#i personally use a lot of metaphors because they help me grasp concepts but i know they're never perfect and this is a sensitive topic

[caffeinatedopossum]

"Why does autism need to be diagnosed?" and "you shouldn't self diagnose autism" people listen up. Imagine this:

You're 7 feet tall but no one knows it. Everywhere you go, you hit your head and people stare at you. Everyone asks you "why are you like this?" and you don't know. You start to ask yourself too.

Everyday, you're forced to wear the same pants as everyone else, even though they will never fit. It hurts. It hurts that people don't understand you and it hurts that you can't understand yourself. You haven't even been given the language to ask for the accommodations you need.

It seems really strange to you that no one else ever seems upset by the clothes that don't fit and the doorways that are too low. You assume you're just too sensitive to do these things. When you do complain, people just tell you "well everyone hits their head sometimes". They don't know what being 7 feet tall actually feels like. They don't know what the world looks like from where you are and when you try to tell them, either you don't have the words or they don't listen.

You don't know you're 7 feet tall. All you know is "why am I like this?"

Then one day, maybe you meet someone else who is 7 feet tall. You see them at YOUR eye level and gasp, thinking 'this has never happened before! They're like me!' Maybe you talk to them and they mention that they get their pants tailored because they can't find regular pants that fit. You think to yourself 'that's an option??' They say "yeah it's because I'm 7 feet tall." And for the first time, that question isn't 'why am I like this?' but 'is THAT why I'm like this?'

You feel relieved and even overjoyed because things make sense. You finally understand. Or at least you think you do. But when you ask people to accommodate you for being 7 feet tall, they only ask if you've actually been measured. Not many people actually get measured, only people who go to the specific doctors that specialize in measuring.

The problem is those doctors are not only expensive but good standard measurements don't exist yet. Sometimes those doctors can't even reach to 7 feet or the measuring tapes themselves don't go that long. Even the standard for diagnosis is often inaccessible to people who are actually 7 feet tall because the doctor doesn't understand being 7 feet tall either.

Let's say you don't get diagnosed. Everyone denies that you're 7 feet tall for the rest of your life. You become anxious because no one understands you and you don't understand them and you become depressed because everything is so hard it often doesn't feel worth it.

Sure, you *can live* like this but everything is strained. People don't treat you well because they see you as an inconvenience, the job that your coworkers effortlessly work overtime on is exhausting to you and you barely make it to work. And when you get home, you don't do the things you want to do, you just ask yourself 'why am I like this?' and sleep uncomfortably in your bed that is too small for you.

[cedarxwing]

Hannibal Season 4 Plot Ideas

The main concepts that keep coming up in interviews of Bryan Fuller and some of the cast are:

"Will Graham's broken mind" and "memory palace bullshit"

"Inception meets Angel Heart"

an interesting return to season one dynamics, but flipped

deeper exploration of Will and Hannibal's relationship than in previous seasons

stuff from Hannibal the novel that no other adaptation has done yet.

we're in Cuba

So based on that, here are some possible story beats for S4 (picking up right after the Fall as if the show was never cancelled):

We start out in Cuba. The most obvious reason? To hunt down one of their victims that have fled the country, as Hannibal does at the end of Silence of the Lambs. Based on interviews, it's clear that Chilton would remain in the US to head the BSHCI again (how is he alive, let alone working?), so it's more likely that they're hunting Bedelia for the post credits leg scene.

Will Graham's Broken Mind

During the Fall, Will suffers a mental schism that splits his personality, similar to the detective in Angel Heart. I don't think he literally has a split personality disorder, but he compartmentalizes his killer/Hannibal self from his moral self. When he participates in murders, he's not quite himself, viewing it through a dream lens (we saw a little of this when he was killing the Dragon). It's possible that he takes on personality traits from killers in season one, or even has to fight against a Red Dragon personality ("You can always toss the Dragon to someone else." "Will Graham interests me.")

I think we'll see a return of the teacup metaphor relating to Will's mental schism, since their reunion represents the "teacup coming together again" the way Hannibal wanted it to in Digestivo. "Not even in your mind?" Well, the teacup HAS come back together in Will's mind, because there's no other way for him to accept his feelings for Hannibal. He mentally regresses back to season one/two and we see the return of the Abigail imago we last saw in Primavera, as well as Beverly and Hobbs and Gideon and all our other friends. Maybe Will thinks they're all alive again! Or maybe he thinks he's dead! This would be really poetic from Hannibal's perspective, since his arc in the novel is about dropping a teacup and "being satisfied when it does not gather itself together." So it would be perfect for the cup to gather itself in Will's head and for Hannibal to realize that's not at all what he wants.

Will hallucinating Abigail would be a fun way to get the "murder family" dynamic. "It's hard to grasp what would've happened, could've happened. In some other world… did happen." Well, we can see that world in Will's broken mind!

I don't have a clear guess of what a "return to season one but flipped" might mean. There are lots of possibilities...

1. Could refer to Will's encephalitis days when he wasn't sure if he was committing the murders or not, except this time he's committing them. Maybe he has a pendulum wipe moment and thinks he's reconstructing a murder instead of committing it (like a reverse of the Georgia Madchen murder in Buffet Froid). Going extreme in this direction, maybe he analyzes his own crime scenes with Hannibal in therapy. Maybe Beverly shows up at an actual crime scene and helps him "analyze the evidence."

2. Could refer to his dynamic with Hannibal. According to the rest of my bullet points, they return to their therapy sessions, but with memory palace elements and hallucinations, etc., but this time Hannibal is trying to fix Will instead of breaking him down.

Something from Hannibal the novel that no one else has adapted

This could be a few things, but I think it's most likely the end of the novel where he's brainwashing Clarice. Hannibal would use drugs and hypnosis ("therapy") to help Will merge his two halves and fully accept who he is. This happens in different places in their memory palaces, kind of like the white space dinner scene from Dolce, or when they were jumping around to different places in the Red Dragon investigation. To be clear, they're on friendly terms. Will consents to this. He has ample opportunity to escape and go back the US if he wants. We might get a lot of information on Will's childhood and backstory, maybe a "saving Hannah the slaughterhorse"/"silence of the lambs" moment. I'd like to see him as a cop working in New Orleans. The time he got stabbed. The time he didn't have the stomach to pull the trigger. This would be a nice reverse from the S3a dynamic where Will was delving into Hannibal's backstory. :)

Part of this "therapy" could be helping Will let go of Abigail the way Hannibal helped Clarice let go of her father. This plot beat has already been done twice in the show (1. The Primavera line "A place was made for you, Abigail. The only place I could make for you" refers to the place in Will's mind. 2. The WCWTS scene where Hannibal helps Abigail let go of her father. "What you need of your father is here, in your head.") BUT I still want to see it with Will/Hannibal. What I'm really saying is it would be cool if Hannibal showed Will Abigail's skeleton to convince him that she's dead and Will cried over her skull.

For the other half of Will's therapy, Hannibal has to get him to really delight in a murder when he's fully present as himself (Similar to how Clarice ate Paul Krendler's brain. Similar to how Hannibal wanted Will to kill Mason Verger.). Ideally the victim wouldn't be a criminal (Will is already fine killing murderers like Dolarhyde and Bedelia), but a representative of the corrupt judicial system. Someone who has personally slighted Will. An FBI official that Will HATES enough to eat their brain. The perfect option is Kade Prurnell (whose name is an anagram for Paul Krendler!). So yeah I think Hannibal catches Kade Prurnell and they have a dinner party where Will kills her and realizes, "Hey, I don't care what Jack or Alana or the FBI or anyone thinks about me anymore. My personal ethical code is good enough for me because I am MORE ethical than the law." And then he and Hannibal can be full murder husbands after that.

Side character subplots

While all this is happening, there's an international manhunt for Will and Hannibal going on. Jack/Price/Zeller are still at the FBI, probably beefing with Kade Prurnell to establish how awful her character is. Either Clarice Starling, Miriam Lass, or Alana Bloom are on the case. The murder/disappearance of Bedelia (or whoever) in Cuba is their first lead, so everyone gets to go to Cuba!

It's been nearly two seasons since Will interacted with Prurnell, so maybe they need to have a cat and mouse dynamic in Cuba to reignite his loathing. Idk why she would be in Cuba, when she works for the OIG... but who cares! She's there, motivated by greed, basically acting as Will's Pazzi. Maybe she's bullying her underlings in true Krendler fashion.

At this point, Jack is the only somewhat moral person in the entire cast. His primary motivation is saving Will. Yep, that's right, he still thinks there's a chance to bring Will back. He's leading the investigation, but he's hoping to catch Will alone before anyone else finds him so he can try to talk him back onto his side. This would continue the God vs. Devil thing with Hannibal, fighting over Will's soul.

Maybe Jack finds Will when he's in his broken state of mind and they have a chat. I'd want this scene to function like Clarice's hypnosis scene where she talks to her "father." Jack and Will address the vague father/son dynamic they have ("I'm not your father, Will." "Abandonment requires expectation." Jack as God/Will as the Lamb). Jack forgives Will for his crimes. Will forgives Jack for sacrificing him. The conversation helps Will along in his "therapy."

Last time we saw Alana, she was fleeing on a helicopter with Margot and their son. My first thought was "Omg they're going to Cuba! They're going to get Chilton'ed in Cuba!" but Fuller has mentioned that Margot would be actively managing the Verger meat packing company as a vegan girlboss lesbian so idk. (I personally don't see how a vegan could run a meatpacking company... maybe it transitions to tofu packing).

Anyway, I think Alana's character has gotten even darker since Hannibal's escape. She's given up on Will and is completely focused on protecting her family. Knowing Hannibal is going to come to kill her, maybe she sets up some sort of trap for when they come (or she puts Will's dogs under a cardboard box held up by a stick and waits). Maybe she catches Will and Will has to pull a Bedelia and pretend he was kidnapped and brainwashed (and he kinda was, if Hannibal used hypnosis and drugs like in the book). I think it would be fun for her to finally give into her "professional curiosity" about Will and try to study him (like a Bedelia/Mason hybrid character). Maybe she teams up with Jack to use Will to catch Hannibal. It would be wild if W+H actually killed her, but maybe! Maybe she gets the Chilton treatment and lives, but gets a nice facial scar like every other fallen character in the show.

Freddie Lounds would have to come back! And I want her DEAD haha. She's escaped punishment for too long, so in my ideal S4, she writes a book about Abigail even though Will asked her not to. Maybe she's investigating/contaminating Will's crime scenes in Cuba? She's definitely gonna die, but not before W+H use Tattlecrime for some shenanigans!

