#i just think that their character dynamic with each other is so complex and intricate and also very flexible

[triglycercule]

Thoughts on mtt

they should travel the multiverse together and see and experience a more peaceful life than all of them ever have (⁎˃ᴗ˂⁎)

also they should get to gnaw at each other like rabies infected dogs 🧡🙏

[buried-l0cket]

Polygun but it’s how they all see each other

i always really like in books with different narrators when how a character looks itself is unreliable narration bc they describe themself differently compared to how the other pov characters see them, and the dungeon meshi shapeshifter chart scratched that itch for me art wise and I got inspired ✨

To be more specific this is what they each picture when they think of each person 👉👈

Details under cut!!

Meryl clothing details aside because I think she’s just short and the boys aren’t looking at her traveling clothes too hard (and vash clearly likes making his own clothes with how much his overly intricate jacket design changes so ofc his version of her outfit just looks like another one of his designs 🙄) all of the clothes are based on specific parts of the manga!

A big thing with these designs was taking moments that were important regarding each characters relationship with the pov character and adding in visual nods to that to show what memories stuck with them to shape their image of that person.

The clearest example of this is everyone thinking of a different Vash coat, for Wolfwood it’s what he was wearing when he turned him over to Knives, to Meryl it’s his final fight coat, and for Milly it’s when she met him.

It may be Trimax but I will always have a soft spot for 98 millywood so those two’s impression of each other has been influenced by that, but more specifically just the idea of them both alone together, layers and walls down, hair messy from sleep. Their relationship is one I just see very clearly developing over a lot of late nights at inns and bars during traveling!

Vash is the trademarked inventor of Savior Martyr Victim complex supreme and when he thinks of everyone he sees times they’ve been let down by him. To me he’s the biggest broken gear in their dynamic because of the way he holds himself back and isolates, the ship really works in spite of him most of the time. But he also sees traces of times his desire to be by their side was cemented. His Meryl is heavily based on after she was kidnapped by the GHGs and he lost control in front of her, but her hair is longer + earrings are gone like when they saw each other again after Knives released the ark, and she has a black turtleneck peaking out from under her traveling clothes the way it did under her space suit during the final battle. His Milly has the hair and undershirt of the final battle but her outer clothes are from when they traveled together for the majority of Trimax. His wolfwood isn’t doing too well.

Meryl’s versions of Milly and Wolfwood are both pretty similar to how they looked when she first met them, wolfwoods hair is just a little longer like I imagine it being towards the end of Trimax and is very windswept, from their short first meeting in the original Trigun manga run I always got the impression she thought he looked very cool lol, she was staring up at him like ://0 the whole chapter.

I mentioned it before but honestly most of Wolfwood’s Vash is based on how he looked when he turned him over to Knives, not only do I think that moment stuck with him but I feel like it’s a good visual summary of all the mixed feelings he has towards Vash. He’s drawn to him and sees how sad he his but he also sees how inhuman he is and the threat he and knives pose for the people he cares about and prioritizes. At the end of the day Wolfwood chose the orphans over Vash twice and never went back on that, and a big part of why he broke Vash our of Knives prison was just so he could go fight Knives to the death for humanity’s sake, and I think that’s important to his character and their relationship.

Similarly, Meryl’s Vash is really just final arc Vash. She’d already developed a very strong impression of him before then but they would go weeks to even years without seeing each other and each time the way he looked and the way she felt about him would change drastically, it seemed to me like it wasn’t till she was on the ship advocating for him and the people living on gunsmoke that she knew how she felt about him and what kind of person she saw him to be. It was also a huge moment for her character wise with the way she faced her fears in the name of human connection and made the active choice to not be as apathetic and closed off as she realized she had been in the early manga.

I think Milly’s first impression of Vash was strong and accurate enough to not change much, this nice guy is Vash the Stampede and there is definitely something weird about him.

I don’t know why Wolfwood doesn’t know what Meryl’s hair looks like, what’s wrong with that guy? In general his version of Meryl is very inaccurate now that I’m looking at it, I promise he likes her

+small details that are my personal headcanon and not the characters interpretations are Meryl and Wolfwoods hair being a bit more curly/textured than canon, Milly’s eyes being green, and Meryl’s earrings being silver (gold earrings with a white black and blue outfit and silver guns?? C’mon girl accessorize properly)

[commsroom]

the first thing minkowski does when she arrives at the hephaestus, before she wakes the rest of her crew up, is get into the role of commander. like she's reciting her lines before she has to go on stage. minkowski's love of musical theater is framed in contrast to the image she presents, but that's just it. it's a carefully cultivated image, the type of person she thinks commander minkowski should be. she's read all the manuals. she's memorized the survival guide. she knows her lines. she's so initially caught up in doing things the "right" way, in playing the role of commander, that she fails to authentically be in command.

there are two things here, both of which cutter uses to manipulate her: 1) minkowski has been outcast and overlooked for her immigrant upbringing, and she desperately wants to prove that she belongs, and 2) she craves certainty and purpose, and wants to believe there's a way to make sense of her misfortune. that's what appeals to her about sunday in the park with george: "the guy who sings it is this famous french painter, and his entire life is kinda falling apart. but he can always turn what's happening around him into these beautiful paintings." at least from a performance perspective, there's a way that her interest in musical theater makes just as much sense as her military career: there's a certainty to it, and an authority to appeal to. a role to perform, a script to follow, an expected way that everything will play out.

(and so maybe it's interesting to consider her application was for writing musical theater, in the creation of her own vision rather than the execution of someone else's, and she was rejected from that.)

there's some resonance between minkowski treating her life as a performance, and eiffel viewing himself as a character in a narrative. he views the world through a pop culture lens, ascribes an archetype to her, which she plays into and reinforces. that distorted perception of each other is at the core of a lot of miscommunication, and so, a lot of their early conflict. the dynamic between minkowski and eiffel is arguably the most central to the entire show, and i think there's something in that progression: of needing to be capable of seeing both yourself and others as full, complex, contradictory people with intricate inner lives before you can really communicate with them.

[paikothecateater]

Why do a lot of Nordic fic writers just despise Iceland? I've noticed his character is never relevant to the story. Why is he always a side character? He almost never gets any character development. Not only does it suck, it also makes the fic more awkward. Like, some major event happens to the Nordics and it's almost like he was gone when it happened.

Everyone is going through some form of complex emotions to try to process the events of the fic and Iceland's just... On the side like it's a normal Tuesday. It's really off putting.

He is also almost always one dimensional. People, if your character's personality can be summed up in two words, you did a bad job developing them.

Repeat after me, Iceland. Is. Not. Just. 'edgy teen'.

It's a little infuriating because they come up with these intricate details about the others, so I know they don't just suck at making characters.

I'm not necessarily saying 'we need more Iceland fics' even though I would love to see more of those. Most Iceland fics I've read have been very disappointing. Guys, just because he's a teenager doesn't mean you have to make a high school fic.

Even if you don't want to make him a main character, he makes for a fantastic exposition character.

