#god this is incredibly well written

[heartofarcanum]

Ok ok but the THING IS OK if you remove the hunter/hunted aspect, Amen and Eva’s love for each other is so innocent. Like he’s teaching her to write so she can have a bankable skill, and she’s doodling pictures of him in her notebook. And then when he saw it he just added to it and gave it back to her

What they should have been could have been is such a tragedy already BUT BUT BUT then you add the hunter/hunted aspect of their relationship and you get something that is just irrefutably steeped in tragedy. She haunts his days and nights, turns his dreams into nightmares. He thinks of killing her, kills her friends.

He’s as horrible as promised, but the innocent love was already there when we truly saw what he was capable of. What he had no problem doing, what he was bored by. And now you have a reality where these two people so obsessed and tormented by each other need to kill each other but they just can’t bring themselves to do it.

I think there will be a happy ending for them, I really do, whatever it may look like (murder suicide and happiness in the afterlife being first and foremost on my mind) but I think everything between then and now will be a tragedy

[rosefires20]

My brainrot today is thinking about just how incredible for a character Eowyn is.

Genuinely. The series might not have many female characters but the ones we do get go so fucking hard.

To me, Eowyn is literally the definition of defining being a woman for oneself. She rejects the roles she is given despite acknlowdging the importance and its mostly because she knows part of the reason is that she is a woman.

The reason why she is obsessed with Aragorn isn't because she loves him but because she wants what he has. She wants the freedom and courage and bravery that Aragorn has at every turn. She literally has multiple conversations during the Two Towers about how what she fears most is a cage. All this girl wants is the freedom to be and not be forced into a role. The best thing is that she literally gets that.

The segment of Return of the King about Eowyn and Faramir is literally about her piecing together what she truly wants. She doesn't want Aragorn. She wants freedom and the ability to choose. Faramir does nothing but encourage that in her. Their love story is literally one of the healthiest love stories I've seen in a long time because at the heart of it, their love is a place to return home to for both parties. Both go off to lead and help their people for a considerable amount of time before returning to each other but that does not diminish their bond. Even Faramir, I believe, falls in love with her bravery and dedication to her loved ones. The reason she went to Pelenor Fields and Gondor with the troops of Rohan was because she had things she wanted to fight for. She wanted to fight for herself, her people, and her loved ones. She is the one who protects Theoden after he is killed so that his body gets the treatment it deserves. She encourages Merry and helps him go to the battle because she sees her struggle in Merry. They feel helpless standing around when there are things to be doing.

Let's also not forget the fact that she was around Grima Wormtounge just as much as the King was. She was exposed to the same poison and awful words that eroded the king. It's even implied that her care for him is part of the reason why Theoden was savable when Gandalf showed up. She had the same power and bravery as everyone else even if she didn't see it in herself.

Then at the end of the day, SHE decides where she wants to go and what path she wants to walk. She walked the path of a warrior. The path of a princess/ruler. The path of a caretaker. But in the end she decides which elements truly mean something to her outside of gender definitions. That is what makes her character so incredible to me. In this she literally kills one of the biggest enemies in that battle with such a badass line.

[astro-inthestars]

Well thanks to the dynamics that Secret Life gave me... you know what teamup I DESPERATELY want to see next????

Pearl, Gem, and Scott.

[sherlock-is-ace]

Bill Masters as a character generates four distinct reactions within me:

Jesus Christ, he's a piece of shit I want him murdered.

Omg nooo, you poor babie ily, come here

Pathetic wet cardboard of a man

Damn he's so gorgeous

And i think they're all very correct

[tekstelart]

they

[sunnibits]

friendly reminder that the ninth doctor and rose tyler literally invented love in 2005 when the doctor said “I could save the world but lose you” in s1ep5 of doctor who. not a joke btw just a statement of fact!

[mister-lucky-bunny]

My Roman Empire is the fact that no game studio will ever be ballsy enough of make another FPS like Spec Ops: The Line because it exposes too much of the evil and horrendous war crimes that go into the American military complex and how it turns regular people into cruel murder tools for the government due to a sense of false patriotic heroism

[rowrowronnie]

why the hell has no one been talking about the pantheon show on amc why the hell is there legitimately No Way to watch the show without pirating and again, to reiterate: WHY THE HELL HAS NO ONE BEEN TALKING ABOUT THIS SHOW!!!!

[no-1-rosalind-lang-apologist]

The way Chloe Gong pulls off fake deaths the way she does is an amazing testament to her skill as an author.

Usually fake deaths cheapen the blow of losing a character. You have to go through all of the emotional turmoil of losing a beloved character and watch everyone mourn them only for everything to be okay because actually they were kind of integral to the plot and the author needs them but also they also wanted to make the book sad for a little bit but hey everything is okay now!