Chilton loses a limb (that's really all he has left to give). In an actual S4, I'm sure there would be a plot reason for this and some other killer would probably do it, but in my mind it's a comedy beat. W+H don't even set out to get Chilton. They don't hate him, they just find him pathetically entertaining at this point. Through Chilton's own incompetence or some karmic twist of fate, he runs into them (like Barney at the opera). W+H take one look at each other and go, "You know what would be funny..."

I have NO idea what to do for Molly. I assume she's living with Wally's grandparents in Oregon. Maybe Will mails her some signed divorce papers and that becomes evidence in the investigation lol. I'd rather leave her in peace!

More serial killers who used to be Hannibal's patients! W+H read about a former patient's murders in the news and go to catch him before the FBI can (running into the FBI in the process, of course).

Other stuff

I'd love to skip around to Brazil or Buenos Aires, the South American locations from the books. Maybe Hannibal gets injured and needs surgery in Brazil, and his medical records are another lead for the investigation. Maybe the season ends with a happily ever after in Buenos Aires. <3

They pretend to be recovering from plastic surgery to hide their faces in bandages. I just think that would be funny.

Will escapes Alana's clutches by using all the serial killer skills he learned in season one. He pretends to be a dead body, wearing someone else's face as in SotL. (This was actually in the Digestivo script but it got cut.)

They steal an ambulance (and turn off the radio!) again like SotL. And then the "This is very educational" line from Sorbet would come full circle.

Someone has to send a secret message using book code. What if W+H got separated and that's how they had to communicate? Or maybe they communicate to another killer that they're hunting? Or maybe they do it just to taunt the FBI?

Jack vs. Hannibal fight scene (round 3)! This time over Will's soul. Will watches, amused (maybe in broken mind state).

(If anyone else has thoughts I'd love to hear them!)

[techtakesoff]

witch of life?

The Witch of Life

As we close in, I get a little more melancholic about it.

Witch - one who manipulates their aspect or manipulates with their aspect.

Life - control over literal life and natural energy.

The Witch of Life is one who manipulates Life or manipulates with Life.

The opposite of a Witch of Life is a Seer of Doom.

For Witches, something that they often struggle with is the fact that not everyone needs what they can give of their aspect. Witches are a whole lot of a deal separated from their aspect, and as such, struggle to grasp the concept of it. The way it was explained to me once is that Witches struggle with the constant loom of their opposite aspect over their head, in some way. For a Witch of Life, that can be interpreted as having Doom over their head, in some way. Threats of death, of a chokehold on rules, or something else involving the aspect of Doom.

Witches are powerful. They have a shit ton of potential energy, and all of the means to use it. Yet their aspect haunts them, and affects them in several different ways. For a Witch of Space like Jade, she was able to do whatever she wanted, but she was all alone, because she was presented with literal space between her and her friends. For a Witch of Life, i.e. Feferi, has a a lot hanging over her head at once. She had a big chance of dying, especially since she would inevitably have to fight the Condesce. For a different Witch of Life, their vice would absolutely be different, yet it would be same in some way. Life hangs over them, and Doom hangs over them.

Witches often struggle with understanding when other people need their aspect. For a Witch of Life, this might manifest in the form of that they don't know when their help isn't needed. Life players have a running leitmotif of being helpers and caretakers, and a Witch of Life might not always understand that sometimes, their help isn't wanted, and whoever it is will be fine on their own, no metaphorical training wheels needed.

Witches manipulate their aspect, and as such, a Witch of Life manipulates Life. Now this can mean it literally, but it can also mean that they manipulate their environment or change it to their whims. Perhaps they bend the rules their guardian has set in place and gone a little out of bounds, just as a test. They might be quite good at manipulation of rules to get to what they want.

Life players are often shoved quite awkwardly into positions of power, where even if they enjoy it, they try and do something about it. For a Witch of Life, they'd be the kind to rebel against all that said position stands for, even if it means breaking down fundamental values about whatever that is. Another interpretation of Life is that it can be about breaking/bending/adjusting rules to better suit how they want it.

And Witches are a master at this. As a manipulation class, they bend and break the rules of their aspect, and so I see a Witch of Life bending and breaking and challenging the rules of Life. They stand up to their predetermined destiny and they say "but what if I did this instead?" They're always curious, always trying to figure out more about the world around them and trying to fit it into their own personal ecosystem.

But one thing that they definitely struggle with is being able to relate to other people. For as much as a Life player might be a caretaker, they also fully have they ability to suck at that. A Witch of Life would struggle on how to come across to someone as trying to help, and their idea of help might actually end up hurting someone else.

They struggle with fighting against things that aren't actually there. A Witch of Life finds it easy to fight back against a real thing, it gives them material to work with, yet they still find it an issue to fight back against hypotheticals. Their life is perpetuated by big if questions, and if they're focusing on it, the Witch of Life protests against it, even though these big if questions might not even become true.

They're always trying to understand, even if it is a bit misguided. The Witch of Life is one who might initially struggle to understand the hard times of their friends, but they try. They want to be there for their friends, and so they try pretty hard to get to it. They are hella good listeners, but they might suck at giving advice, because they don't know /might not have a good grasp on where to give advice that applies to them rather than what applies to who they're talking to.

Life players are usually pretty adamant on the 'I know best' logic of thinking. For a Witch of Life, this might be amplified. They might put a pretty solid hold on the fact that they think they know best, and getting an opinion in that rivals them would seem to be an intimidating feat, something that almost seems impossible. They'd disagree with something if it rivals what they think they know the best about, and getting over that is something they struggle with.

Life players, and definitely Witches, can be hella stubborn. For a Witch of Life, they're stubborn to the bone. This is not a bad thing, especially because it means they have very solid ground in what they stand for and believe in, but it can be a bad thing if they close themselves off from any criticism. They have trouble getting their head out of the clouds, to see the potential reality of the world they're in, that not all of their ideals will work.

So that begs the question. What can a Witch of Life do?

Well from what we know in canon, Witches are very good with their aspects. Unfortunately, the canon Witch of Life, Feferi Peixes, sort of fades into the background and appears a few times after her death.

What we do know from her though, is a few interesting things:

Witches of Life are able to manipulate Life on several scales. For example, the dreambubbles. That's something a Witch of Life in a different session could theoretically reproduce.

They have very good healing/revival powers. Feferi heals WV, from basically death.

Speculation:

A Witch of Life would be able to manipulate the lives of others. For example, I think that the Witch of Life would be able to change the lives of people they don't like. Metaphorically, they could use their status or abilities in the social world to knock someone down a peg... but that's less of a 'Witch of Life' power. I think that they'd be able to manipulate the lives of their enemies to literally just murder them.

They bend and break the rules... of reality. I think that they'd be able to manipulate the rules of Life to sort of heal people. Something that would completely obliterate someone becomes a harmless 'tis but a scratch' because of their ability to bend the rules.

They decide who lives and by extension who dies. I think that a Witch of Life would be able to manipulate someone's ability to live. If they really want you around, you stay around.

[mediaevalmusereads]

Writing Fiction: A Guide to Narrative Craft (10th ed.). University of Chicago Press, 2019.

Rating: 4/5 stars

Genre: academic book, creative writing guide

Series: N/A

Summary: The most widely used and respected text in its field, Writing Fiction by novelists Janet Burroway and Elizabeth Stuckey-French guides the novice story writer from first inspiration to final revision by providing practical writing techniques and concrete examples. Written in a tone that is personal and non-prescriptive, the text encourages students to develop proficiency through each step of the writing process, offering an abundance of exercises designed to spur writing and creativity. The text also integrates diverse contemporary short stories in every chapter in the belief that the reading of inspiring fiction goes hand-in-hand with the writing of fresh and exciting stories.

***Full review below.***

Content Warnings: references to war/violence/trauma/suicide/etc (as examples of stories, excerpts from stories about these topics, etc)

This book is non-fiction, so my review will be structured a little different than normal.

I picked up this book on recommendation from a friend who is a creative writing instructor. I wasn't really looking to improve my own creative writing, but rather, I was looking for a guide that would give me the language to talk about writing from the perspective of craft. That being said, you can still use this book if you're interested in creative writing instruction: I'm just letting you know that I'm not coming at this from the perspective of one who writes creatively.

There were a lot of things I really appreciated about this book. I really liked how focused each chapter was, getting right to the point with few embellishments but plenty of illustrative examples. Every concept, therefore, was easy to grasp, even if implementing it in one's own writing is a challenge.

I also appreciated that each chapter dealt with a particular topic (character, plot, point of view, etc) and offered numerous freewriting prompts and suggested readings. These collections help the reader both practice what they've learned and to seek out material that illustrates the concepts of each chapter, and I think they're varied enough that most readers will find a reading or prompt which resonates with them.

Lastly, I appreciated the way that Burroway explained why certain writing choices were better than others while also acknowledging that some prescriptivist "rules" can be broken. For example, Burroway very clearly breaks down the difference between showing and telling and explains when showing may be more effective versus when telling is the better choice. She also explains what effects showing and telling have in the reader so that authors can approach a project more mindful of their impact.

All that being said, I didn't give this book a full 5 stars because there were some little things that irked me. For one, this book is somewhat biased against genre fiction and makes some generalizations that I don't think are fair. Still, there are some passages that acknowledge that genre fiction can be productive and that writing to reader expectations isn't always a bad thing, so maybe I'm more annoyed than offended. Additionally, this book uses some metaphors that may or may not be upsetting to people. For example, Burroway describes plot in terms of a war (specifically the conflict over the Gaza Strip) and facial features (which may come across as ableist at times). I can't speak for everyone and perhaps I'm reading too much into these comparisons, but it's better to be aware that they're used.

TL;DR: While there was nothing in this book that was essentially "new" for me as a person familiar with literary criticism and craft, I do think Writing Fiction is a good resource for people who may just be starting out (like high school or college create writers or adult writers who don't recall much from English class). It gives a lot of clear, concrete advice and provides useful language for articulating what constitutes "good writing" in the modern age. For these reasons, I think it's a helpful text, but by no means the only handbook one should use when crafting a story.

[mannatea]

Hi! For the ask game: 🌈 💞 🪄

🌈is there a fic that you worked *really fucking hard on* that no one would ever know? maybe a scene/theme you struggled with?

Hoo boy. Yeah. Three fics.