An exposition character is a character who technically doesn't play a huge role in the story, but they have little mini arcs throughout the story that help support the A story, either directly or indirectly. They're usually the first character we see which is why I call them an exposition character. Their actions usually lead us to meeting the protagonists. Sometimes they run into the protagonists, sometimes not.

If you really want to isolate Iceland from the rest, you can at least give him his own individual arc. I personally think separating Iceland from the rest is a bit of a jerk move, but if you're going to do it anyway, you shouldn't abandon his character entirely.

Another huge issue I have with a lot of these fics is Sealand.

Listen, I absolutely adore Sealand. He's a really sweet character and I think the idea of him being more or less adopted by the Nordics is nothing short of adorable.

But, when we start shoving Iceland to the side in favour of Sealand, that's when I start having some problems.

'but we need a child character so they can learn from the older ones' guys, I don't know why you refuse to believe this, but Iceland is an actual child. He is a child.

'he's a teen, he's not that young' what are you on about?! Literal child. He's a kid.

Now, even though it's miles better than the Danish slaughterhouse, Gutters is still objectively terrible story wise.

I love Denmark and Sealand's dynamic and all, but come on!

Before anyone comes at me, listen, Sealand is a great character and all, but making him a main character in a Nordic fic because you want a child character meanwhile you have a perfectly good Nordic character who is a child at your disposal, you just don't want to use him because he's 'too old'. Listen, I'm not an expert on children by any means, but I've interacted with children of both of those ages and let me tell you, both of those ages would act the exact same way in an apocalyptic situation. Iceland and Denmark also have actual history, that could have made for a number of interesting plot lines.

But this isn't even my biggest issue with the fic. My hugest issue comes by the end.

Everyone is shown processing Denmark's death in their own ways. Each of the Nordics have their moment where they're shown grieving... EXCEPT FOR ICELAND!

You know what he's doing? Fuck all! That's what! How do you even butcher a character so much? Might I remind you that Iceland worries about Denmark the most out of the others canonically!? You're telling me he's just standing off to the side silently shedding a couple tears? Bro...

I just hate it when Iceland's character is pushed aside like this.

Most people finished Gutters crying, I finished it fucking pissed.

Thank you for coming to my Ted talk.

[horizon-verizon]

I stopped liking Jonerys the moment they met in the show. I still had hopes for how their romance might unfold in the books—until Rhaenyra. Romance exists in asoiaf, but I’ve never been as invested in any of it as I am in hers; it makes me want to see/read more. Rhaenyra’s relationships with Laenor, Harwin, and Daemon are among the most layered and compelling romantic dynamics. Each of these relationships is so so unique. With Laenor, her marriage was one of duty and mutual understanding—a partnership that, while unconventional, carried its own form of respect and trust. Her relationship with Harwin was a hidden yet affectionate and passionate one, a rare moment of freedom and love—something separate from political necessity but ultimately unsustainable in the world she lived in. Then there is Daemon, whose bond with her is the most complex, rooted in shared ambition, desire, and a deep, if at times unpredictable, understanding of each other. Both in the books and the show, these relationships add different dimensions to her character and story. There’s something uniquely human about how they unfold, making them feel a bit more authentic and emotionally resonant than many other pairings in the series. At the same time, her love life doesn’t define her; it evolves alongside her personal journey as a Targaryen heir fighting to secure her claim. Her relationships are often shaped by the demands of her position and the consequences of living in a world that constantly challenges her claim, authority, and family. Rhaenyra’s love story isn’t about a grand, perfect doomedromance; it’s about navigating love in different forms while trying to hold onto power and identity. What makes these relationships so rousing is how they evolve alongside Rhaenyra’s journey. None of them are simple love stories; they are marked by political stakes, personal choices, and inevitable tragedy. Whether or not George intended to develop them in this way, they stand out as some of the most emotionally intricate relationships, each adding a different layer to Rhaenyra’s story while reflecting the larger themes of power, love, and loss in her life. For me, Jonerys could never come close to this...

Well damn, anon. I do like how you put all this;

Rhaenyra’s love story isn’t about a grand, perfect doomedromance; it’s about navigating love in different forms while trying to hold onto power and identity. What makes these relationships so rousing is how they evolve alongside Rhaenyra’s journey. None of them are simple love stories; they are marked by political stakes, personal choices, and inevitable tragedy.

It's funny, I share the same feelings about romance in AsoIaf (except Rhaelya, which I think you just might dislike but i'm taking a guess from that first line...and not all/most romaces in Asoiaf are like theirs)--how Rhaenyra's romances are the more gripping AND her centered. I just never had the right words. And I do have a preference for her relationship w/Daemon over Harwin even as in the same post I write about me liking said relationship the best bc it is her at her "prime"--to my observations--you know?

Like Jaehaerys and Alysanne simply never hit for me bc I despise how Jaehaerys treated ALL existing female relatives INCLUDING AND ESP Alysanne. Daemon Blackfyre x Daenerys? Eh, bc reading AWoIaf it could have been just Daemon liking her and his supporters claiming she liked him back OR even if it was mutual it seems like it was over"done" by those same claimants/supporters to justify rebelling. Rhaenys and Corlys left an ick in my mouth with him bein way too old for her (at time of wedding...if Rhaenys had been 25-26, even 23ish, I would have liked it more [she was 16, he was 37 when they married]). Aegon & Rhaenys is a troubled ship simply bc people love to say it was "obvious" Aegon hated or was repulsed by Visenya either bc she was too "manly" and lept trying to step on Aegon's "manly" toes or that the sisters fought over Aegon's afffections. Just as biased as those isolated, sexist men writing of their relationship 200 years AFTER the fact.

Even Shiera Seastar and Brynden Rivers, aka Bloodraven's relationship doesn't hit as much for me, and that's mainly bc of the dearth of information AND the subsequent lost focus on Shiera instead of her being the "reason" Aegor lost his mind and manipulated Daemon b's resentments against Daeron II (still purposed for males in others words by the text...subtext is different but i still want to see more clarifying information).

All of these are "intricate", complex, or layered, or potentially so in their own right, but for me, Rhaenyra's romances just hit and it's bc--i think--that there was so much more room for us readers to detect how she navigated her priorities and sustained her relationships in relation to her political needs. Rather than it being "the other way around" for a man/men.

Jonerys...let's just say I have some pretty big concerns and the show really dropped the ball eiher way.

[brightbeautifulthings]

When the World Tips Over by Jandy Nelson

"If people bear the trauma of their ancestors, doesn't it follow they also bear their rhapsodies? If there is generational pain passed down, mustn't there also be generational joy? If there are family curses that drop through time, mustn't there also be family blessings that do the same?"