But Chloe Gong doesn't do this. She gets you invested in what you usually know from the start is a doomed story. She makes you very desperately want to believe that the character that you know is going to die won't die. And then. She kills them.

And it's horrible. You mourn for them. You have to watch the other characters react to the death. But most of the time, it's a fake death. And even if you know or suspect this from the beginning, it still hurts, often just as much, if not more, than it would if the death were real.

And not just because of the way she writes grief, which gets more and more painful with each new book she releases. But instead of killing off a character for a quick gut punch and bringing them back because they were actually way too important to kill and she needs them for the plot, she uses fake deaths to create these absolutely insane scenarios that are often, at least in my opinion, more painful then just killing off the character.

When Marshall fake died, for example, she could've just had him die and forced Juliette to deal with the grief and guilt of killing her friend as well as the implications of Marshall's death for her relationship with Roma plus everyone else's grief and then created a weird situation where Roma can just,,, get over her killing Marshall and still like her. Instead, she creates this absolutely insane situation where Juliette is still grieving for the loss of her relationship with Roma, and Roma and Ben are grieving for Marshall all with Marshall still being alive. And rather than just using Marshall as a plot device to be sacrificed to make the other characters more interesting, she makes him more interesting as well. She forces him to watch as Benedikt and Roma grieve for him, making his relationship with both of them, as well as Juliette more interesting in the process.

And then when Roma and Juliette fake died at the end of OVE, even if you suspected it, it being fake doesn't take away from the pain very much, especially knowing what happens in Foul Lady Fortune. Alisa, whose only real family was arguably Roma and Benedikt, is left behind to raise herself and she is too afraid to check to see if Roma and Juliette are really dead. Because if they are dead, then she's truly alone, clinging onto the false belief that hope won out while everything she ever knew disintegrates around her. Plus, even though Benedikt and Marshall figure out pretty quickly that the death was fake, they're still forced to cope with the grief and guilt of having had a hand in the situation and forced to flee the country with only each other, thrust into a world where their best friends are dead and the hope that they are relying on to get themselves away from everything is based on the same sense of hope that ultimately lead to the "deaths" of Roma and Juliette. And then there's the cruelty of the sense of responsibility Rosalind feels for their deaths. And how after they died, she became deathly ill, but like them, was inexplicably saved. But she can't move on from their deaths and spends every waking hour and every unsleeping night of her immortal life trying to put the broken world they left behind back together. And Celia sees Alisa and Rosalind regularly. As she watches two people who she cares about immensely suffer for years after the deaths occurred, she can't say anything. Even though her first loyalty is to her sister, she's forced to watch Rosalind grieve and become a ghost of a person who seems to derive purpose solely from the pursuit of an impossible mission. And Roma and Juliette, who so deeply wanted to make the city better are forced to watch as things get worse and worse and the people that they seemingly sacrificed everything to save continue to suffer.

In Foul Lady Fortune, the fake deaths are a little different. So far, the only characters who have fake died are Dao Feng and Lady Hong, the later of which falls into this trope a bit more loosely. In Dao Feng's case, it leads to worry then betrayal on Rosalind's part. Her worry was all for nothing, and she's once again put in a place where one of the few people she dared to care about has left her and likely never truly cared about her in return (at least as of the end of FLF). Assuming that he did genuinely care about her based on As You Like It, I am very interested to see how this ends up playing out.

Lady Hong's case is somewhat similar. Although we never really think with absolute certainty that Lady Hong died, Orion suspects that his father could have done something to her and has no concrete explanation for her disappearance. He grieves her absence even though her relationship with him was always iffy at best. Only to find out that she never cared for him as anything other than a tool for her to take advantage of. Like Rosalind, he is left feeling used and as if all of his grief and pain were for nothing.

(Hiding the part below this because of huge Immortal Longings spoilers)

In Immortal Longings, you know that either Calla or Anton is going to have to die at the end because of the structure of the games. And as their relationship progresses, you dread the resolution more and more. You want a fake death. You want them to find some hole in the rules that will allow them both to survive. And Calla comes up with a plan that allows this. She gives you false hope. She lets you cling to the idea that the horrible ending you can so clearly see coming won't happen. And then that hope is snatched away, and you're even closer to the ending. And you know what's coming. You know that Anton has to die. And then the final crumb of hope is snatched away from you and they're in the ring together. And just when it's too late, Anton tells Calla that they could run for the wall together. He's finally willing to set aside Otta Avia, without who they wouldn't even be there in the first place. But it's too late. Because this is bigger than either of them. And Calla knows that she has to kill him. And she sinks her knife into his back in some of the most excruciating paragraphs I have read in my life. You see Anton realize that although he was willing to make a run for it with her, she has bigger plans. She isn't doing him a kindness by killing him first, and even though she may be planning on ending her own life as well soon, she cares more about killing King Kasa than she ever did about him. So when, at the very end, it is revealed that Anton somehow survived, it's somehow a million times worse than if he had actually died. Even though you so desperately wanted the book to not end in on or both of them dying, this isn't what you wanted. Now, he's alive and remembers just how willing she was to sink a knife through his back. And Calla must grieve for him all over again because even though he's alive, she surely can never truly have him back after what she did.

