punch to the gut with the realisation that lyra and pan are no longer on the same path (and haven't been for a while). lyra chooses roger, a symbol of childhood, but ironically she also chooses to grow up in leaving part of herself behind.

i might be reading too much into these scenes but i think there's a strong suggestion that a part of lyra wants to die—perhaps to join roger, perhaps because her guilt makes her feel like she deserves it. later on, lyra's hallucination of pan and the scene with the harpies only emphasises this. the harpies target the thoughts at the back of her mind, telling her that she has ruined the lives of those she loves and she is in the land of the dead only to soothe her own guilt.

i also strongly suspect that upon freeing the ghosts, some part of lyra was healed knowing that she helped roger. she seems to bring a bit more of herself back after she reunites with him, in taming the harpies and telling stories. ultimately i think this accomplishment gives lyra enough strength to make another devastating sacrifice when she is separated from will forever. i honestly don't think she could have done it if she hadn't had the closure and relief of completing her mission to make amends with roger.

like... GOD. lyra is such a tragic character and i both love and loathe the show for introducing some of these elements. bring on the book of dust adaptation.

[thelaithlyworm]

Daomu Biji Watcher’s Guide, May 2024

A few new entries have been popping up lately, and I’m always hopeful new fans will stumble into the pits and never leave so I thought I’d paste up a rough map.

(Obviously the best watching order, like the best reading order of Discworld or the Aubrey-Maturin books, is ‘whatever first comes to your hand’ but for the people who don’t like that…)

tl;dr:

Daomu Biji is a series about tomb raiding. Think Indiana Jones or Lara Croft but much, much longer. The protagonist Wu Xie is deeply in love with BFF1 Zhang Qiling, a hundred-year-old cryptid, and BFF2 Wang Pangzi, who was stolen in a raid from another book series. It’s comic, tragic, horrific, zany, prone to musings on life, love, desire, attachment, and has many, many piss jokes. (‘Journey to the West but modern’ is maybe the other comparison I’d make.)

Notes:

– This guide is not talking about “quality”. All of the adaptations have their own strengths and weaknesses and tone can vary a great deal, which is to say, if one of them doesn’t suit you it’s likely something else will.

– Wacky endings, and plot threads that disappear unfinished and get picked up a long time later, are as inherent to the franchise as the piss jokes.

– It’s common for the dramas to introduce characters and subplots a lot earlier than the books do. Sometimes we’ll see a character introduced ‘for the first time’ on multiple occasions and strangely familiar scenes. I’ll try to point out the biggest continuity clashes as I go.

The Soft Entry:

There are a few movies that are entertaining as standalones but will introduce various characters and background. I would recommend:

Escape from the Monstrous Snake + Mystery/Grave of the Abyss – two monster movies featuring Hei Xiazi, a supporting character. He’s a pragmatical mercenary who’s going blind in kind of a weird way, and goofy as hell when he isn’t tiptoeing over a vast abyss of existential dread. So many fun action scenes.

Time Raiders (2015) – so there are some textual clues that late in his career Wu Xie wrote this story as a memory-jogger for an amnesiac friend. The plot is a freewheeling wild ride which doesn’t directly match any book plot but introduces some major characters and how they relate to each other. It’s colourful and fast-moving. Enjoy, enjoy.

Conjuring Curse and Misty Creed are… theoretically set late in the series even if the actors look about twelve. Both work as stand-alone adventures, though Misty Creed is maybe a little deep in the lore. Again, colourful and fast-moving.

The Chronological Order

You could honestly start with most of these – they tend to come with a ‘what has gone before’ at the start or a newbie character that things get explained to. The only one I wouldn’t start with is Heavenly Palace in the Clouds, which is lovely but also the second half of a set and things won’t make sense if you haven’t seen Lost Tomb 2 first.

Lost Tomb 1 – a highly digestible 10-12 episode version of the Seven Star Lu Palace arc, ie. Baby’s First Adventure. Introduces A-Ning, Xie Yuchen, and Huo Xiuxiu early and a couple of og characters for Wu Xie to talk to instead of monologuing to himself. The restaurant scene at the end was raided from a later arc and you’ll see it again in Ultimate Note. A book character, Da Kui, was cut which is a small problem because how he died is a minor plot point discussed in Lost Tomb 2. 

Lost Tomb 2 – covers Raging Sea, Hidden Sands (underwater tomb) and Qinling God-Tree (weird bronze tree in the mountains) plus a whole lotta side stories and original content exploring the world and foreshadowing later plots. Mooostly in continuity with Lost Tomb 1 (see Da Kui above) and made as a set with Heavenly Palace in the Clouds – they share resources and a lot of actors, and some threads begun here are finished in Heavenly Palace.