Year Read: 2024

Rating: 5/5

About: In the time of forever, Theo Fall disappeared, leaving his family cracked down the middle. His wife, Bernadette, chef of The Blue Spoonful, leaves out dinner for him every night. Twelve-year-old Dizzy Fall sees ghosts in the vineyard and just got dumped by her ex-best friend. Her older brother, Perfect Miles, talks to dogs and hasn't been to school in weeks. Her oldest brother, Wynton, hung the moon and plays violin like he's been possessed. They each have an encounter with a rainbow-haired girl (possibly an angel, Dizzy thinks), who is secretly the key to all of them. When tragedy strikes, the four of them will have to unwind the secrets that led to Theo's disappearance to save each other and heal a generations old family curse. I received a free e-ARC through NetGalley from the publishers at Penguin. Trigger warnings: fratricide, sexual assault/pedophilia, abusive households, car accident, severe injury, mental illness, depression, drug/alcohol abuse, neglect, bullying, infidelity.

Thoughts: I'll Give You the Sun is one of my favorite books of all time, and I couldn't wait to get my copy of When the World Tips Over. It has everything I love about Jandy Nelson's writing: gorgeous, inventive prose; lovable, heartbreaking, fully-rounded characters; a sense of place like I'm actually living in their town for a while; just enough magic (mostly the kind we make ourselves) to fill me with wonder; and intricate, complex family dynamics that keep me guessing. Nelson's writer voice is one of my absolute favorites, and even though the story and the characters are new, I can "hear" her in this book like I'm talking to a beloved friend.

As with many of my favorite characters, I'm confused about whether I want to know Cassidy or be her, with her rainbow hair and many tattoos of words and poems. She's the spark that sets the Fall family in motion, but her complicated history keeps her out of Manic Pixie Dream Girl territory. Though they're all a bit magical, Cassidy is as real and complicated as any of the Fall siblings. My heart broke for her so many times while she was growing up with her mother, who struggles with untreated mental illness. (I'm also completely in love with rosy maple moths now--the way my soul would leave my body if I ever saw one outside.) Felix was my second favorite character, a friendly giant with clashing clothes who appears when Miles most needs someone to ground him.

All of the Fall family are interesting and well-drawn, though, and the only place the novel lagged for me a bit was in the Time of Forever stories. I enjoy the way Cassidy tells the history of the Fall family, part fairy tale and part Gabriel García Márquez-style magical realism, but I did occasionally feel that they were a little too long/frequent and that it was pulling me away from the main story. There was a major Aha! moment when one of the plot elements finally clicked into place for me, and as always, Nelson is an expert at tugging all the threads of her many characters together into one coherent and beautiful tapestry. I love the Fall family like they're people I know, and I can't wait to revisit them on many rereads to come.

[polysjmweek]

Creator showcase# 3: @thesistersarcheron!

Also know as miss_belivet on AO3.

We are featuring her multichapter Nessriel fic titled "viciousness & intelligence", part 1 of her "swords & shadow" series. This fic follows Nesta, Cassian, and Azriel as they realize Nesta and Cassian's lesser fae mating bond may follow different, more complex, rules than the typical high fae mating bond. Here's an excerpt from the fic description:

"After the ball in the Hewn City, Nesta and Cassian swore to each other that there would be no one else. Ever. They didn't account for Azriel."

This fic is beautifully written and explores the practical, emotional, and sexual aspects of a relationship between three canon characters. The dynamics intricately woven, and the story is an excellent new take on fated mates. Keep a weather eye on the horizon for new chapters!

We asked her a few questions so we could all get to know her better: 

Q: What’s your favorite CNM group to write about? 

A: My favorite poly ship is Nessriel, maybe for obvious reasons. Cassian and Azriel already have such a solid bond as brothers-in-arms when Nesta comes in to shake things up for Cassian. And then, the quiet, gentle friendship and respect that grew between Nesta and Azriel in ACOSF and HOFAS? That absolutely clinched it for me.

Q: What CNM group would you want to explore further? 

A:  Lately, I’ve been spending a lot of time thinking about Feysandriel. Rhys is a giver (he does, after all, try to test the waters with Feyre about how she might feel about bringing Cassian and Azriel into their relationship), and Feyre is a lover through and through. I imagine it can be quite compelling for them to see something in Azriel—maybe the darkness all three of them share, maybe the longing for romantic connection or the desire to be seen—that they want to explore. The mating bond seems settled between Feysand, but with the tension currently simmering between Rhys and Azriel, it could just be so interesting to tease out whatever dynamic might emerge as they add a third partner.

Q: What’s your favorite trope? 

A: My favorite trope is pretty basic, but I love dramatic “that’s my wife!” or “that’s my mate!” reveals. Secret relationships and forbidden love rarely fall flat for me. It’s one reason I’ll rarely complain that SJM always has her couples elope.

Thank you so much to thesistersarcheron/miss_belivet for taking the time to speak with us. Your works are wonderful, and we are so excited to see what you write next!

Poly+ ACOTAR week is only TWO weeks away now! We can't wait to share new creations with you all!

[leejenowrld]

Hey lovelie!!💕

Since you've written many fics (and so many amazing ones at that), I'm very curious about your writing process, the "behind-the-scenes", only if you don't mind sharing...

Firstly, do you have a favorite trope or concept that you really like or tend to have in mind when you write?

When you write about characters, in your mind do you often associate them to an existing person, for example when you write about Jeno do you think of how he is in real life, like his behaviour or traits; or are you the type to map out how you want the character to be and then frame the personality and behaviours accordingly?

Since your plots are so intricate and the attention to detail in your works are chefs kiss, I don't think you just write in a flow. Maybe its just me. So how do you plan the unfolding of plots/events?

Love ya❤️❤️

hi love, thank you so much for the thoughtful question (and for the kind words about my work)! it’s such a layered process for me, so i’m excited to share.

i definitely lean toward certain tropes and concepts that resonate deeply with me. best friends to lovers will always have a special place in my heart—it’s such a delicate balance of familiarity and unspoken tension that’s so fun to explore. i also love love that feels like survival and redemption, relationships where characters have to confront the darkest parts of themselves and find light in each other. there’s something inherently raw and transformative about that kind of connection. and while i don’t often write it, i’m very drawn to darker stories, ones with supernatural elements or heavy topics that linger under the surface. even when i don’t fully dive into those themes, their shadows tend to influence my writing in subtle ways.