Fireside Dreams. The original was written in 2008 and this rewrite done in 2020. The rewrite was extensive and I DO MEAN EXTENSIVE. In 2008 I was well into adulthood already (lol) but I didn't have a great grasp of who I was as a person yet. I don't mean this in any sort of negative way, but Oscar as a character always spoke to me deeply and it wasn't until I rewatched and reread RoV in 2020 that it hit me square in the face why that was. In my rewrite of this story, I managed to convey a lot of themes I was incapable of putting words or solid feelings to back in 2008, and I wrote Oscar as asexual. I never outright stated it in the story or the notes (because I wanted my readers to feel they could kind of choose that specific for themselves) but that was where my mind was when writing it. Also, I very much wanted to hint at The Incident Scene being as complex as I view it, so I was able to do that too, something I could have NEVER put into words in 2008.

If It Takes a Lifetime. I was actually very happy with the original story, also posted in 2008. The original was more or less a cathartic love letter to the fans; it was my definitive proof that the author knew what she was doing by ending the series the way she did. When I reread it to work on, though, I found that the original was a classic example of what a friend criticized my writing for, once ("too emotional"). I reread it in 2020 as my first foray back into writing after some time away, and it was my first RoV rewrite. I found the story felt underdeveloped and a bit uninspired-feeling, and there was a lot of emotion that didn't really feel real or earned (which is something I've trained myself to notice; I did not have this skill in 2008). I also Get the characters in a way I did not in 2008 which helped a lot. In the rewrite I tried to mimic the manga tone more; the French translation (which is all I had until recently lmao) has this sort of...waxing poetic narration and I needed it for this story to work. I also had to retool basically the whole thing due to the PoV moving from omniscient to limited and the aforementioned issues. Rewriting this damn thing was a labor of love if ever there was one. I was so happy with this rewrite that in my notes I said it felt more like a Rose of Versailles fic than any other RoV story I wrote.

A Rose Is a Rose Is a Rose. I probably should not have labeled this a romance; it's more character study + friendship than anything but sometimes I'm stupid. Anyway, this was the first extensive rewrite I did since 2020 and it was pretty much a complete retooling of the original story, which had a fun premise but was way too short to make the idea work properly. This one was another serious labor of love; the story concept was good but the actual structure had to be tossed out, so I had to more or less just write a whole new story while still keeping the parts of the original that worked for me. And while I was at it I made certain it acted as a bridge to Raine's skit with Regal (where they agree that Lloyd surviving is of the utmost importance) as well as an easier segue into her ending, since I felt the game did a poor job of getting us from "she lied about her identity" to "she's so comfortable with it now she's out trying to end discrimination." (Not that the game did a great job with like, any of the character endings save a few, though lol.)

--

💞what's the most important part of a story for you? the plot, the characters, the worldbuilding, the technical stuff (grammar etc), the figurative language

This is tough because it depends on the story.

Short pieces: Characterization > Metaphors Make Sense > Technical Stuff > Plot > Worldbuilding

Longer works: Characterization > Plot > Worldbuilding > Technical Stuff > Metaphors Make Sense

Like obviously if the technical stuff is dogshit people won't read the story at all, but if we're just talking a few nitpicky details, they matter a lot less in a long fic than in a short one. In a short story you're presenting a bite-sized (or like, cupcake-sized) piece for your reader, and the things that matter in the short-term have to be the most important (like, it's a short story...please edit it before posting, it takes a few minutes to look for typos). I think having a technically sound story is important no matter what but sometimes in long stories you do miss a small thing here or there.

I don't think a short story needs much or any real worldbuilding to be great. Obviously these details are nice in short bursts and fun to see, but they can also REALLY bog down a story if you include too many or the intention is to present something short & punchy. For a long story though, you DO need it, and depending on the canon you're writing for, you may need a lot of it to keep your readers engaged, to help your characters feel more grounded in the world, and/or to help the world feel real.

Metaphors making sense is ranked higher in the short story section because this is where they are most often encountered. It's very very noticeable if you make a terrible metaphor and that metaphor is the crux of the whole 2,000 word long story you're writing. In a long fic you don't see a lot of metaphors generally (and I find most of them just make the story a slog to read) so it's not that big of a deal because you probably won't even use them.

Plot ranks high with longer works because it's literally the second biggest reason people are reading the story. For shorter pieces it's quite low because there is always an audience for pwp and WAFF, which oftentimes have little or no plot.

Characterization remains #1 because nothing jolts me out of a story faster than characters feeling unlike themselves. I understand that sometimes people do drastic AUs and that's great, but if a character I love doesn't feel like the character I love anymore, then I'm out; it's just a personal preference for me. That said, in most situations, characterization makes or breaks any story. Plot matters a lot in a long story but the characterization will always matter more. I'd rather read a basic bitch plot with great characterization than a god-tier plot with mediocre characterization. Also, I do not think this can be overstated, but this is fandom and people are here for the characters; they should ALWAYS matter the most in this medium.

--

🪄what is your post-writing/sharing aftercare? How do you take care of yourself or celebrate yourself when you've finished a fic?

I tried to take a break since I finished writing Break Open the Sky and I've just been bored out of my damn mind, honestly. Started planning the sequel because I can't take it.

Usually when I write something and post it, I just do something else for a while: watch a movie, play a game. I'm an idiot who can't stop working on things to do simple tasks like eat or shower (hyperfocus or die), so usually when I finish something extensive I go look at something that isn't a screen for a while and shower, put in eyedrops, do a load of laundry or vacuum, and get myself something to eat.

Also my biggest writing care tip is CUT YOUR FINGERNAILS. Especially if you're a fast typist like me or if you have arthritis—or there's a history of arthritis in your family (osteo or rheumatoid). Got this advice years ago from @kippielovesyou, I think before a NaNoWriMo; it had never really occurred to me before but now if my hands hurt too quickly I cut my nails and feel like a brand new person again. It's truly wild.

Most touch typists like me use touch so extensively that when our nails get too long we have to use more pressure to feel. To be clear, I'm worse off than most people because I have the aforementioned arthritis + nerve damage in my hands (I have very very little feeling in the tips of my fingers), so I notice the extra pain in my joints very quickly BUT!! It could be a gamechanger for anyone, so I like to pass the knowledge on.

If you DO have the start of carpal tunnel or arthritis or tendonitis PLEASEPLEASE for the love of God don't overdo it. You WILL NOT get your hands back. Please. I'm literally begging. I fucked up my hands and arms in a factory years ago and I am not even 40 and have the hands of a 70 year old woman and permanent restrictions to keep my tendons from rupturing. Don't push through pain; it will not get better. I learned this the hard way and I am passing that knowledge on to you guys. Stretch, drink a lot of water, and give your hands a break when you need it!!!!

[balestrem]

When I started to learn about education and different styles it helped me a lot to grasp the concept of what other people think about growing up and how they intend to treat children in order to raise them. For those of you who know a little bit about education: you might be familiar with the following metaphors.

There is a gardener and a sculptor. Both of them create and form and influence. One does so by external force, strength, dominance and instruments that cut away and might be understood as destructive. This is the sculptor. They sculpt and form to their ideals and use external force to enforce their goals. The other one is using care, applies water, exposes the plant to sunlight and pays attention to what the garden or the plant needs. The gardener adds new soil, here and there they cut off a few leafs or they provide assistance but they give a lot of room for the plant to grow.

So either you’re a person who is more focused on enforcing their agenda and their ideals no matter what or you’re more focused on what other people might need to grow and assist and help rather than to make sure things go your way. Because you can acknowledge that other people might have different needs than you do.

Whenever I interact with people who are stubborn, unable to have discussions or debates and just think their opinion is the best without a doubt I let them be by themselves. Because the only way you can protect yourself is if you take away the marble that they feel inclined to, so they cannot enforce their ideals on to you and carve you like they would with any other stone. Pay attention to whom you spend your time with in life. Is it a gardener or a sculptor?

[tinyhistory]

Hey! Love your stories so much I just had to ask! Do you have any favorite drarry authors/stories? I sometimes compare the quality of other stories to ROA (oops!) because ROA is just that good. My personal favorites are ROA (of course!), the Foundations Series (saras_girl), the ordeal of being known (louisfake), denouement (the_never_was), Good to Me (And I'd Be So Good to You) (AWickedMemory), and To Hurt and Heal (cassisluna). Have you read these? Have a wonderful day! :)

Thank you, so glad you’ve enjoyed my stories! And thank you for so patiently waiting for a reply. I haven’t been online much in the past couple of weeks. Unfortunately I haven’t read any of your recs, but I’m always happy to add another fic to my to-read list.

I did a rec post a few months ago, but I’ll post an updated version now. The Skyhawke Archives appear to be down, which is crushing news. I’ve had to update a lot of the links.

So here are my favourite Drarry fanfics:

And We Are At Our Apogee (PG-13) by angelgazing

Summary: Draco wanted revenge, but it didn't work out that way.

My notes: Californian beaches, supermarkets, road trips, and a bittersweet ending.

-

A Reckless State of Mind (T) by Lomonaaeren

Summary: Draco is a Psyche-Diver, and his newest patient is Auror Potter, who’s been a pathological liar for over a year—and has just tried to violently end his own life.

Notes: The plot alone guarantees inclusion on this list. Probably the most creative fic I’ve ever read, and the twists and turns will keep you guessing.

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Berlin, In the Year of Our Lord (PG) by Are

Summary: Harry is a green-tea addict. Draco stalks him.

Notes: Probably my all-time favourite fic, along with Blue Vase. It’s sparse and minimal and I love that writing style.

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Blue Vase (M) by ivyblossom

Summary: Let’s pretend.

Notes: Draco finds an amnesiac Harry and befriends him, pretending they were once lovers. It’s pensive, short, and bittersweet.

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The Boy Who Only Lived Twice (E) by lettered

Summary: Harry Potter is an Unspeakable. Draco Malfoy is the wizard who shagged him. Adventure! Intrigue! Secret identities, celebrities, spies! It's all right here, folks.

Notes: Action-heavy fics are damn hard to write, but lettered nails it. The action scenes are breakneck speed, the conversations are threaded with double meaning, and even the silences are tense.

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Draco in Darkness (T) by Plumeria47.

Summary: Following an accident in his seventh year, Draco loses his eyesight.

Notes: This is one of the first fics I ever read (when it was over on FF in 2003) so it’s probably here just for nostalgia points alone. I read it when I was a kid and just thought it was a lovely golden fairytale, the best romance I’d ever read in my (very short, thus far) life. I love reading it again, even years later as an adult when I can see the tarnish on it; the things my childhood eyes didn’t notice. I don’t care. It’s my soft and fuzzy comfort fic.