Heavenly Palace in the Clouds – covers the Mt Changbai arc, a journey up a mountain to find a very old, very grand tomb. This was made so close to Lost Tomb 2 that LT2 borrows shots from Heavenly Palace and not the other way around, which is fascinating because it pointedly contradicts the last five episodes of LT2. It also brings forward some plotlines originally from the Tamutuo and Zhang Family Old Pavilion arcs (San-shu’s past in the underwater tomb, and the Huo Family videotapes) dragging some characters on-screen and forcing them to talk about their feelings, which they would clearly rather die than do. Given those plot-tweaks and the early, deliberate continuity clash, I’m tempted to call this a Canon Parallel Universe. Got some interestingly chewy character dynamics and luverly, luverly set design.

Mystic Nine – This is a prequel about Zhang Qishan – Fo-ye – and his peers, but later dramas expect us to know who Fo-ye was so I’m sticking it here. Kinda… picaresque? Lots of action scenes and Republican-era flavour and various factions jostling for power – kinda feels like an old-school wuxia story, only set in the 1930s with all that glorious Republican-era styling. Has some unfortunate cut scenes – the details of how Fo-ye recovered at his family’s house don’t make a lot of sense in the aired version, and there are a couple of missing fights in the penultimate episode. Shrug. Still a lot of fun. Comes with four side movies about supporting characters.

Ultimate Note – Covers the Tamutuo arc (a trip through the jungle) and two-thirds of the Zhang Family Old Pavilion arc (investigating Zhang Qiling’s past is like kicking a hornet’s nest). Very, very flirty and has some zippy-zip action choreography. Politely ignores Lost Tomb 1–Heavenly Palace continuity (Xie Yuchen is, once more, introduced for the first time, now with a romantically coded friendship arc) and brings in a lot of cameos from Mystic Nine and Sand Sea, which it was filmed after. Kinda tiptoes around parts of the book plot, which I suspect would be hard for anyone to film, re: Fo-ye’s actions in the 1960s. Fair warning, this ends on a cliffhanger. This is also where the Xinyue Restaurant scene appears again – two cakes!

Tibetan Sea Flower – If Tibetan Sea Flower ever airs, it will go here.

Sand Sea – Based on the Sand Sea novel. After Tibetan Sea Flower, Wu Xie goes into a bit of a decline and makes that the world’s problem. We the audience, plus Li Cu and Liang Wan, EDIT: a lovely doctor, are pretty much dropped in media res into a number of ancient conspiracies and complicated plots coming to a head in the manner of a boil. It’s weird; it’s messy; it’s mad fun. Like Mystic Nine, has a lot of factions jostling for power and colourful jianghu characters. We will, once more, see the Xinyue Restaurant scene. Also has some side movies.

Time Raiders – The textual hints that suggest Wu Xie wrote this, suggest he wrote it around Sand Sea-era, when his life was a bit complicated. I’m putting it after Sand Sea because I believe it caps a conversation that, ah, doesn’t quite make it into the drama. But notionally this is where it should go. Ah…. at one point, someone tells a story about an ancient ruler, King Mu of Zhou, who sought immortality from the Queen of the West in Tamutuo. The longer book conversation suggests that a) King Mu of Zhou engineered a “trap” for someone like Wu Xie to fall into in the future, and b) that Iron Mask Scholar, a villain from Lost Tomb 1, was an alias that King Mu of Zhou used in the Warring States Era. Which makes some of Iron Mask Scholar’s appearances in Time Raiders… interesting.

Reunion: Sound of Providence – sometimes known as Reboot. Having peaked in badassery in Sand Sea, Wu Xie has to consider what his life is going to be now, and also, he would like to track down a missing family member. So this was tweaked to make it more accessible to new viewers (so some parts of the back-story are not mentioned or conflated for simplicity) and that mostly works but I did find watching this first and then picking up the earlier dramas a bit of a mindscrew. Zhu Yilong is, however, a powerful draw and the rest of the cast sparkles. Probably best to think of Season 1 as two short seasons jammed together, which is to say, once the Warehouse 11 arc starts there are a number of characters who won’t reappear until Season 2. It’s a fun arc even so. Season 2 ends with a badass action scene and then a big party, which I think is a great way to end a story.

Escape from the Monstrous Snake, Mystery/Grave of the Abyss, Conjuring Curse, Misty Creed – these are all theoretically set around or after Reboot-era, though they can certainly be watched as stand-alones.