“found family” and “love that feels like redemption” are two that show up often. i’m drawn to complicated, messy relationships where characters have to confront themselves, each other, and the things they fear most. it’s all about peeling back the layers and exploring the vulnerability underneath, which often feels so cathartic to write. i also have a soft spot for power dynamics—whether that’s someone who pushes and someone who pulls, or a balance that only the two of them can find together. for me, it’s less about the trope itself and more about the emotional depth it allows me to dive into.

as for characters, jeno is almost always based on my boyfriend irl—the resemblance is uncanny. there’s just so much of him in the way i imagine and write jeno: his little habits, the way he carries himself, that mix of confidence and softness. it’s almost impossible not to see those similarities when i write. but with every character, i make sure they fit the story and the dynamics i’m building. i flesh them out to be distinct and real to the world they’re in, so they’re not just borrowed reflections of real people but truly their own.

my planning process is very much a mix of structure and flow—yes, i absolutely plan with a flow! it’s never really random. i’ll start by brainstorming ideas with myself, my mutuals, and friends, often talking things out to solidify what i want. from there, i create an overview story plan, and a very in-depth one (especially for longer word counts) to help me visualise the complexity of the plot. the big emotional arcs and pivotal moments are always mapped out, but as i write, i naturally add more details or expand scenes. it’s like writing an essay—you think of more as you get into it, and the story grows organically. i always leave space for spontaneity because that’s where the magic happens.

i also spend a lot of time thinking about pacing—when to ramp up the tension, when to let the characters (and the reader) breathe, when to let something simmer until it boils over. the attention to detail often comes in the editing phase. i’ll go back and ask myself, “is this consistent? does this moment feel earned? does this detail tie back to something earlier?” i want the story to feel alive, for the smallest elements to have meaning. but at the same time, i give myself space to be spontaneous, to let the characters surprise me. sometimes, they’ll take me in directions i didn’t plan, and those are often the most rewarding moments.

thank you for asking—it’s so lovely to reflect on all of this and share it with you. love you too! <3

[ridgystasis]

Now that the official trailer is out and we’ve gotten the final bit of promotional material, I wanted to write out some thoughts and concerns regarding the Devil May Cry Netflix show. Namely, one main concern that kept coming up the more we saw. A lot is happening. In this show. Like all the time. Enemies pulled from all the games, references sprinkled everywhere. 3-Dante has a hat, like that one time! It’s overwhelming, a bit. The biggest red flag was the recent trailer, which presented a plot spread across so many locations and moments that I struggled to piece it together. 

If you look at the DMC games and most of the franchise’s external media, what you realize is that almost every DMC plot is incredibly basic. V puts it into words in DMCV—“A powerful demon is about to resurrect, and we need your help Dante.” Substitute in some variety of “unite the human and demon worlds” and there you go. This is further reinforced by the fact that DMC’s antagonists* are incredibly basic. All of them are some variation of “true evil”—they all just want power to have it, and that’s that. It is important to say, though, that this simplicity isn’t a flaw. Rather, it’s actually a really important component in the presentation of DMC’s story. These uncomplicated plots provide the necessary foundation for the heart of DMC’s complexity—its characters.

I think anyone that’s engaged with the franchise would agree that DMC is not really about demon resurrection, but rather the relationships with those you love, especially those you consider your family. And these relationships are presented in interesting ways, with difficult dynamics being exacerbated by characters struggling with their own traumas and maladaptive coping strategies. This is where the asterisk comes in—it’s not a coincidence that the DMC antagonist with the most intricate characterization is also the one who is most involved in this overarching story and arguably acts as its central antagonist. DMC allows itself to be simultaneously over-the-top yet subtle. It doesn’t have the need to spell out everything due to a trust in its players to read between the lines.

I don’t think that the DMC Netflix Show doesn’t trust its watchers. Quite the opposite, actually. Its seeming complexity, the constant referencing without any real intent, even the showrunners�� relentless fan engagement communicates that it doesn’t trust itself. It doesn’t believe that it can “capture the magic”, and so it constantly wants to get ahead of its viewer and give them what it believes they want to earn their approval. But like! DMC shouldn’t ever be like this! Just like its larger-than-life characters, DMC is always confident in itself. Sure, not everyone will like it and some might find it cringe, but the franchise never compromises for these people. It will always be unabashedly, ridiculously itself, and the story invites anyone who wants to come along for the ride. 

Some extra thoughts in this paragraph, but it has spoilers for a scene in the show as well as the DMC3 manga so skip if not interested. Basically, that last shot with Vergil seems to be part of a scene previously shown off last October. In that scene, Vergil shows up (as seen in the trailer). Dante is shocked, shouting that Vergil is supposed to be dead, and we flashback to the night that Eva died and the twins lost their home. After the flashback, it's shown that it wasn’t Vergil, but actually a shapeshifter. Pretty simple. The scene tells you Dante’s feelings, gives you the reasoning behind them, and then continues onward. Compare this to how the DMC3 manga handles this “reunion” (this scene is also the moment that Dante is talking about when he tells Vergil in DMC3 that it’s been a year since they last met, for those who haven’t read the manga). 

Like they immediately start snarking at each other! Pretty similar to their first scene together in DMC3. Their dynamic is funny in this way, since they’re both super larger-than-life there’s never any sort of normal communication that you would expect, it just immediately jumps to shooting the shit. The manga also had a previous scene before this reunion where Dante believes he sees Vergil and he just stands there, stunned.

Whereas the scenes in the manga simultaneously communicate information to you and show off the characters’ dynamic through subtle ways, the show just tells you what you need to know straightforwardly and moves along. The show isn’t out yet though, so I’ll save my judgment for when the full context is shown but yeah. Feels different, I guess. Maybe that's not a bad thing? Guess we'll have to see.

[semi-imaginary-place]

discord naruto rambling

How can naruto be such a mess yet sooo good. Naruto has so many story problems I cant recommend it to people yet there's something special about. The world is so alive and vibrant. Kishimoto is a good designer. Naruto has so many good characters and designs. Character creation is definitely kishimoto's strong suite. Like I think Madara looks super cool between the plate armor (? reminds me of ceramic armor)and the giant fan and spiky hair. the story is executed poorly but there's a lot of good to Naruto, the characters and their dynamics, the way everything feels. And it's generally a fun battle adventure series but the emotions are very real and it does a pretty good job with a narrative about war trauma and grief.

The powercreep tho 😭 naruto breaks all the narrative guard rails and starts performing miracles growing limbs raising the dead. It destroys the narrative tension what a mistake.

When i first stated reading naruto when I was like 10 or whatever i though he was really annoying. And it's only after i dropped and then picked up Shippuden again that i started to appreciate naruto and i ended up really liking him as a character. his emotions felt so real. As much as talk no jutsu gets a bit ridiculous i do like that in the battle shounen manga the most powerful technique is empathy and talking to people. I do respect naruto for that. There's also something compelling about how hard he tries for other people. It was also pretty amusing in shippuden watching him obsess over sasuke. Bro has a panic attack over the thought of his friends going after sasuke. He swears a double suicide pact with him. Naruto's crying begging in the snow for the raikage to spare sasuke. The entire final valley of the end fight was really good and then these idiot blow off each other's arms. Insane.

the series was better before shippuden overall. Og Naruto had this charm that shippuden lacks. Because conflicts were on the smaller scale, more personal grounded stories were told. The fights were less powerful which let them be more complex, strategic and intricate instead of how in Shippuden it was about chakra blasting (the power leveling curse). Shippuden was more about nuclear explosions battles where as og naruto got to explore more normal people and convey worldbuilding and interpersonal dynamics. But i liked naruto as a person more in shippuden which is totally personal preference.