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The Flesh is Frail (NC-17) by wildestranger

Summary: None

Notes: Draco has injuries from curses and spells, and Harry keeps him company. Draco is angry; Harry is stubborn. They argue their way into a grudging relationship. It’s a short read and well worth your ten minutes.

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Good-bye to Yesterday (NC-17) by furiosity

Summary: Draco felt ready to face even a million years in Azkaban as long as it meant that at the end of it all, he would make Potter pay.

Notes: It’s not a dark fic, but it certainly dips in and out of the shadows. If you like your romance to be sharp as a razor and bitter as black coffee, give it a read.

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Hymn to Color (PG) by Lomonaaeren

Summary: Months after Draco cast a curse that took Harry’s eyesight, Harry is still trying to come to terms with it. Draco still wanted forgiveness, which was probably the problem.

Notes: Probably my very inadequate idea of “fluff”. It’s a quiet, introspective fic. Draco and Harry are well-written.

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Kings among runaways (PG) by enderxenocide.

Summary: Later, the toast will be slightly overcooked, Draco will burn the eggs, and there will be another fist fight in-between the living room and the front door, but they’ll eat breakfast with second-hand plates and Draco’s great-grandmother’s silverware.

Notes: Dreamy descriptions, abstract scenes, and the characters are lovingly delineated. Beautiful writing.

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On Broken Glass (PG-13) by coffeejunkii

Summary: After the final battle, Draco is holding the shards that are left of his and Harry’s life.

Notes: Established relationship. Harry’s forgetful and seems to suffer both short-term and long-term memory loss; Draco stays by his side through six years of post-war amnesia. Very short, just a tiny ficlet. There’s sequels (in bite-size pieces) but I prefer to read the first ficlet and leave it there.

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Paper Dolls (M) by cupiscent

Summary: In the final year of the War, Draco gets a letter, makes a choice and pays the price.

Notes: Short, succinct, and packs a punch. No character deaths, in case the summary has you feeling nervous.

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Portrait (PG-13) by Silent Blast

Summary: None.

Notes: Dorian Grey, but Drarry. Of course it’s going to be good.

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Shattered (NC-17) by femmequixotic

Summary: One damned accident involving one too-lucky curse, and suddenly you'd think he was five again, with their Harry, be carefuls and their quick Levitating charms ready the instant the potion gives way and his rebelling hands lose hold of whatever's in their grasp.

Notes: Draco’s an artist. Harry’s intrigued by his sculptures and paintings.

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Snatch (PG-13) by didntyoupotter

Summary: Harry is comatose, Hermione and Ron aren’t much help, and Draco isn’t sure about anything anymore.

Notes: The opening scene fools you into thinking this will be a light read with a streak of good humour. Don’t fall for it. By the third act, you’ll be hanging onto every word and feeling a lot of emotions. Also, back in the day, this was one of the Draco/Harry fics. Everyone knew of it. Pay your respects to your fandom history and read this beloved classic.

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The Stages of Acceptance (T) by Lomonaaeren.

Summary: Harry, already happily married to Ginny, receives the news that he's Draco's mate. Law and custom don't give him the option of ignoring the news. The stages of his reaction, one by one.

Notes: This is not a romance, and I love that the author just casually chucks all the Veela tropes in the bin and says “nope”. In Lomonaaeren’s own words, this fic is more practical than romantic. Harry is unfamiliar with the Veela concepts and hates the very idea of being “shackled” to someone; he rejects Draco at once. Draco is miserable and lonely. They do eventually come to understand each other better, but it’s a huge struggle with lots of setbacks. The general air of pessimism and misery does make the small glimpses of compassion and empathy feel so well-earned. I love a fic that rations out its happiness.

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The Stately Homes of Wiltshire (E) by waspabi

Summary: Malfoy Manor has mould, dry rot and an infestation of unusually historical poltergeists. Harry Potter is on the case.

Notes: This one needs no introduction. The writing is polished, the characterisation perfect, and the dialogue is fun. I love the humour woven throughout it.

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Then Comes a Mist and a Weeping Rain (E) by faithwood.

Summary: It always rains for Draco Malfoy. Metaphorically. And literally. Ever since he had accidentally Conjured a cloud. A cloud that's ever so cross.

Notes: Another one that most of us know. It’s a lighthearted and fun read.

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Tomorrow, and Tomorrow, and Tomorrow (M) by novembersnow

Summary: In the war-torn years after Hogwarts, one man has no knowledge of his yesterdays.

Notes: Another classic back in the feverish heyday of the Harry Potter fandom, when books were still being released and everyone had worked themselves up into a shipping frenzy. And no wonder this fic was an instant hit. Draco has lost all his memories and Harry’s investigating as an Auror, but the longer you read, the more you start questioning everything. Good twists and turns that lead to a tender ending.

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Turn by Saras_Girl

Summary: One good turn always deserves another. Apparently.

Notes: An inevitable inclusion on any favourites list. I think my favourite thing about it is the characterisation. Everyone is so well-rounded; the characters are brought to life and feel like old friends. All their habits, styles, mannerisms, even the way they walk or talk. While I love everyone in this fic, I have to admit that Blaise is just amazing. Of all the thousands of Blaises imagined by fanfic writers, I love this one the best. “Old bean” indeed.

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Under the Ivy (PG-13) by coffeejunkii

Summary: It is impressive how much you can learn about someone by simply sharing a few rooms. They don’t spend time together, not really, but Harry still knows that Malfoy prefers raspberry jam over strawberry, that he hums along to the Wireless when he thinks no one is around, and that his leg is bothering him more than usual when the temperatures drop below freezing.

Notes: Another old, old favourite of mine. It’s like snuggling into a soft blanket. Remus owns a cottage and Harry moves in after the war. Later, Remus lets a room to Draco, who is an outcast after the war and has limited housing options. Harry isn’t happy at first with the new lodger, but he eventually warms up to Draco. A slow and gentle romance.

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Vale Sanare (M) by rurounihime

Summary: Draco’s world gains a new component, just when he thought he’d sorted everything out.

Notes: London nightclubs, one-night-stands, loud music and lonely nights. Draco has seizures due to a curse from the war, and the seizures have led to a fear of intimacy. Short and sweet.

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The Way Down (T) by lettered

Summary: Malfoy’s all, “Come out of there,” the way you say to a cat who is badly behaved. And Harry’s all like, “No, what, I’m a hermit! And I have a chest-monster! And I am crazy magically powerful!” and Malfoy’s all, “We all have problems, bub.” (thoughtfully) “You are crazy though. I’ll give you that.”

Notes: I just adore this fic. The fic starts well-grounded, giving you a solid backstory and matter-of-fact context, but as it goes on, it slowly unravels into dreamy scenes, lush settings, and repeated motifs. It’s just such a beautiful story.

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When Love beckons to you, follow him (PG-13) by megyal

Summary: Draco wakes up, lost, somewhere in a forest. He has no idea where he is or how he got there. As he is blundering around trying to find his way home, he hears Harry's voice in his head, telling him what to do.

Notes: I generally like my fics to be bittersweet or with a bit of heartache — but this fic is just a little cloud of softness. If you need something light and lovely without being syrupy-sweet, this is a good choice!

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The World of the Living (M) by fourth_rose

Summary: A traumatised war hero and a convicted criminal under the roof of an eccentric journalist make for a rather odd ensemble, but Luna has never had a problem with oddities as long as they make sense.

Notes: The story is told from Luna’s perspective, which gives everything a lovely dreamy quality. She takes in a couple of strays after the war — first Harry, who is avoiding his other friends and has quit his Auror job — and then she offers a room to Draco right after his trial. Draco is rude, angry, and ungrateful; Harry is churlish, withdrawn, and moody. Luna doesn’t seem to mind in the slightest, and over the course of the next few months, her house guests slowly warm up to each other.

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Voices From the Fog (E) by noeon

Summary: After years of running away, Harry crosses paths with an all-too familiar face and follows him to Amsterdam.

Notes: Harry drifts across Europe, trying to forget the war. He ends up in a woodworking shop in Amsterdam, alongside a moody Draco. Atmospheric settings and solid characterisation.

[morceauoleander]

ok i have SO many thoughts about the game. consider this a messy ramble review about the game (spoilers ahead)

ok so gameplay wise. i really enjoy the game- lots of improvements but also! very very similar formula to the last game. when i realized that i was afraid it would feel too similar and boring, like the collection of the psychic 6 felt thorny towers-esque BUT it all came together in a very different way with much different dynamics at play. all the minds were so interesting and while really big, they weren’t so hard to move through and the changes of scenery in many definitely kept it all interesting.

concept wise- with minds and things. all the minds were real interesting- i like some more than others of course. but they all displayed some kinda metaphor that was pretty easy to grasp and i think thats important! as always i appreciate how the game tackles symptoms and ideas and not specifically named disorders. for one it means it wont be dated, but it also means anyone can find ways to relate regardless of labels. i think metaphor wise, bob’s was my favorite... that was a rough one. look wise? probably nona’s mind. just so colorful!

on dated terms, retcons. i cant be the only one  seeing retcons right? which is fine and good really. i think this game was a chance for them to backtrack and alter some old ideas. its been 16 years.... theres no way in hell whatever was in mind back then is true or good now. Ford’s mind situation was handle VERY well. as someone with DID i like ford, but it seemed clear to be they needed to tackle this as a psychonaut lore thing and not “multiple personality disorder with a twist” ya know? and it totally worked out. it made sense in his context and my god, so much more painful to see how it happened. it makes sense that a story would be told “wrong” in order to cover things up- it confused me at first as i noticed the retcons but as the theme of the story unravelled into that of distrust, it made sense. additionally of course the use of the g slur and raz’s curse. well, the twist-retcon really got me!! i didnt expect it and i think with the other elements of ford’s story it was a good way to handle it! post game, frazie mentions the galochios (which up to then hadnt been mentioned) where they call them “fortune tellers”. so yeah, they definitely changed that. and making a twist that took focus off the “galochios” as a whole was a good move.

on the story...... stated above a bit but man, so many twists i didnt see coming. lots of theories we had were very wrong probably because it was not based around the assumption that some things would be kinda.. retconned. and it was written in such a way it was a fun surprise. i can imagine some being upset but the writing in this game was just great. i feel they expanded on the lore and characters so well! in the start of the game i was quite shocked by the event of raz changing Hollis’ mind tbh, and we werent even that far into the game for me to be surprised by that. this game feels like it had much high stakes, which makes sense with such a large threat and now being more settled in this world with these characters. to go from raz doing something impulsive and distrusting to then having his own hero torn down in front of him because ford basically manipulated his family into living lies..... yeah, thats harsh. i do wish some more focus was on raz’s anger, i dont feel like he got a chance to be that angry at ford before they helped nona but, the connection raz makes with her was so heartfelt, it did help support that development. additionally this game carries the same sort T rated humor as the first, and i love that. it allows for a more serious angle and harder topics to flourish which still being quite funny. all in all i really liked the story, and while it feels quite conclusive, i dont really mind. i know id love to have a third game but its hard to imagine that happening.

and man. the little details! so much dialogue i need to hear on replays! i will be 100%ing the game too of course. and i love how they handled the curse post game, having raz be caught and supported by the water... was wondering how you’d play post game after that.