[things-arent-what-they-seem66]

Out of curiosity.

But what do you think would happen if Lucifer and Adam did become canon? Like we’re literally shown the story all fanfic writers do, with Adam becoming by a Sinner, getting himself accidentally into a deal with Lucifer, Lucifer having to confront Eden and discovering some of the things he knew were a lie, the two growing closer and eventually falling in love (Lilith either good or evil, don’t care but she was mean to Adam for some reason. She either lied about him being controlling or he was but because she screwed up at some point)

Like the whole enemies to friends in season 2. And friends to lovers in season 3 and 4. Since Vizi wants 6 seasons. Like they don’t need to be at the front of the show and can be in the background, we’re seeing it happen subtly in the background? Of course we’d love for it happen as main characters but we gotta admit lucifer isn’t really a main character and i think if Adam returns, he’ll be reduced the same sort of supporting role Lucifer is.

Personally I think their relationship developing in the back ground over two or three seasons would be much better. Maybe they could have a few main character moments. But as much as we think it won’t happen, we have to think it could happen. Considering Vizi loves these tropes too! And i know the whole ‘I’ll fuck you’ was a joke, it might be foreshadowing.

Lolll who really knows with Hazbin. I suppose it really amounts down to what Vizi chooses to do with Lilith. I sort of want Lilith and Roo to end up being the same person rather than Roo being Eve.

Lmaf i wonder if Vizi even knows about AdamsApple and how insanely popular it is? I thought it was like one of the lowest couples but i feel a ton of people joined ship with Alastor being confirmed as Ace.

As nice as that would be, it would need some serious character development from both on them to make it canon.

And yeah having their relationship evolve in the background of the show would be cool with some episodes just for them focusing on the more serious moments they would need to work out to not hate each other. They realistically wouldn't be friends until season 3-4 and the romance would come into play at the end of season 5 going into 6.

It would be a slow burn.

If the "I'm going to fuck you" is foreshadowing that would be great and funny lol

[oristian]

THE ELUCIEN MATING BOND

This will be solely focused on the mating bond rejection, as I plan on doing an in-depth analysis later this month [possibly early June] where I break down each book and document symbolism, parallels, and foreshadowing tied to Elain and Lucien. This is just going to be my thoughts on the actual mating bond and the conversation surrounding a potential rejection.

Simply: The bond will not be rejected.

SJM being a fated mates author aside, all the reader has to do is look at, first, the set-up of the spin off series and also the timeline of the last remaining plot arcs. The spin off series is broken into three main books set as dual POV romantic pairings, and a supplemental novella. A Court of Silver Flames took two main cast characters out of the running [Nesta and Cassian] and have left us with Elain, Azriel, Lucien, Mor, Gwyn, Emerie, Eris. As Feyre and Rhysand were the main voices in the original trilogy, they will not have a major POV in the spin off series. That being said, the plot arcs are working as the drivers for the romantic pairings. ACOWAR and so forth has paired Elain and Lucien into the Koschei arc. ACOSF and HOFAS have tied Nesta and Azriel into the same plot with the Dusk Court arc—however, as I mentioned before, Nesta has already had a major POV and will not be repeated. Who else has been built up to have a POV and can also hold ties in Dusk? Gwyn.

Following up, now that we are aware of the plot arcs and the dual POVs for the following books—I surmise the novella will have Mor, Eris and Emerie—now we can get into the rejected mating bond. The main argument surrounding the rejection is broken down into two pieces: SJM speaking about choice in an interview, and Feyre and Azriel questioning the cauldron. The first argument is easy to debunk—SJM did not give a major spoiler in an interview, nor would she do so in an interview that many people would not have access to/would not watch. The second is just as easy to debunk—both Feyre and Azriel came from a place of bias against Lucien. Feyre had just left Spring and associates that and what happened to her sisters with Lucien. Azriel wants a mate and wonders why his brothers have two of the Archeron sisters, but “the third” was given to another male. If the cauldron had been questioned by a third party without direct ties to either Elain or Lucien, that would be a different story.

We do not have enough time left in the series to properly explore a rejected bond. As the rejected bond affects the males more, we would need to explore it in the long term to see how Lucien is dealing with the mental repercussions of such a thing happening. He and Elain will still always have their bond, and we would need to see how they react to that. As this is would be the first mating bond rejection across the Maasverse, a simple, “I reject you,” is not enough with such little information for the reader to understand exactly what happens in the aftereffects. That being said, we would also need Lucien’s POV immediately after Elain rejects the bond to see how he is affected—meaning, Elain and Lucien have to be within the same book. If Elain rejects the bond in a book with Azriel, and the readers have to wait until Lucien’s book, it loses its effect and becomes anticlimactic.