Naruto and sasuke are so stupid. It's funny how in part 1 sasuke is built up as this smart rival character but come shippuden there is not a thought in that boy's head. he has 0 plans he just keeps shifting targets of who to kill. He really is just lashing out

Obito's fascinating. The parallels to sasuke and naruto yeah between the hokage dream and underdog status to the deranged emotional unstability. obito's attachment to rin his preteen crush works narratively much better for him than it does sakura. With obito it shows how out of touch with reality he is that he is still living 20 years ago abd was never able to let go of rin he doesn't see the present. With sakura i get the impression kishimoto genuinely sees it as romantic when it is actually super cringe that sakura is chasing this guy who doesn't remember she exists. 1 pair of sharingan split between 2 people is also such an amazing concept

I do think sometimes about how orochimaru was probably the last to leave konoha. Like tsunade quit during the 3nd (?) ninja war. Then jiraya chased after her.

I wonder about the trio parallels. On one hand they create this sense of continuity and legacy. On the other hand i wonder if it implies that konoha is stuck repeating the same mistakes. or is it about naruto's generation breaking the cycle (boruto isn't real)

Edo tensei is really plot breaking (and if i think about it my head hurts) but it did allow direct contrasts between the old hokage and naruto himself. I think tobirama and sarutobi are some of the most interesting characters as they are both well intentioned and genuinely work for the betterment of konoha while each being deeply flawed and causing or contributing to some of konoha's worst problems. And 3rd hokage'# problem is that he trusts too much on the good of humanity which is so ironic. He believes that everything will work out and people will become better on their own so much that it makes him passive, believing he doesn't need to intervene when there are serious problems. And he forgives people that really shouldn't be forgiven like wow he enabled so much of danzo. And then there's hashirama who i could write an essay about. Psychologists could case study him. But in conclusion i think most of the problems in the naruto series could have been solved if hashirama married into madara's clan

[good-wine-and-cheese]

hey carmen! i hope youre doing well! :D P, G, R, W for the ask game?

I'm doing dandy thanks and thank you for the ask! :)

P. Invent a random AU for any fandom (we always need more ideas).

Oh fun! Since I'm in Pluto brainland right now and already have a bunch of AUs rattling around about it I'll share one of those. I have in mind this AU where, during the 39th Central Asian War, Gesicht is critically damaged and has to be sent back for repairs by his creator (the damage is too intricate and complex for most field techs to fix him). Hoffman, faced with the visceral consequences of Gesicht being sent to war, takes matters into his own hands and runs off with Gesicht. I just think about how it's probably something Hoffman never wanted to put his creation through but wasn't able to stand up to higher ups at the time. I think faced with the violence and terror of the war coupled with Gesicht returning to him badly damaged would be the catalyst for him to recognize the system for what it is and work to support robots in a more earnest way that maybe requires him to be in hiding.

G. Have you ever had an OTP? If so, do you remember your first one? Who was in it?

So I don't think I define OTP the same way that most people do. "OTP" to me is just "the ship that is my favourite to think about" I guess, but I will still actively ship those characters individually with other characters, too. That said, my first OTP was McSpirk. 12 year old me took angsty pictures of Spock, Kirk and McCoy (and variations of them together) and made Windows Movie Maker slideshows with them to angsty billy talent and three days grace songs

R. Which friendship/platonic relationship is your favorite in fandom?

Favourite platonic relationships in fandom! That's hard, because tbf I like a lot of them. It's generally my favourite type of relationship between characters. Generally speaking though, any adult-child dynamics that are particularly wholesome (especially when one or both are severely broken people) will destroy me.

On a recent rewatch of Eureka Seven, I found I really appreciated the crew of the Gekko a lot. They're just a bunch of weirdo roommates and the vibe of that whole dynamic was really good to me. As far as platonic relationships in series go they feel very close to how actual people interact with each other so I guess I'll say whatever the crew of the Gekko has going on.

W. A trope which you are virtually certain to hate in any fandom.

Normally I'm pretty forgiving with tropes honestly! If it's an annoying trope that happens a lot of times I'll probably skip out, but it's hard for me to say any "specific" trope will make me "hate" it when generally I will give them a 3-strike grace or a "that was funny actually" level of acceptability. I guess I do have one that consistently pisses me off though.

"Shitty sex scenes used in place of character growth" is my biggest fiction pet peeve. It's not sex scenes as a general rule, but in so many shows I've seen the writers will give me absolutely no reason to believe character A and B would fuck (in fact, they usually seem to hate each other and Not in a oh they wanna fuck kinda way), then suddenly they fuck (and it's framed to be as bland as possible) and then after that they're super close meanwhile I have had absolutely nothing shown between them that would lead any of this to feel like it would feasibly have happened. It's bad writing and completely takes me out of the narrative and makes me think about how I would have written character development to get from point A to point B.

Ask game

[blnk338]

oooh i heard smut talk and i have to take that opportunity to put my pp in that pie.

this doesnt really have anything to do with any take of any anon on smut in rwys, but i saw my chance and ima take it hehe

idk if i’m too old or lame or smth, i think i might just be too desensitized atp, but … like… i love fics without or with minimal smut. maybe i’ve filled the gap of needing that as entertainment, bcs i started consuming sin when i was far too young. but it doesnt tickle me in the slightest anymore.

i love sexual tension and yearning and characters falling hardcore for eachother, but im really over too much sexy time ngl. ive never read a fic bcs the tags said it will be smutty. i actually started to skip a lotta fics that are porn w/o plot, it just isnt interesting to me. maybe i’ve seen it all and its not feeding any part of my brain anymore or whatever idk.

personally i do not understand the obsession with sexy time in fics and books, i do get why others like it tho and to each their own! but it will never be a reason for me to not read a fic bcs it doesnt have lots of sexy nsfw content.

i will take slow burn, enemies to lovers with super intricate and complex relationship dynamics that built over 300k words any time. make them touch hands for the first time after 4 months of me reading the fic and waiting for updates! they fall into each others arms all desperate in chapter 134? I will devour it. Hell, if the damn fic ends with them kissing for the first time… really as long as i can feel the love and want and all the feelings, i could not give less of a fuck, if the characters end up in bed together.

Some of the best fics ive read had relationships that ended with the characters completely devoted to eachother, both in love, massive tension between them and there was not a single drop of nswf in the entire story. There wasnt even a damn kiss.

Like i said, i understand that ppl like the entertainment of smut and i see that a lotta ppl enjoy writing it. super cool, super great. what i found out for myself is that i value mostly everything else in a story. espesh when a story can make me feel stuff, without it being shown through physical things the characters do. i think creating smth that pulls readers in like that, is an art in itself.

that was my unwarranted smut talk, thanks for coming 🦐

thank you so much for the input prawny!! always great to hear from u :)

im grateful for the conversation because i also prefer fics without smut-- i used to read them a lot when i was younger, but i agree on the fact that its just not really what I'm looking for now. I'm over the moon that people like my fic for how it is, and i never want to create any sort of turbulence with its contents.

i appreciate the constructive add-ons and i think this was really well said!

thank u again prawny!!

[greatdevourer1231954]

God of War: The Journey

(A more detailed explanation on my firsts fic and the behind scenes of how it came to exist as an idea.)