[glamrockmonarch]

The Land That Our Grandchildren Knew (B!Reader x Brian May)

THIS WORK IS PART OF THE ORIGINAL TIMELINE

Requested: NO

Type: SFW, FLUFF ?, ANGST.

Summary: A little glance at life back to normal after Brian and B!Reader get over the cheating scandal.

Warnings: None.

A/N: So this came out of nowhere in my mind. I have struggled with being creative for a while and I just do not know why(?) but here we are! I hope someone out there enjoys reading this one.

*For anyone who does not remember (lol it has been a while): B!Reader (often B!R) is "Brian!Reader", and R!Reader (or R!R) is "Roger!Reader".

“The one thing he did not know was how much I loved him. In a previous life, in a time when things were so much more complicated. When war was splitting us apart and leaving us breathless. Motionless in a world of aggressive turmoil. There was little we could do when everything was amiss. All around us things were blowing up, giving in upon themselves the buildings fell, and the cities died along with their lights and spectacles.

“The love I grew and nurtured for him was the last reminding power of the old Earth, scattered through the cosmos like dust as I searched for him in a ridiculous journey. I did not meet a king in a tiny planet, and I never saw a rose grow on the dry lands of the foreign space countries. We had each other but time made it so that I was here today while he was here yesterday. Today was never ours, today was a promise we believed and ate up and followed with blind eyes until the moment when the sound of truth, deafening and cruel, locked us out of each other’s life. And still, forever, my love for him is true and enduring. Out there, I know he will feel my presence in the air, see me in the clouds, savour me in the smell of rain and grass. He will miss me when the night is cold, and the sound of wind reminds him of my voice… Yes, he will be empty when he hears the silence, the way I will always feel too when I look back at Earth and regret every second spent away from the one who called me Venus.”

The crowd claps and smiles and I see the people in the front look at the books in their hands with expressions of confusion and deep thought. A good reason to write something is to make people wonder, so for B!Reader this one was a success. She had taken so long to finish the manuscript, not that she was being lazy; with the scandal of Brian cheating and the twins taking sides, it was hard to focus on this. This book was not what she intended on writing when she began doing research for it. It started with the Irish War of Independence, she went around Britain meeting historians with much better understanding and knowledge on the topic. It soon turned upside down when the news appeared on every single form of media… Brian’s stunt. She would call it what it was now; he had cheated.

It was hard to get over it. B!Reader took time off with her mother in Scotland, she had taken the kids with her, much to Brian’s displeasure, but he was in no position to complain. When she came back home, she was still defeated by the details. Brian’s lame explanation sounded more like an excuse but even she had to admit that her husband did not have the best track record when it came to women. She was probably the one he had been the most loyal to at that point – even when he had cheated on her once.

So, she tried. They sought professional help. A therapist. First couple’s therapy, and then one-on-one sessions alone. She hated every second of it, which could not have been fun to hear for their therapist. Nothing seemed to be helping, in fact B!Reader talked to a lawyer in secret… but her career was also on the line at that point, and she was desperate for ideas, desperate to reconnect with the only man she ever truly and completely loved. Her manager had the idea, “read some of Brian’s stuff, maybe ask him about his PhD work, maybe he will inspire you and if he doesn’t at least you will have spoken to each other… it’s worth a try”. And so B!R did that, although not in the way her manager had meant. She was stirring her on the direction of reading some of his lyrics not his space dust thesis… Nevertheless, the story began there.

B!R could not understand much, and she wound up spending a lot of time talking about physics and space with her husband. Brian was a patient teacher, she already knew that, but it was now being confirmed to her. He was also happy to be able to go on and on for hours, the topics where his cup of tea, and they had numerous cups of tea too while B!R took notes and began toying with a historical fantasy mix for her next book.

Today she was reading from her favourite chapter in the book. It had been a massive hit; one she could not quite understand. If she was being honest, the book was more like therapy for her than her actual therapy sessions had been. She cried while writing it and poured a lot of emotion into it, which she rarely did. Her writing had always been more …impersonal, presented almost as a sort of biography of fictional characters rather than real moving parts of the imaginary world they were living in.

She had never written such an odd story before, with time skips and a weird space journey concepts implanted in the middle of 1920 Ireland.

“You did great, mum.” A proud Fred wrapped his arm around her middle.

Even though the teen boy was still that, a teenager, he managed to already stand a couple centimetres taller than his own mother.

“Thank you love, did you get anything of that?” She wondered, wrapping her arm around him in the familiar way a mother does.

Arm around his shoulder, soft play of the tender fingers on the dark curls on the back of the head of her “little boy”.

“Nothing at all,” he smiled and shrugged, honesty dripping in shameless glee from his tone. “But that’s the cool part, I don’t think anyone gets it.” The younger of the twins looked at his mother up and down in her bright blue dress. “Except Dad. Was that the point?”

B!Reader looked at her son and inhaled a deep long breath, which she held for a moment. Her brows furrowed and her mouth moved like that of a fish.

“Maybe.” She conceded.

“Hey mum, would you sign my book?” Harry interrupted, bringing along Jazz and a peculiarly uninterested Max.

Harry gave his mother a wide smile and put a copy of her own book in her hands.

“For Harry, please.”

“Dork,” Max rolled his eyes.

He was the only one to admit he had not finished the book yet the previous weekend when Fred mentioned his mother was doing a reading at a local bookstore while they sat by the Taylor’s pool. And he rushed to get through it. Max was not dumb, and he managed to grasp some of the concepts in the complicated plot, although he did not let on to any of his friends.

“Loved the wormhole bits Mrs May.” Max said once Harry had his signed copy reading for Harry with Love. “That dark hole and the speed of dark and light near the end were mind-blowing. I never thought of you as a fantasy writer!”

B!Reader nodded and blushed at the compliments. Max was a lot like Roger in that he did know how to make a girl blush with what appeared to be little effort.

“I am glad you liked it,” she said, a trace of pride in her voice.

“I really wish Darragh and Conor had ended up together,” Jazz voiced from around Harry’s tall lean and awkward teen figure. “They were obviously meant for each other.”

Fred had been in tears when he read the ending of the book. Of course, he would have hoped for his mother’s first queer paring to end together but what that did was echoing life.

“You have to be the eighth person who’s said that to me today.”

R!Reader, Roger and Brian were in a conversation of their own next to the long table B!Reader was about to sit before to meet some fans and sign as many copies of her book as time allowed.

She eyed the silver hair on her husband’s hair, she had been discreet when describing Darragh in her book. A tall, talented, middle-aged, idealist Irish man. A man born in a difficult time. A man who fell in love by mistake, with Conor. A young man described often as immature, who enjoyed a quiet life on board of a spaceship when he got caught up in a black hole and wound up going back hundreds of years and miles into the past. Conor had almost been killed in his attempts of helping his beloved Darragh in fighting what he considered to be hiswar. The battles gave their relationship meaning, although it was never spoken about between them. The adoration was always palpable and present to the last page. Down to the moment when Conor acknowledges that his lover cannot come with him once he finds the way back into his ship, and then it turns into a matter of will. Darragh is revealed to have a similar story, only that… he was left stranded in 1905 with no way back to his ship. “The voice of Venus” was really a metaphor for B!Reader. A complicated one, as her feelings were when she had to love the man who broke her heart. She felt lost the way Conor felt, but she could tell Brian had been lost for a while before the entire ordeal – defeated in the same manner as Darragh. And it was fitting, he was older, he was educated. He should have known better than to play in the physics lab with those dangerous materials. Brian should have known better than to play with that old woman. Conor could have turned his back on Darragh, he knew he was of no help now that he was so invested in the past – now their present. He knew Darragh and himself would never be able to be together if he stayed and they would most likely get killed if they marched on. So B!Reader made them split. She was about to leave Brian when she started writing her book, so it made sense. And when she realised, she did not want to end her marriage, she still wrote it that way because this was the ending she had seen coming for herself before – one she fortunately managed to evade, which still was the ending for many couples.

B!Reader watched the teens as they began discussing the book, Max and Jazz were defending the plot, Fred joined in and the three of them seemed to be getting passionate about proving Harry wrong. The eldest of the group was stubborn about his stance on Conor being right to leave Darragh.

His mother could not help but remember that same stubbornness from the first few weeks after the story broke. Harry had been the one to take it the hardest. When they packed for Scotland, she had to stop him from shattering his project guitar, the yellow guitar he and Brian had been working on for a while. “I don’t want it! I do not want anything from him! He is a liar!” He had yelled, with the side of his face still reddened from a slap he received from Brian. She still could not believe she managed to stay impartial at that moment after the mess that had happened in the kitchen when Harry insulted his father – earning a slap from him.

“It’s alright,” B!Reader placed her arm around the twins’ shoulders. “Conor had to go back anyway. He had a family in the spaceship.”

“What?” Jazz was the first one to open her mouth.

With a laugh, the young writer looked at the confused faces around her. “He could never stay…” She shrugged.

Harry’s expression flashed with a difficult emotion, which both Jazz and his mother noticed.

The short girl flipped her long blonde hair and checked the time on her phone, “no wonder I’m hungry! Who’s coming?” Her blue eyes searched around in an almost innocent manner.

“You got to be joking, we JUST ate.”

Max stepped back from his sister and Fred followed, “sorry, I told dad I’d get lunch with him.”

Blue eyes flipped onto Harry’s figure. B!Reader gave him a squeeze and let go, the sigh he let out being enough of an answer for Jazz to show a large smile, reaching out to grab his hand and pull her to her side. It almost seemed a pass of the baton.