In order for the rejected bond to be impactful, Elain would have to fully explore the bond with Lucien, get to know him, otherwise is would be lackluster for her to immediately reject the bond and end up with Azriel. The bond is just as much Lucien’s as it is her’s.

Finally, allow us to debunk Vassien. Not only is Vassa set up to be endgame with Jurian, it is unrealistic given the circumstances for she and Lucien to be endgame. Lucien would have just been rejected and would be dealing with the aftereffects, will have to still deal with his plethora of plots and Koschei, and somehow fall in love with a human queen who will die in only a handful of decades? On top of that, there is nothing that Vassa can offer to the plot that both Elain and Lucien have not already told us, or will tell us. Vassa is a supplementary character. Elain would have to both get to know Lucien enough to reject the bond in a literary sense, and also set up Vassa to be the next FMC. On top of that, it was Elain who introduced us to Koschei and began that arc—why would Vassa get the credit for defeating Koschei?

Tl;dr — the bond is not getting rejected.

[romantichopelessly]

invitation to speak more about the secret good td3 in your head, if you so desire!

Ok so I sat on this ask for DAYS because I wanted to have some cohesive, great answer, but the thing about The Dreamer Trilogy that haunts me is that I can never come up with good concrete thoughts about how to fix the issues I have with it, which is why I reference the “secret good td3 in my head” because it can never fully leave my head in any real way. That being said here’s a list of some elements I would change to make my secret good td3, in no particular order.

The visionaries don’t exist. Liliana, Persifal, etc. are just psychics that keep getting visions of the end, and die for reasons other than their power. Explaining what Visionaries are and subsequently over explaining the magic system of td3 is part of what made the trilogy so confusing and ruined a lot of the magic that the TRC universe already had for me. We don’t need concrete explanations, and psychics can still fill this role. The changing age and exploding added nothing?? to the narrative?? that I can think of?? We can even keep the age gap for Carliana if we want to, just make Liliana an older psychic like Maura/Persephone/Calla. It will even add to the excellent Carmen-Mr. Gray parallels.

Lean more into the themes of the age group. TRC is a coming of age story. It’s about being 17/18. It’s about learning your inner self and getting others to see the true you. TD3 should be more about being 19/20/21. To me, TD3 at its peak is like Buffy the Vampire Slayer Season 6. Which is uniquely about the horror of being in your early 20s, losing support systems, having to learn to be a full self-reliant person, grappling with what your parents did to you, and the crushing loneliness of not being around Your People anymore. TD3 has all of these themes, but I really think they need to be fleshed out more, and given proper conclusion that isn’t just “yippee everything is fine now!”

Greywaren is longer. I think almost everyone agrees that Greywaren, as a book was just too short to wrap up all the plot lines set up, and does almost none of them justice. That book needed a whole rewrite. In theory, I’m completely fine with how it opens—Ronan being in a dream coma was foreshadowed from CDTH, and is an idea that I’d actually thought of as interesting before even reading the book. Other elements of this book like Declan’s rampage, Matthew going rogue, etc are great directions for the characters, I’d just want to rework them. I could make solo posts about any of these.