In conclusion, Chloe Gong is a legend and a genius. Thank you for coming to my tedtalk I guess.

[batbrainrot]

reading the boy wonder #2 immediately after reading batman #148 was truly healing

[ailendolin]

ive seen you discuss that scene in the thomas thorne affair where alison isnt paying attention to thomas as he tries to tell her about his death, and i think it's worth discussing the scene prior too. it's broad daylight when they unearth the musketball and thomas runs off, and it's night by the time he comes to talk to alison.

i can only imagine he's been alone that entire time since he ran off and clearly no one went to find him since theyre all just like "oh youre talking about his death? i'll join in!"

and when he says he wants to apologise for his outburst earlier that day and she goes "which one" and he responds that she's kind to make light of it, i feel SO bad for him cuz it's not like she was just trying to make light of it to lighten the mood, she was just actively annoyed he was there

i get that she probably finds him really annoying but like come on man have some tact, the dude was shot to death for crying out loud?? surely if ever he had a right to be dramatic about something, it's that??

Thank you for this ask, anon, and for giving me an excuse to talk about The Thomas Thorne Affair again!

I think the post you're referring to is this one where I wrote about how dismissive Alison is when Thomas comes to talk to her about his death and how she isn't even really listening to him when he starts his retelling of it. But you're right, we should absolutely talk about what happens earlier because the time jump is significant and says so much about him and his relationship with Alison and the ghosts. I think it's safe to assume that Thomas spent the time that passed between the opening scene and him seeking out Alison on his own. We know the ghosts don't go after him when he runs off upset - they didn't in 1x04 when he finds out the documentary is about Byron, and neither later in the same episode when he goes to 'drown himself in the lake'. In fact, they don't even bother to tell him that the film crew left and just leave him there. It's a recurring pattern with Thomas - run off, wait for someone to come, realise no one will, go back to the others. So I'd say it's highly likely it repeats here which means he probably spent hours waiting for someone to come looking for him and eventually gave up hope and set out to find Alison.

And next we get the apology scene (which I've always found interesting because Thomas doesn't just barge into the bedroom like you'd maybe expect him to. No, he waits outside the door until Alison and Mike have finish talking and then announces his presence). He's obviously, desperately in need of someone to talk to in that moment and Alison just ... doesn't care. At all. It's one thing to chalk his apology up to him being dramatic (even though like you I feel bad for him every time I watch it) but when he asks if he can give her an 'account of the unhappy events of that fateful day', there is not a hint of drama in his tone. It's a genuine request, and it breaks my heart that Alison doesn't even pretend she wants to hear it. And this is what I mean when I say that she and the ghosts don't extend the same gentle understanding and patience towards Thomas they extend towards each other. He is always considered a nuisance, even in moments like this when he is genuinely upset and looking for comfort and a willing ear to listen.

And then, of course, the episode unfolds and everyone else takes over his story. The moment Robin enters the room, Alison's whole demeanor changes. All of a sudden, she becomes invested and Thomas gets pushed into the background as one by one, the other ghosts tell their version of his death and turn the whole thing into a spectacle - the evening's entertainment, as I've called it before. They treat it as one of their clubs and once the excitement is over, they eave for the next bit of entertainment (which parallels the spectators of the duel going back inside in the flashback). Not a single one of them stays behind and asks him if he would like some company. They know he's not okay - 'it's worse' says it all. Thomas has just had his world turned upside down and no one cares. He died alone and unloved, and he ghosts that way too. There is no comfort for him in the afterlife, and it's no wonder that he's the character who keeps insisting that 'you stay how you die.' Because for him, it's true. He keeps waiting and waiting, and no one ever comes.

The Thomas Thorne Affair really highlights how little the others care about him. Even in the very beginning of the episode, he's sitting away from everyone else (something that is also a recurring pattern - one day I will make a post about it). It's a visual reminder that he's not really a part of the group, and everything else going on in the episode underlines that. But no matter how annoying Thomas may be - and Alison certainly has a right to feel annoyed by his romantic advances - he deserves to be shown a little more kindness by the others. There's no excuse for them to be treating his death like a joke and leaving him to deal with the fallout of the truth coming to light on his own. They should have rallied around him in that moment and been there for him just like they're there for each other when anyone else falters and struggles. Thomas has been alone for too long already, and it's heartbreaking that no one can or wants to see that.