The boy walked taller than Jazz and still, it looked like he was the smaller child. She was sure they had been doing a good job as parents, although that slipdid a number on Harry. The curly haired boy pulled the glass door open and let Jazz go first, only to have her childishly cling on to his arm once they were outside, a smile breaking his serious expression when his young friend told him something – they were too far for B!Reader to make out what Jazz said.

“Where are those two going?” Brian walked up to her.

He had a cardboard cup of coffee in his hand, which he offered to her. With a mumble she took it and had a testing sip – it was too bitter, but it would do. “Nando’s. Probably.” She gave her husband a soft smile.

Brian nodded in silence, a reflective look on his face.

“He needs some time, Bri.” She guessed what he was thinking about.

“It’s been a year,” he said with caution.

“He is getting over it, love.” She took a step closer to Brian and whispered, “he’s picked up the guitar again.” They shared a look before someone called for B!Reader and she left her husband with a peck on the cheek.

[scarlet--wiccan]

hi! I hope this isn’t a dumb question or something you get a lot (i tried searching your blog to see if you’d answered it before so sorry if it is) but I’ve often wondered how billy (and tommy) are Romani when I’ve always thought it was believed that Rebecca and Jeff Kaplan were Billy’s biological parents? So wouldn’t he be the same race as them? And that the twin’s “souls” were just from Wanda’s and Visions kids, any explanation if you can would be super appreciated thank you!!!

I'm going to break this down in two parts-- first, what happened in canon, and what the text indicates about Billy and Tommy's nature; second, what this means for the characters in a meta sense, and I how I think readers and writers alike should approach the twins' relationship with Wanda and each other.

Wanda conceived twin boys with her then husband, the Vision, through a feat of magic which is, I believe, the earliest example of her apparent "reality warping" abilities. Much like her other instances of reality warping, however, this was an exceptional circumstance in which Wanda had become a vessel for magic powers greater than those she ordinarily possesses-- in this case, the combined power of six hundred and sixty-six witches. She only held that power for a moment, but it was long enough for her to make a a wish-- that she might start a family with her otherwise infertile partner. Wanda discovered that she was pregnant not long after, and the next nine months went off more or less without a hitch, ending with the birth of two healthy, seemingly ordinary baby boys-- Thomas and William. Although the Vision is considered to be their father, the children were, biologically, born of Wanda and Wanda alone, and take after her in every respect.

The children died tragically only a few years later, when they were still very young, destroyed by the demon Mephisto and his servant, Pandemonium. In her grief and desperation, Wanda sought out Doctor Doom, who helped her perform a ritual which would make her a conduit for something he called the "Life Force", so that she may use it to restore her children. This overwhelming power, combined with manipulation and gaslighting at the hands of her so-called allies, led to the catastrophic breakdown that we see in Avengers Disassembled and House of M. Once again, the reality warping that Wanda performs is the product of outside forces, and the results are unpredictable at best. Although she didn't realize it at the time, Wanda did succeed in resurrecting her twins, but rather than reconstituting their original forms, she caused them to be retroactively reincarnated, essentially making it so that they'd already been born instead of having to reform them. This is why Billy and Tommy are way older than they should be-- their current lives actually overlap with their originals. Billy, as a teenager, even met Wanda shortly before the Life Force incident.

So, it is true that the Kaplans and Shepherds are Billy and Tommy's biological parents, respectively, which is to say that Rebecca Kaplan and Mary Shepherd physically carried and gave birth to them. There's no indication that anything strange or supernatural happened during those pregnancies, but it is confirmed in Children's Crusade that the babies in question were reincarnations of the Scarlet Witch's lost sons. While there is a lot of talk about the "transmigration of souls" in Children's Crusade, there are also numerous indications that the twins are genetic duplicates of the original William and Thomas. We know that they are physically identical to each other, coloring aside, and other characters observe, on separate occasions, that they resemble both Wanda and Erik. Billy and Tommy sharing Wanda and Pietro's powers is frequently brought up as evidence of their relationship, and, at the time, the Maximoffs were canonically mutants, which means that their powers were genetic. If their powers are evidence of anything, they're evidence of a genetic connection. All of this is to say that, while the Shepherds and Kaplans are their birth families, Wanda is also their birth mother--the two incarnations are genetically, biologically continuous, not just spiritually continuous.

The cool thing about comics is that we can accept both of these things as true, even if that doesn't make any scientific sense. The manner in which Billy and Tommy were reincarnated was unconventional, even by fantasy standards, and it's basically a retcon of a retcon, written by somebody who might not have had a solid grasp on the Marvel timeline. It's messy, but anyone who reads cape comics needs to be good at suspending disbelief.

—

So, I usually look at Billy and Tommy's heritage and identity in one of two ways-- taken very literally, they each have three biological parents, and we should view them in a way which reflects all parts of that parentage; taken as a more of a metaphor, their origin is basically an adoption story. Wanda lost her kids as a young mother, and they were adopted by different families and reached out to her as young adults.

The neat thing is that Wanda, through Erik, is also Ashkenazi, so you don't have to lose or change any part of who the kids are to embrace their relationship with her. I'm not erasing any part of Billy's heritage by making Wanda his birth mother-- he is Jewish, and was raised in America by a Jewish family, but he also has Central European Roma ancestry.

It shouldn't require very much imagination to envision somebody with more than one ethnic background, especially since these communities do intersect and have shared history. Mutants and magic and reincarnation don't exist, at least not like this, but Romani people exist. Mixed kids exists. Adopted kids exist. This is a fantasy story, but those fantasy elements don't have to preclude any of the things I just described from existing, or from being visible, not unless we willfully interpret it as such. Remember, this is fiction. Fiction doesn't have to erase real groups of people who inhabit real parts of the world and were part of real history-- that is a choice that we make as real people who create or consume media.

There's a lot which could be said about the parameters of Romani identity, and what it means to have gadje parents, or be generationally removed from one's culture and community of origin, the way that Billy and Tommy are. I'm not the right person to explain that stuff, and I don't think it's necessary information for outsider consumption, at least not in this context. What I will say is that many members of displaced and diasporic communities can attest to having gaps in their family trees and disruptions in their cultural lineage, especially in the generations following events such as the Shoah or the Porajmos. For me, that's what Billy and Tommy represent, because that's who I am. I deserve to have space here, but more than that, I want people who care about these characters to care about the history they represent and be motivated to learn more and do better as allies, even if it is only within the sphere of pop culture. And part of that is looking at questions like these ^ and challenging the patterns of misrepresentation and erasure that many, many people in this fandom uphold. I'm extremely grateful to you, Anon, for approaching me so politely, doing your own research, and challenging your own conceptions. That's literally the only reason I was motivated to write all of this. I hope it's legible and that y'all get something out of it.

[terramythos]

TerraMythos 2021 Reading Challenge - Book 8 of 26

Title: Entangled Life: How Fungi Make Our Worlds, Change Our Minds & Shape Our Futures (2020)

Author: Merlin Sheldrake

Genre/Tags: Nonfiction, Creative Nonfiction, Science, Biology, Mycology, Botany, Anthropology, History, (I’m probably missing some), First-Person, Illustrated

Rating: 9/10

Date Began: 3/03/2021

Date Finished: 3/11/2021

Fungi are some of life's most essential, yet least understood organisms. In Entangled Life, PhD Merlin Sheldrake discusses the mysterious and largely unexplored world of fungi. 

How do truffles lure creatures to them? How do vast mycelial networks communicate and make "decisions"? How can some fungal species permanently alter the mind? How do fungi make life on Earth possible? How can fungi potentially replace our furniture and architecture? Entangled Life is an accessible primer to what we know about fungi, its effects on human life, and its potential role averting climatic and ecological disaster.  

Fungi are everywhere but they are easy to miss. They are inside you and around you. They sustain you and all that you depend on. As you read these words, fungi are changing the way that life happens, as they have done for more than a billion years. They are eating rock, making soil, digesting pollutants, nourishing and killing plants, surviving in space, inducing visions, producing food, making medicines, manipulating animal behavior, and influencing the composition of the Earth's atmosphere. Fungi provide a key to understanding the planet on which we live, and the ways that we think, feel, and behave. Yet they live their lives largely hidden from view, and over ninety percent of their species remain undocumented. The more we learn about fungi, the less makes sense without them. 

Full review and content warnings under the cut.

Content warnings for the book: Recreational drug use, mention of animal neglect, mild sexual content. 

I've always been fascinated by--and a little terrified of-- fungi. They're essential to life on Earth, yet often seem strange and alien. I didn't get the chance to study them much in college, so I wanted to read a nonfiction work about them that wasn't necessarily just a textbook. Entangled Life caught my eye (or maybe lured me in?), and I'm glad it did.

Entangled Life is probably the best nonfiction book I've read in years. While it's definitely a scientific work (with a vast catalogue of citations to prove it), it's very approachable to a layman. Basic scientific knowledge is helpful going in, but Sheldrake makes sure to explain even simple concepts as they apply to various subjects in the text. While I wouldn't call this book a light read, it's certainly easier to grasp than a standard textbook or academic research paper. I was also pleased to see he cites and defers to a multitude of female scientists, which was refreshing after reading Bill Bryson's otherwise great A Short History of Nearly Everything. Is "including women" a low bar? Yes, but it's not one people consistently meet, so props.

What's interesting about Entangled Life is it's neither strictly scientific nor strictly about mycology, the study of fungi. It DOES go into our basic knowledge of fungi and recent discoveries and studies. But Sheldrake also adopts a holistic approach, acknowledging various disciplines and how they all relate to fungi as we know them. Sometimes this means botany, like how plants and fungi interact via symbiosis. Sometimes this means anthropology, and how fungi have shaped human culture and history. Sheldrake even talks about the notable contributions of amateur enthusiasts and how they have shaped our understanding of fungi. A big component of the work is speculation; philosophical tangents on what fungi mean to us, what certain discoveries could mean for the future, and so on.

There's definitely a creative component to the work as well, something that really tickled the former English major in me. I labelled this book Creative Nonfiction because Sheldrake often goes into his personal experiences with fungi; these sections read like a memoir. There's some illustrations originally drawn with inkcap ink, which is a nice, thematically appropriate touch. I also loved the section of gorgeous color photography and illustrations inserted into the middle; I felt this added some much needed visual context.

Also, my guy managed to use a Lord of the Rings quote to analyze mycelial networks, which I have to assume was a dare/personal challenge, but... damn dude. (AND an Ursula K Le Guin quote? Bro?)