The Pynch breakup either doesn’t happen, or is set up further in advance and lasts longer. Personally, I lean towards the latter. Adam and Ronan’s conflict is set up from the very beginning of CDTH, or even from Opal (Adam warring between wanting to stay with Ronan and needing to follow through with his lifelong plans, and being frustrated that Ronan never asks for anything from Adam (specifically, to stay) ((side note: perhaps Adam’s insecurity here about Ronan respecting his boundaries so thoroughly stems from both having a family that never would respect his wishes, and Gansey (Adam’s model of love, Adam’s model of everything) having to learn not to ask things like that of Adam. What does it mean that Ronan never even tries?)) AND Ronan dealing with the crushing loneliness of being left and dealing with the consequences of having a long distance bf who is more successful than him). So they needed to have an argument about this. It’s also just in character that these two would not be perfect communicators. So. My idea: In CDTH we get no Adam POVs, just Ronan’s side of the story. We see, rather than Ronan just getting upset over one missed text, that Adam begins to pull away after the murder crab incident. We the audience don’t know why, other than Ronan’s unreliable narration and insecurity. So when Adam doesn’t respond to that one text at a vital fraught time, Ronan does what he does best, shuts down, pulls away and self destructs. Then MI rolls around and we start getting Adam POVs. We learn that after the murder crabs, Adam was throwing himself into trying to fix the nightwash situation for Ronan (Adam is not in contact with Declan here, unfortunately). After visiting for Ronan’s birthday and seeing the Lace, Adam starts to have dreams/premonitions about the end of the world (no visionaries in this universe, just psychics who are/were close to dreamers getting the visions!!). So he obviously sets out to fix this alone too. He calls his best approximations to contacts in this underground world that aren’t Declan. Henry and Mr. Gray. (+ maybe also Maura & Calla) ((Also don’t worry Henry doesn’t leave the Sarchengsey trip, just advises Adam on where to start)). Now that Adam has lost contact with Ronan (he was busy and missed the message and Ronan went off the grid like in canon), he goes full throttle into trying to solve everything while managing being his perfect Harvard persona (this gets him close to a breakdown, very reminiscent to Dream Thieves). Perhaps we get to see Adam and Declan working together to acquire sweet metals and understand the underworld of magic together. He and Ronan fight the one time they get to talk over the phone, Adam because he is truly scared Ronan will be the one to end the world, Ronan because he feels like this is another person perceiving him as a failure and wanting to control/baby him (+ he hates Adam hanging with Mr Gray and Declan of all people). By the time Greywaren starts, Adam is wrung out and hurting and Ronan is dead to the world, so yeah. He doesn’t think he can spend emotional energy playing safeguard to his boyfriend’s coma corpse. And then by the end of the book they have an actual argument/discussion no “they didn’t need words” cop out.

The number of Dreamers/Dreams has to be reduced. It’s cool to say that dreams were always integrated into this world, but it creates so many plot holes it isn’t even funny. There is no way Niall could have passed off the Greywaren being a box that brings dreams to life if Dreamers were such a common occurrence. No secret can be kept that well, someone in the black market would have known, and thus Greenmantle/Mr. Gray/Laumonier/ect WOULD HAVE KNOWN !!!

Declan does not have all his character erased by suddenly loving his mommy and daddy. Seriously what the fuck was that. Declan suddenly deciding to forgive his father because actually Declan was secretly the favorite child first is INSANE. Especially after seeing that that changed because Niall and Mor WANTED TO KILL HIS BROTHER!!! The two tenants of Declan Lynch in TRC were protecting his remaining family and fucking hating that Ronan idolized Niall just because Niall loved him best. So why make Declan turn around and do the same??? Suddenly Niall wasn’t so bad because actually he let Declan be shoved into a car trunk during a shootout out of love. I hate this plot line. Family doesn’t have to be forgiven. Understood, that’s one thing. Forgiven?? Not always. Sick of it. The real takeaway from seeing those memories should have been closure to Declan’s arc of learning that dreams should be viewed as people completely.

I definitely have other points but I cannot think of them right now. And I want to post this so I will. But TD3, as you can see, makes me an insane person.

[orcboxer]

after the things you can't do in real life post escaped containment, one that people seemed to disagree with the most is the profiling comment. So, what is profiling and how is it different from fiction profiling?

In fiction, the Vibe a character gives off is a reliable indicator of their character. A character who gives off "creepy" vibes, for instance, often turns out to be evil or sexually deviant or violent or what have you. This is because a common tradition in writing fiction is to have the character's inner self be expressed/foreshadowed in some way physically. This is why characters with an obvious deformity or disability so often tend to be villains. There's a visual language to stories that is rife with both symbolism and stereotypes.

The problem with trying to translate this skill to real life is that real life doesn't have symbolism and stereotypes are bullshit. Profiling is an exercise in prejudice, reinforced by confirmation bias.

As a mute guy, I constantly have to deal with being profiled as belligerent and dangerous. It creeps people out when you don't speak. In fiction, my disability is a sign that "somethin ain't right about that boy..." I have had multiple coworkers over the years tell me, "We thought you was gonna snap one day and shoot up the place lol". All because I don't fuckin speak. According to "body language experts," the fact that I don't make eye contact or have relaxed body language means that I must be constantly guilty and lying, even tho this is just... my normal neutral state. And, god, imagine how much worse it would be if I was black. We've seen the effects of racial profiling again and again over the past decade, and how it intersects with the treatment of neurodivergent folks.

People like to think they can cold-read total strangers, but it's just prejudice, straight up. "Vibes" are just an emotional response, not a magical ability to divine secret truths. Intuition is completely vulnerable to implicit biases and propaganda, so when you claim to be able to accurately profile total strangers, you're literally saying "I actively refuse to question my internal biases!"

The vast diversity of human experience defies intuitive categorization, sorry!