Video games are, and always will be, a profound form of art.

This truth is one that many people fail to fully appreciate. Video games, much like films, comics, literature, and other forms of entertainment, serve as a canvas for creativity, emotion, and storytelling. Over the decades since their emergence in the 1960s, video games have captivated audiences with their interactive nature and unique ability to immerse players in dynamic experiences.

However, as they have evolved, video games have transcended their origins as mere entertainment, emerging as a legitimate artistic medium that conveys compelling narratives, explores complex themes, and evokes powerful emotions. 

Modern video games, in particular, focus on a variety of artistic aspects—stunning visual design, atmospheric soundtracks, intricate character development, and, most notably, storytelling. These elements combine to create a medium capable of fostering deep emotional connections with players, allowing them not just to observe a story but to actively participate in it.

This is precisely the impact that Santa Monica Studio and Sony Interactive Entertainment did with one of their most acclaimed games of all time- God of War (2018)

God of War is one of the most iconic and influential game franchises in the world, renowned for its groundbreaking gameplay, rich storytelling, and immersive exploration of mythology and folklore.

The franchise's success is evidenced by its remarkable achievements, with the first game selling over 1 million units and earning $43 million in the United States alone.

God of War (2018), the series' reinvention, further solidified its legacy by becoming the fastest-selling entry in the franchise, achieving over 3.1 million units sold worldwide within just three days of its release. This milestone also made it the fastest-selling PlayStation 4 exclusive at the time, showcasing its widespread appeal and critical acclaim.

Beyond its commercial success, God of War has had a profound cultural and personal impact.

It was one of the first franchises that introduced me to the rich tapestry of mythology and folklore, sparking a lifelong fascination with these ancient stories. The Greek saga captivated me with its intense portrayal of vengeance, exploring the lengths to which individuals will go to achieve their goals.

Meanwhile, the Nordic saga resonated deeply with its themes of redemption and the courage to confront and learn from past mistakes, offering a powerful narrative on personal growth and transformation.

These profound themes and storytelling elements inspired me to create the Triniverse AU.

Now, I know many of you have questions so I will answer them here.

What made you think of this AU?

The idea for this AU emerged as I began to explore and understand the concept of a cinematic universe—a storytelling framework where multiple films, series, and narratives are interconnected in a cohesive and detailed way. Witnessing how studios like Marvel and others crafted expansive universes where characters, events, and worlds intertwined seamlessly sparked my fascination and curiosity. 

The concept of creating a unified narrative, where individual stories build upon each other to form a larger, more intricate world, felt incredibly compelling. I was drawn to the possibilities of weaving together distinct yet interconnected tales, exploring their impact on one another, and crafting a broader narrative arc that could captivate an audience over time.  

This fascination inspired me to create my own cinematic universe, where mythology, folklore, and original storytelling come together to form an expansive and immersive world.

It allowed me to channel my creativity into designing characters, plots, and settings that not only stand alone as engaging stories but also contribute to a larger narrative tapestry. The process has been both challenging and rewarding, offering me the opportunity to express my imagination and bring to life a world that feels rich, interconnected, and deeply personal.

What was the process of creating this AU like?

Creating an Alternate Universe (AU) is a long and complex process that requires deep thought, creativity, and careful planning. Unlike simply retelling an existing story, an AU must introduce fresh perspectives, unique elements, and compelling twists that make it stand out while remaining engaging to the audience. Every decision—whether it’s altering character fates, introducing new lore, or reimagining entire settings—plays a crucial role in shaping the final narrative.  

The first step in crafting an AU is determining what makes it distinct. A creator must ask: *What can I do to make this universe different? What themes or ideas will keep readers invested?* The possibilities are endless.

For instance, I considered several potential versions of my AU—what if God of War took inspiration from The Lion King, focusing on an animal kingdom?

What if everything went catastrophically wrong for the protagonists?

Or what if Kratos never traveled to Midgard but instead ventured into the mythology of Egypt, facing its gods and legends?  

That is the beauty of an AU—there are infinite directions one can take to reinvent a familiar story while exploring uncharted narrative possibilities. However, I wanted my AU to have something truly distinctive, a core concept that would set it apart from others.

That’s when I had an epiphany: What is the most famous mythical creature?

Which being appears in the folklore of nearly every culture across human history?

What legendary entity is so iconic that just mentioning its name instantly paints a vivid image in people's minds? 

The answer was clear—the dragon.  

Throughout human history, dragons have been revered, feared, and admired across various cultures and mythologies. From the fire-breathing, destructive beasts of European folklore to the celestial, wise, and divine dragons of Asian legends, these creatures have symbolized a wide range of concepts, including power, wisdom, chaos, and creation. Their presence in myth and storytelling has made them one of the most universally recognized and enduring creatures in human imagination.

My fascination with dragons began in early childhood, but my perception of them changed completely when I first watched How to Train Your Dragon.

The way the film portrayed dragons as distinct species, each with unique characteristics, abilities, and behaviors—especially Toothless, who was both a formidable creature and an expressive character—captivated me. The movie redefined how I viewed dragons, depicting them not just as mythical monsters, but as living, breathing animals with their own instincts, personalities, and social structures. This sparked a deeper curiosity in me about what dragons could truly be like if they existed in the real world.  

Following this, I explored how other franchises approached dragon design and mythology.

Dungeons & Dragons introduced me to the concept of chromatic and metallic dragons, each type representing different moral alignments, elemental abilities, and intelligence levels(I especially loved Alexander Ostrowski depiction of them.)

Game of Thrones showcased dragons as powerful, semi-intelligent war creatures, deeply connected to their riders and integral to the world’s power struggles.

Meanwhile, Monster Hunter presented Elder Dragons, godlike creatures that existed beyond mere beasts, influencing the ecosystems around them in ways both awe-inspiring and terrifying.

These interpretations reinforced my belief that dragons could be more than just legendary monsters—they could serve as key elements of world-building, representing deeper themes within a story.

This realization became the foundation of my AU. By making dragons a central part of my universe, I created a strong thematic and narrative anchor that allowed me to weave together a fresh and compelling story. 

Once I established the core themes of my AU, the next step was worldbuilding—arguably one of the most complex and rewarding aspects of storytelling.

Creating an immersive world requires more than just a compelling setting; it involves developing its history, societies, conflicts, and the logic that governs its existence. Every great universe has a foundation that makes it feel alive, and I wanted my AU to have that same depth and richness.

God of War (2018) provided an excellent starting point for inspiration. The game masterfully crafted a world that felt ancient, desolate, and worn down by time. Humanity was in hiding, while monsters, vengeful spirits, and the undead freely roamed the Nine Realms, giving the world a feeling of having long passed its prime.

The ruins of forgotten civilizations, remnants of lost gods, and the ever-present danger of the supernatural contributed to an atmosphere of eerie isolation and mystique. This sense of a decayed world added a layer of depth that I found fascinating, and I wanted to incorporate a similar feeling into my own AU.  