If I have a criticism it's that sometimes Sheldrake's biases show a little. Probably the most noteworthy is the section on LSD and magic mushrooms. Sheldrake seems downright giddy about the positive effects of these mind altering drugs. And said positives are certainly interesting, like experiments that indicate a long term recovery from anxiety and depression as a result of ingestion. I also found the human history element of this chapter interesting; indigenous cultural uses, anthropological evidence, and modern usage and legal issues. But it's a little disingenuous to imply there are zero negative effects to drugs that can fundamentally change one's long-term personality after a single trip. Regardless of Sheldrake's own positive experiences.

Interestingly, Sheldrake DOES discuss how biases affect all scientific disciplines. He talks about how we naturally gravitate toward metaphor in order to contextualize nonhuman phenomena. For example, we might view symbiosis from a capitalist or socialist perspective, despite neither have anything to do with biological function. However, he doesn't delve into his own biases at all. But this is a nitpick. Biases are difficult to overcome even in a strictly academic work, which this isn't. For what it's worth, I think Sheldrake does a good job with this everywhere else. 

Overall, Entangled Life was a treat to read. I rarely venture out of speculative fiction but I found this whole book approachable and fascinating. I learned a lot of stuff I didn't know previously, so I'd consider this a good introduction for an amateur mycologist. I hope Sheldrake plans to publish similar works in the future.  

[crusherthedoctor]

Sonic Villains: Sweet or Shite? - Part 15: DR. EGGMAN

There are some villains I like. And there are some villains I don’t like. But why do I feel about them the way I do? That’s where this comes in.

This is a mini-series of mine, in which I go into slightly more detail about my thoughts on the villains in the Sonic the Hedgehog franchise, and why I think they either work well, or fall flat (or somewhere in-between). I’ll be giving my stance on their designs, their personalities, and what they had to show for themselves in the game(s) they featured in. Keep in mind that these are just my own personal thoughts. Whether you agree or disagree, feel free to share your own thoughts and opinions! I don’t bite. :>

Anyhow, for today’s installment, it’s finally time for him. The bad doctor himself. Gather round ladies and gentleman, for the spotlight is on the arch-villain that shines above them all... Dr. Eggman.

The Gist: It's the dawn of the 90's. A little company called SEGA had an ephiphany. They wanted to make a video game juggernaut that could rival the quality and iconic appeal of the then-unmatched Super Mario Bros, and their current star, Alex Kidd, just wasn't doing it in the way that they hoped. They promptly set about starting anew, as a worldwide phenomenon wasn't going to make itself.

So a gentleman named Naoto Ohshima created a selection of design concepts for this brand new mascot. One of these concepts was President Roosevelt in his pajamas.

Seen here with his catgirl body pillow.

The response to this character was “This is good, but we think kids would prefer kicking the shit out of him”, and so he was given an antagonistic role instead. In the meantime, after juggling the rest of their ideas, they eventually settled on a rabbit hedgehog named Sonic for their main protagonist, knowing his Mickey Mouse-like aesthetic would help endear him to the audience, and the franchise as a whole would have an easier time gaining a DeviantART fanbase later on down the line.

Initially, the character of today's review was but a mere lackey among many, seemingly little more than one of numerous minions working for Sonic's originally intended main villain, the Nonspecific Goblin. He was also dressed as a bee for some reason.

Which is the least weirdest thing in this image.

At some point however, they all got together and decided that actually, the guy with the moustache was the only one worth shit, and so he was upgraded to the role of main villain himself. With a spiffy new attire of red and black, he was given the bold title of Dr. Eggman, because with a shape like that, what else are you gonna call him?

“Funny you should say that”, laughed SEGA of America, as they rebelled like an angsty teen and named him Dr. Ivo Robotnik instead. While this name does make equal sense for the character, as he is indeed a hard worker who also happens to like robots, the reason for this name's existence seems to have been mainly because they thought Eggman was too out there of a name for an egg-like man. Whatever the case, this would confuse a lot of fans for years, and remains a point of divisiveness to this day... Unless you're like me and your first game in the series was Advance 2, in which the manual clears it up right away, and you accept the idea of a character having two names and immediately carry on with your life.

He would have aimed it perfectly if it weren't for the Sonic Heroes Parrot distracting him.

And that was that, really. It didn't take long for them to come up with his characterization, which was that of a cackling fiend with an ego to end all egos. This guy was the Narcissist Alpha, more king than actual kings, no strings attached. Other villains would build statues of themselves, but only Robotnik would deface Ancient Egyptian monuments to improve them with his face. Other villains would think “Nah, refacing all four in Rushmore would look silly”, but only the Eggman, the Eggmyth, the Egglegend, would go “Well fuck you, I'm doing it anyway.” Then he'd do it anyway, and proceed to address to the entire world that he did in fact do it anyway.

It also didn't take long for them to develop his primary schtick. With the dynamic of Sonic VS Eggman, you had a classic rivalry between nature and technology. Interestingly enough however, this turned out to be executed more tactfully than your typical Amish-abiding examples in similar media. Never was technology itself regarded as a corruptive influence that you should never utilise no matter what. Rather, it was only as good or as evil as the person using it, with it just so happening that the villain loved machinery only slightly less than he loved himself, and it was countered by Sonic’s best friend being a techno wiz in his own right anyway. Anyhow, with his machinery, the doctor would make a name for himself among video game baddies by confronting his enemy as the boss of nearly every zone in each game, rather than hide away until the endgame.

And all without a driver's licence.

In his soon-to-be-30 years of activity, he has largely remained the same since his inception. Other characters have been introduced, other villains have came and went, but Eggman has remained THE villain of the franchise, and he's remained a vital part of the Sonic the Hedgehog universe... with a slight redesign along the way.

The only ad I don't want to skip.

The Design: Eggman's design may be more simplistic than the likes of Bowser and Ganondorf, and he may not look as openly threatening at first glance, but it's still a very iconic look no matter what look it is. His original appearance was devised so that kids could have an easy time drawing him, which only makes me feel worse about not being able to do it as a grown adult without it looking like a Sexy Legs Kirby.

Still, it's a classic for a reason. With his to-the-point colour scheme, contrasting heavily with Sonic's blue, and his capelet collar resembling walrus tusks, it was an instant winner and made everyone goo goo for g'joob.

The Emeralds he’s juggling are a metaphor for the divided fan community.

And when it was time to give the cast an update for Sonic's first real 3D adventure (or at least the first one that didn't get axed for being a magic eye seizure), Eggman got a respectable change of his own. He was taller, his getup was militaristic, and his body was more legitimately egg-shaped rather than basketball-shaped. He also gained a pair of goggles that he never uses, except in scenes where he puts them on and then never uses them.

“How do my chicken legs not collapse under the might of my gluttonous mass? Find out in an unrelated tie-in novel that you have to pay additional money for.”

There was also that one redesign from 2006, but...

Be it Classic or Modern, I've always loved his design. Before he even says a word or does anything, you know from his appearance that he's a bit of a clownish sort. But he also has a subtle creepy vibe going on, with the way his glasses often obscure his eyes, and how this only makes the pearly-white, unnecessarily wide grin on his face that much more empty and unsettling. This little bit of eeriness hiding among his cartoonish physique reflects the full extent of his character pretty accurately, as we’ll delve into soon enough.

If nothing else, it's more effective than him having no eyes at all.

GRRRRRRRR FUCK YOU BUNNIES THAT I CAN'T SEE

The Personality: If you've seen my villain reviews, then you'll have gathered that Sonic's rogues aren't known for having much in the way of personality. There are exceptions, but they are indeed the exceptions. More often than not though, whether it's an alien conquerer, an ancient monster, or Dan Green the Recolour, they can be summed up thusly: They're evil, they want to destroy the world, and the heroes stop them because they're evil and want to destroy the world. If they're feeling particularly daring, they might go for a second colour.

Luckily, as if to counter all these cardboard drawings, the central adversary of the franchise makes up for these voids of personality by actually having one. And what a personality it is.

The writers of SatAM looked at this and thought “No, this won't do, there's no character to work with here.”

He really is brimming with comedic charm. Every moment that he's present...

Every moment that he shows off...

Every moment that he basks in his own glory...

Every moment that he unveils a new wicked scheme...

Every moment that he puts his enemies to the test...

Every moment that he challenges the world...

Every moment that he laughs at the world...

Every moment that he lives, nay, every moment that he breathes...

Yes, the man has plenty of humor, and it's part of what makes him so enjoyable and memorable. However, if you think being a clown is all there is to him, then prepare to have your expectations subverted initial assumptions taken in a unexpected direction, because although he puts the goof in goofy, he ALSO puts the “oh...?” in “oh shit”.

For you see, Eggman is by all means the epitome of Laughably Evil, but do not, under any circumstance, take him at face value and write him off as a joke. He is anything but.

For starters, he can swing a planet.

There is a rule of thumb that I personally go by with Eggman’s characterization, one that I believe is an immediate make or break factor in regards to whether or not you understand what makes this villain work. Eggman - when you put all his secondary traits aside - is made up of two prominent halves. There’s the egocentric meme machine that bounces up and down like a kid with his N64 and laughs like Santa... and there’s the monster buried within that remains completely and utterly unrepentant for everything he’s responsible for. This is very important. Despite the character’s simplicity at his core, many writers have failed to grasp this, official writers included, and I for the life of me cannot understand why this is such a recurring problem. Eggman is funny, AND Eggman is evil. Both are equal. When you take away one or the other, you may have a funny character, or you may have an evil character, but you don’t have Eggman. Simple as.

Armchair intellectuals may argue that Eggman’s deeds aren’t that evil, since he tends to be merely callous rather than actively trying to hurt or kill people. Those people are probably the types on TV Tropes who weigh a villain’s evilness and effectiveness purely through the surface-level scale of their goals rather than what they actually do to achieve them. While it is true that Eggman tends to be more apathetic about the aftermath of his actions, that doesn’t - and shouldn’t - negate how dangerous he is. It shouldn’t negate what he’s capable of. It shouldn’t negate how far he’s willing to go. And it shouldn’t negate the consequences and casualties that can and do result from his many schemes.

Seriously, think about this for a second. If you confronted Eggman about his current plan to... I dunno, make a water park in Africa or some shit, and you informed him that there has been unexpected mass suffering as a result of this, how do you think he would truly feel about that? What do you think he would actually say to that?

Spoiler: No fucks.

If anything, that he “merely” doesn’t care either way as long as he gets what he wants is more uniquely horrific and deplorable than if he were a generic baddie who committed his evulz specifically for evulz’s own sake and nothing more. At least you’re inadvertently acknowledging that other people’s lives have value when you act one-dimensionally gleeful over ending them, but when your immediate response to the side-effect of a million potential deaths and environmental disasters is “Oh well, fuck ‘em, Eggmanland time baybeeee”, that’s a new level of cruelty.