[pyrosomatic-metamorphosis]

genuine question but is there any fandom where a character is well written by the majority. im thinking about fandom culture and the spread of frustration when people dont write characters well but. honestly in all the fandoms ive been in there's only like, a Select number of authors who i trust to write Well, let alone write Well AND In Character. character analysis and writing and getting inside characters' heads are all separate skills (all of which are trained by roleplaying fyi can CONFIRM playing pretend with your friends is good for you). there's been more than once where I've disagreed with an interpretation that others agreed with, and then I turned out wrong. or i turned out right. like it doesnt matter WHO is right it just matters that differences in character analysis exist, so even if you DO write well AND write in character, your in character is still going to be someone else's out of character

there's this sort of. vibe. that to play in the sandbox you Need to be able to make a castle, and if you can't make a castle then you shouldn't bother, and it completely dismisses the idea that youre in that sandbox to PLAY in the first place. there's this Weight of disappointing someone if you can't build something that they like, but that forgets that you aren't there to build them a castle. like, be KIND. if you disagree with someone then please make an effort to do so kindly. i dont give a shit about fandom discourse but there is a reason kids get removed from sandboxes if they keep throwing sand in people's eyes. but if they don't like your misshapen sand pile, then youre not obligated to change it. even if you yourself end up hating that same sand pile later- youre not building a legacy. youre playing. and sometimes the result of that play is out of character drivel. theres a reason there are so many authors and so few who i like to consistently read and thats because everyone is Fucking Around in their hobby space. hash tag brag or whatever but i can build castles. ive built several that im v proud of. ive also dug holes in the sand for fun and then tripped on them when trying to get up. I often dug a hole and then got up and fucking- whoops, its a castle now, and i didn't realize i'd made something to be proud of until after the fact. the whole time while creating shit i was Convinced it was bullshit that didn't make sense. and then other times i was Convinced it was bullshit and then i was Right and i can look back and go. huh. ew. but it doesn't matter what the end result was, because i had fun playing in the sandbox

this wasn't meant to turn into a ramble but i have Feelings about bad art and art that's badly perceived and how public perception can screw with your head and how making art youre proud of is fucking. it's so difficult!!! it's hard!! it's really fun, which is why i try to make it, but i promise you it is Okay to not tryhard creativity. even if you CAN, it's okay not to do it all the time. or ever, even. fuck around find out have fun etc

[hirokiyuu]

look at my alternate yuu concept boy

[torgawl]

i'm so in love with wrio. that man is the embodiment of mercy and compassion. he is so... human. despite the deep disdain for atrocious acts that hurt others, especially acts that remind him of his own pain and traumas, he is able to keep himself in check and hold on to his values. despite being so proactive in fixing the wrongdoings of people that actively harm those under his care and assuring that everyone is supported in the best way possible; despite knowing he could have not controlled other people's hearts once they were in too deep in their own sins, he still feels helpless and incompetent. he recognises he cannot fully empathise with those who have been hurt for he has not experienced what they have and he understands that some wounds might not be able to heal even with all the attention and efforts, or at least not that easily. and it pains him. his whole life he's been trying to protect others. all his hard work during his time at the fortress and taking over it's administration has granted him the power and resources to actually change lives in a more restorative way, with a bigger amplitude than just the people who he's close to. yet he's only human. and not everyone wishes to be saved. and he doesn't hold back from breaking his own rules if means he is guaranteeing the best outcome for the greater good, for the well being of all of those he's sworn to protect. and although he earned himself a respectable title and even got used to being referred to in that way, he doesn't see people at the fortress as innmates but as equals. he never stopped being the little boy that was sentenced to live over a decade of his life there. and he is so good at what he does and he is so successful at restoring people's hopes in life, at giving them a second chance to become who they want to be, that there's people who actually want to stay there. he is the literal personification of turning your own pain into goodness, into love. love for community and love for others. he found meaning in making the world a better place and i just think that's really fucking beautiful.

[the-acid-pear]

thinking of dave and henry's relationship again that shit is so fucking well written i hope that hound got mad sloppy toppy for that one

[mabbbish]

does anyone know that artist that does interactive storytelling and publishes really well written fake articles for her artworks. like one of the articles is set in the pixar cars universe and the reporter is interviewing lightning mcqueen about his response to someone bringing the confederate flag to one of his races. jjust wondering.