However, I envisioned something even grander—something that expanded beyond the Norse realms Kratos and Atreus explored. To achieve this, I drew inspiration from other franchises that had built vast and imaginative worlds.

Ben 10 introduced the idea of a universe teeming with alien life, advanced technology, and interdimensional threats.

She-Ra and the Princesses of Power and He-Man and the Masters of the Universe showcased worlds filled with magic, warriors, and a deep mythological structure.

Godzilla brought forth the concept of ancient, godlike titans, influencing civilizations and reshaping the world’s ecosystem. By incorporating elements from these franchises, I could push the boundaries of my AU, showing new frontiers that Kratos and Atreus had never seen before—worlds beyond their understanding, filled with creatures, mysteries, and conflicts waiting to be explored.  

A major influence on my worldbuilding was Horizon Zero Dawn, which presents one of the most fascinating post-apocalyptic settings I have ever encountered.

The idea of future generations having to start from scratch, unable to comprehend the advanced knowledge of their ancestors, struck me as both haunting and awe-inspiring. The way machines had replaced animals, and how humanity’s past greatness was reduced to myths and relics, demonstrated how a world ravaged by time and catastrophe could still hold beauty and intrigue. This concept inspired me to explore the idea of civilizations that had risen and fallen in my AU, leaving behind remnants of knowledge, power, and mystery for new generations to discover.  

Through this approach, I sought to build a world that was not just a backdrop for my story but an active, evolving element of it. A place where mythology, science fiction, and fantasy intertwine, where the past and future collide, and where every location tells its own tale.

In this way, the world of my AU becomes more than just a setting—it becomes a living, breathing universe full of untold stories, waiting to be uncovered.

What is the biggest challenge in creating an AU?

One of the most critical aspects of creating an Alternate Universe (AU) is maintaining consistency.

When developing an AU, especially one that incorporates multiple franchises, it’s easy to get carried away with adding exciting elements without considering how they fit into the larger narrative. However, without a strong sense of internal logic and coherence, the world can quickly become a chaotic mix of ideas that lack direction or depth.

Ensuring consistency in worldbuilding, character development, and thematic integration is what transforms an AU from a simple crossover into a well-crafted, immersive universe.  

The biggest challenge arises when deciding which franchises or elements to incorporate. Just because a series is popular or personally enjoyable doesn’t mean it belongs in the AU.

Every addition needs to serve a purpose—whether it enhances the worldbuilding, expands the lore, or deepens the themes of the story.

For example, incorporating franchises like Ben 10, She-Ra, He-Man, and Godzilla makes sense in my AU because they align with its mythological and sci-fi elements. These franchises feature ancient beings, powerful forces, and expansive worlds, which fit naturally into the setting I’m building.  

On the other hand, adding something like My Little Pony or Angry Birds would be a jarring and unnecessary choice unless the AU had a narrative framework that justified their presence.

If there’s no logical way for a franchise to fit into the world’s established rules and tone, its inclusion only serves to break immersion and weaken the overall story.

This is why I carefully consider each addition, ensuring that it contributes to the AU’s themes, history, and internal consistency.  

Another major factor in maintaining consistency is the balance between respecting the source material and introducing new elements.

When adapting characters, locations, and lore from different franchises, it’s essential to preserve their core identity while integrating them in a way that feels natural within the AU’s setting. If a character or world undergoes drastic changes that contradict their established traits, it risks alienating fans of the original work and creating an experience that feels disconnected from its inspirations.  

Ultimately, the key to a successful AU is ensuring that every piece of the puzzle fits together seamlessly. The world must feel lived-in, the characters must have depth, and the lore must be rich enough to sustain the story. A well-crafted AU is not just a mash-up of franchises—it’s a carefully designed universe with its own identity, rules, and overarching narrative.

This is why consistency is the most challenging yet essential aspect of creating an AU. Without it, the story loses its impact, but with it, the AU can become something truly unique and compelling.

If God of War: The Journey was an animated series, what would the animation style be?

If God of War: The Journey were adapted into an animated series, the ideal animation style would be that of Powerhouse Animation Studios, specifically in the vein of their work on Castlevania.

This studio’s distinct visual approach perfectly encapsulates the balance between raw brutality and striking beauty—elements that define the God of War franchise and would be essential in bringing The Journey to life.

Powerhouse Animation is known for its fluid, dynamic fight sequences, which feature weighty, impactful combat that feels visceral and intense. This would be crucial for capturing the savage battles in God of War: The Journey, whether it’s Kratos and Bendy taking on monstrous creatures, gods clashing in divine showdowns, or Atreus using his cunning and agility to outmaneuver foes.

The choreography in Castlevania has already demonstrated the studio’s mastery of depicting brutal, fast-paced action while ensuring that every movement feels meaningful and powerful—qualities that align perfectly with the God of War combat style.  

Beyond the violence, Powerhouse Animation excels at worldbuilding through breathtaking background art and atmospheric lighting. Their ability to craft hauntingly beautiful yet dangerous landscapes, as seen in Castlevania, would translate well into the ancient and mythological settings of God of War: The Journey.

From the desolate ruins of fallen civilizations to the awe-inspiring halls of gods and monsters, this visual style would allow the series to feel both grounded and epic, emphasizing the themes of gods, fate, and redemption.  

Additionally, Powerhouse’s approach to character design is well-suited for God of War: The Journey. Their characters have expressive, detailed faces that convey deep emotion, making them feel alive and fully realized. This would be crucial for portraying the emotional arcs of Kratos, Atreus, and Bendy, as their journey is not just about battles but also about personal growth, loss, and the struggle to escape the shadows of their past. The stylized yet realistic designs would ensure that the characters remain visually striking while still fitting within the serious and mature tone of the story.  

Ultimately, Powerhouse Animation’s unique blend of brutality, beauty, and emotional depth makes it the perfect choice for adapting God of War: The Journey into an animated series.

Their experience in handling dark, mythologically rich narratives ensures that the series would not only capture the essence of God of War but also elevate it into a visually stunning and narratively compelling experience.

Here's an demonstration of the animation---> https://www.youtube.com/watch?v=MS__posNjK8

And with that, I hope you enjoyed this chapter and if you have any questions or doubts, just send them in the comments and I will answer them for you.

Notes:

Hey guys, I would like some help, for those who are fans of Dungeons & Dragons, how could I use the chromatic and metallic dragons in my story? And how could I also place their gods, Bahamut and Tiamat in this universe?

[eddydreaming]

My First Xianxia

Hello there my dreamies! I came up with that name, dreamies, to call my readers, what do you think? It sounds cute.

I recently watched a Xianxia for the first time because an online friend recommended it to me. I’ve always loved fantasy, and this genre seemed to have something I’d enjoy. Xianxia means “a fantasy TV genre based on Chinese mythology and the concept of chivalrous spirit”, literally meaning “immortal heroes”. 

The name of this Xianxia is The Last Immortal.

THE LAST IMMORTAL - BASIC INFORMATION

Episodes: 40 (45 mins)

Release dates: Dec 11, 2023 - Jan 4, 2024

Genres: Romance, Wuxia, Drama, Fantasy

In a world full of wonder and enchantment, Feng Yin, a female spirit, sets out on a journey to collect the pieces of her scattered immortal essence while navigating the complexities of her true identity. Accompanying her on this quest is Gu Jin, the son of the "true god", whose magical powers have been sealed, making their relationship all the more intricate.

Once master and servant, their dynamic transforms amidst personal challenges. They begin to develop a deep connection that suggests the potential for a stronger bond. As their fates become intertwined, Feng Yin and Gu Jin embark on a transformative journey to retrieve her immortal essence, fueled by admiration and trust.

(Source: mydramalist)

REVIEW - NO SPOILERS

I watched it in one week. 40 episodes. I’ve never watched a drama so fast in my entire life. I have not uploaded last week’s Thursday’s blog because I needed to finish this drama to talk about it.

The characters in the story were exceptionally well-crafted. Usually, I tend to like the male lead characters more, but in this particular case, it was the female lead character that caught my attention. At the start of the story, she appears cute and charming. She is shown as a weak character due to her low power. However, her personality is so strong that she sets what’s right and wrong clearly in her mind, and is determined to do the right thing, even if it means facing the consequences. 

The male lead in the show was amazing. He is very loving and caring towards everyone around him, to the extent that he would even sacrifice his own existence just to ensure their happiness and well-being. Although he initially appears to be a foolish character, as the show progresses, he emerges as an even stronger character.

The supporting characters are incredibly well-developed, each with their own unique personalities that mesh perfectly with the story.

One of my favorite parts of the drama is the character development.

In regards to the romantic relationship, there are not many physical actions involved. Nevertheless, their connection is incredible and their way of loving each other is very passionate and dramatic, sometimes even shocking. 

The world-building was amazing. Everything was stunning, and though the story of the immortals was initially hard to understand, it was very captivating.

REVIEW - SPOILERS

I would like to share my thoughts on two memorable scenes that I came across in dramas. For me, a drama that has iconic scenes that stay with you forever is what makes it memorable. The first scene that truly touched my heart was when Qing Yi destroyed Cloud Condensing Mountain, which was Ah Yi’s home. She was deeply hurt and sad, and her cries felt so real that it made me cry too. 

Later, Qing Yi planned to seal her immortal bones, but unfortunately, her immortal core was already damaged, which meant that she would end up being killed. When Qing Yi found out about this, he ran towards her to stop it, but it was too late. In a state of shock, he hugged her tightly as she disappeared right before his eyes.

The scene hurt a lot, it created a lot of emotions in me, and I still remember the huge impact it had on me. The effect of that scene was so significant that it stayed with me long after I had watched it.

In the second scene, Feng Yi discovers all that Qing Yi had done for her. She tells him that they should forget about everything that happened. Qing Yi asks her what they should forget, referring to the moments when she ignored him and the hurt she felt because of him, or all the loving moments they spent together. In response, she kissed him in a beautiful moment that made me want to shout, "Finally!"

I really enjoyed watching the drama, but I was a bit disappointed with the ending. The drama was full of intense emotions, but the ending felt plain and lackluster. Although I appreciated the significance of the pear blossom tree forest scene, where the male lead was revived, I was hoping for a more satisfying conclusion. I expected the couple to at least hug each other, but they just looked at each other, leaving me wanting more.

RATING

Characters: 10

Plot / world-building: 10

Music: 10

Acting: 10

Ending: 7.5

Overall: 9.5

[zeewonderland]

BLOG #5

A Literary Criticism on "Omniscient Readers Viewpoint by Sing-Shong"

The story follows the protagonist, Kim Dokja, who his world turned into a novel he has been reading for years, "Three Ways to Survive in a Ruined World". As he navigates through the novel, he discovers that along with characters who he had read about coming to life as real people, there are others who get in the way of the plot.

Rather than following a typical plot where the protagonist is transported into a fantasy world and becomes the hero of that world, "Omniscient Reader's Viewpoint" explores the idea of readers being transported into a novel they are reading and becoming an integral part of that novel's story. This allows for a unique and refreshing perspective on the genre.

Another notable aspect of this novel is its character development. Sing Shong does an excellent job of fleshing out the characters, both the readers and the characters within the novel. Each character has their own distinct personality and backstory, making them feel like real people rather than just fictional characters.

One of the most intriguing aspects of "Omniscient Reader's Viewpoint" is how Sing Shong explores the concept of readers interacting with the characters they are reading about. This idea allows for unique introspection on the characters' characteristics as well as the readers themselves. Throughout the novel, we see the characters being tested and pushed to their limits, forcing them to confront their flaws and fears. As readers, we are also forced to question our own biases and preconceived notions about the world around us.

Characterization? Why is it done like that?

Sing Shong's writing is particularly effective in portraying the internal struggles of the characters. The novel is filled with introspective moments where the characters grapple with their own emotions and motivations. We see this most clearly with the protagonist, Kim Dokja, who is haunted by his past and struggles to connect with others. The other characters are equally well-written, with complex backstories and motivations that drive the plot forward.

Each character has their own unique and refreshing qualities, as well as weaknesses that make them feel closer to the reader despite them being "Fictional" What does the author mean with the Power Dynamics and influence of the "Reader"?

Another interesting aspect of the novel is the way in which Sing Shong plays with the concept of power dynamics. In this world, the readers have the power to change the story, and the characters within it are forced to adapt to their whims. This leads to a fascinating exploration of how power can corrupt and how people can be manipulated. It also allows Sing Shong to subvert traditional power structures and explore alternative ways of being in the world.

ANSWER:

A bit of a spoiler here ^^ the "reader" controls the story as it progresses, and there is a possibility that SingShong used it as a metaphor and as a reminder for people that "THEY" themselves control their "Story"

Another impressive aspect of this novel is its worldbuilding. The author has created a complex and intricate world with its own mythology and rules. This world is not just a backdrop for the story but an integral part of the plot. The attention to detail in creating this world is impressive, and it adds depth and richness to the story.

This is shown in the handling of the "Myths" and "Gods" and "Stories" Behind the so called "Constellations" - I think that it impressively reflects how some of us view others in a light differing to us, to the point where they seem inhuman. Yet there is always a story of how, why and what happened for those so called people to be treated and act as such.

Omniscient Readers Viewpoint in conlusion, I think deserves its fame in the Korean and International Novel Community, As one of my first Korean Novels, it definitely encouraged me to try out and explore more of Korean Novels and it's literary tropes and just like Kim Dokja ( Dokja which literally means Reader), the novel is one of the definite treasures that I still keep close to my heart. ON ANOTHER NOTE:

( THE CHARACTERS I LOVE THEM ITS BEEN YEARS SINCE I LAST READ ORV BUT JUST MUAH, ALSO ITS FANDOM HAD BEEN DOLING OUT AMAZING CONTENT FROM FANFICTIONS TO FANARTS AND EVEN THE AUTHOR AND PUBLISHERS ARE AMAZING!!!)