Besides, even in the Genesis era, he was carpet bombing Angel Island...

“Good thing I have this shield. Sucks to be this forest!”

And he’s only gotten worse since then, indulging in such acts as going full suicide bomber with a missile, after his initial plot to destroy and rebuild Station Square through the means of Chaos and the Egg Carrier didn’t work out...

But don’t worry, he kept it lighthearted by making it look like a penis.

Making one of Sonic’s friends go insane with power against their will, forcing the Blue Blur to put them down personally...

It’s ironic, cause he’s metal. Or do I have to awkwardly explain the joke two more times before I’m a proper YouTuber?

Capturing thousands of innocent aliens, and forcefully converting them into mindless beasts...

I’m pretty sure I saw Alfred Molina conduct this experiment one time.

He even removed the heroes’ collective IQs so that he could shoehorn a cliffhanger on an already terrible game.

Thanks, cunt.

And honestly? When it comes to Sonic and chums at least, Eggman does let out a more openly sadistic side now and then. Need I mention that time when the doctor forced Sonic and two random buddies to make their way through a trap-infested island of his own creation? Not for the sake of nabbing Chaos Emeralds or anything of the sort mind you, he just wanted the blue motor mouth to suffer.

Images you can hear.

To make matters even worse, as befitting of his manchild tendencies, he’s ridiculously petty. How petty? Petty enough to abduct a little girl’s mother for no other reason than because Cheese completely trivialized his forces the girl was friends with Sonic and helped participate in the latest kicking of his own ass.

He only picked Vanilla because there was no Strawberry.

But at least his captives can admire the sheer variety that their captor has to offer. One of the greatest things about the doctor's style is that anything goes. With all due respect to Bowser, he tends to stick with his fiery castles (although he has been branching out recently), and plenty of other villains in gaming tend to be similarly stuck in their ways when it comes to tastes. Eggman, on the other hand, will create all sorts of fortresses and reside anywhere on the planet and beyond. It can be in the sky, in space, somewhere hot, somewhere cold, under the sea, in a circus... and every now and then, he might combine some of them together and thensome. So long as it's even vaguely mechanical in some way, his ground rules have already been ticked off.

Hang on a minute...

You know what else Eggman is? Relentless.

Persistence is a quality that most villains by their very nature share, lest they cease to be an effective antagonist. But once again, Rrrrrrrobotnik maxes out more than any other, and will often go to insane lengths to keep the current plan going, or if not that, then to spite Sonic.

Exhibit A: Sonic 3 & Knuckles, in which the grand finale consists of the madman throwing a gravity-shifting contraption your way, busting out a Kaiju-sized robo, escaping with the Master Emerald after his defeat, continuing to escape even after the Death Egg has been thoroughly destroyed, getting chased through the asteroid fields in space by Super Sonic, and only finally going down when the escape craft and the piloted mech controlling the escape craft are down. And all of this came after a grand adventure where, among other things, he destroyed an entire level just to kill you.

There are immortal omnipotents that put up less of a challenge.

“Looks like it’s time for Plan... *checks paper*... F.”

His relentlessness also reveals another side of the doctor that is simultaneously admirable and terrifying: He bows to no one. No one. Doesn’t matter who it is. Doesn’t matter how powerful they are. Doesn’t matter how much the odds are stacked against him. If another villain were to demand that he cower before them, the scientist would laugh and show through physical demonstration that this is not the way the egg rolls. Unless he’s absolutely unable to do so, he will give it his all every time, and even if he can’t, he’ll use his crafty mind to find some other way to get around the issue. You can beat him in battle, you can foil his plans, but you absolutely cannot break his resolve.

“Dad said it’s my turn to play with the Ruby. I know this, because I’m your dad.”

What about his relationship with those who actually serve him? Specifically, his own robots? Well for the most part, he treats them like absolute crap, what with verbally abusing them at every corner and being all too willing to go full Vader on them the moment they mess up. He IS capable of expressing fondness and giving praise to his more successful creations, like with Metal Sonic and Gamma, but even then, it’s a roundabout way of praising himself, since he’s the one who made them what they are. So basically, you’re only valuable to him if you make him look good.

Gaming in the Clinton Years in a nutshell.

And as for Sonic? Yeah, like with any legendary and long-lasting hero/villain dynamic, it’s obvious that Eggman has some degree of begrudging respect for his opponent. But if you think this respect would dissuade him from actually going through with his ambitions of rulership...

As the hedgehog’s apparent demise in Sonic Adventure 2 proves, as well as his defeat at the hands of Infinite and the subsequent six months of brutal conquest in Sonic Forces, Eggman is dead serious about his goals. If you think he’d get bored after conquering the world, he would simply expand his resources and have a crack at conquering the rest of the universe. When he says he hates that hedgehog, I’m inclined to believe that he means it, and although he may enjoy his “games” with Sonic to an extent, I also can’t see him wanting to remain stuck on square one forever.

If this were Sonic X, he’d just grieve.

By the way, the scene above? Undeniable proof that for all the doctor’s boasting, he’s not actually lying or exaggerating when he prides himself on his brilliance. Because when you get past his goofy exterior, when you look beyond the occasional, relatively minor mistake (*glares at IDW*), you’ll see that... yes. He IS brilliant. And not just in the science department either, although his countless robots and strongholds over the years are no doubt a testament to his credentials there. While he may prefer to go in big and bold, he can also be shrewd with his strategies when he wants to be.

Sonic’s aforementioned near-death experience, for example, was the result of Eggman turning the heroes’ own cunning plan on its head by being one step ahead of them. And in Sonic Unleashed, he lured his enemy into a trap, culminating with him cancelling out Super Sonic.

“...and pay the price for your Werehog gameplay...”

And after all those years of struggling, he finally got a giant monster under his complete control. “But he had help!”, you say? Yeah, from himself.

Did Flynn sleep through all this...?

Much like his inner nature as an evil bastard, Eggman's effectiveness is likewise commonly underestimated by writers. Yes, he occasionally makes mistakes. Yes, he occasionally overlooks details. Yes, he occasionally lacks foresight. But he is NOT stupid. A hero is only as good as their villain after all, and if Eggman is portrayed as a bumbling fool, then how can Sonic be a truly great hero? Eggman is humorous, sinister, and when the chips are down, competent.

...Did I mention that he's also a master Olympian?

The Execution: There's no surprises here. You knew from the moment you saw this review that my stance wasn't going to be anything less than 100% fanboy adoration. In that respect, this section almost feels redundant, because there's only so many ways I can say “Dr. Eggman is the fucking shit and I'm eternally grateful to Mr. Ohshima for bringing this absolute masterpiece into our world” without it getting repetitive. So to cap this review off, I'm going to very briefly compare his portrayals in other media, and explain why they tend to not be as good as the original SEGA Eggman.

“Cause they’re not balanced, right?” you ask. “Cause they veer too far in a particular direction? You're so predictable,” you add. To that I say:

1. Yeah, basically.

2. ...S-Shut up...

3. While the conclusion may be obvious, it's nonetheless important because as I mentioned previously, despite how straightforward this villain is, writers seem absolutely intent on not getting the point. There are loads of villains out there who share Eggman's talent of mixing hilarity and evil together with a bow of competence on top. Two of those villains are among the most famous supervillains of all time, in fact. You might have heard of them.

Joker can do it just fine. Green Goblin can do it just fine. And plenty of others can do it just fine. So why is it such an issue with Eggman? What is it about a round body and a long moustache that gets people to think “No, this guy is absolutely incapable of being comedic and threatening at the same time, no question, end of.” Is it because he’s a more cartoony franchise? Well, that can't be the case, because even Mario has a couple of beloved examples. Fawful, anyone? How about Dimentio? Cackletta? King Boo? K. Rool? Hell, you could even count Bowser himself depending on the portrayal.

Anyway, the point is, writers tend to miss the mark for one reason or another. With Sonic X for example, he wasn't too bad in the beginning, but as the show went on, he became exactly the toothless non-villain that many people misjudge him as. We all know that scene where he berates Black Narcissus for harming their captives (not for pragmatic reasons mind you, he genuinely took issue with the act on moral grounds, even though his own hands weren’t exactly clean either), but even before that point, he was doing such things as healing an injured Sonic without an ulterior motive, not taking any opportunity whatsoever to start conquering Sonic's world because he was pining for Sonic's attention, and being the Jiminy Cricket to Chris Thorndyke's Pinocchio. Why they thought the goddamn villain should be the moral conscience of this show remains an unanswered question, but at least it no longer influences how he's portrayed in the games.

Then you have the IDW comic, which is a similar tale of starting off decent and then careening wildly into the abyss, but for different reasons. Initially, he was built up to be in-line with his competent, foresight-packed self from Forces, with his inevitable return being met with dread, and a delightfully devilish scheme to match when he finally did so. But somewhere along the way, Ian Flynn thought that Eggman coming back from his amnesiac period and returning stronger than ever with a new minion and a deadly virus wasn't enough to up the stakes... so they decided to “up the stakes” by turning both the doctor and his new minion into massive imbeciles so as to justify their plot getting hijacked by the Deadly Six, a move so predictable yet infuriating that it got even me to turn against the Six. And the reason the Six got invited in-universe is because Starline decided he didn’t like being unique and devolved into Snively 2.0 behind Eggman’s back. All this from the alleged “best writer” for the series...

Yeah, same.

And then you have the Boom version, which shares basically the same issues as Sonic X but in a more mundane fashion. It's easier to dismiss because it's a comedy-centric show and his redesign makes it easier to separate him from mainline Eggman, and I'll gladly admit that he does have a lot of genuinely funny lines that redeem him a little bit. But yeah, too much of not being a true villain for my tastes.

Now this isn't to say that there haven't been portrayals in other media that are up there with the original. The versions that I consider better off than the ones above include...

- The OVA Eggman is pretty faithful all things considered, aside from his romantic feelings for Sara, which feels slightly off since the idea of Eggman loving anyone other than himself is incredibly unrealistic at best. But it doesn't actually soften or undermine his deviousness, so I'm willing to let it slide for an alternate take. Especially since he gave us the best Metal Sonic out there.

- AoStH is far from a perfect show, but there's a reason why even its detractors tend to treat its version of Robotnik like a national treasure. Admittedly most of that is because of the legendary Long John Baldry and the endless memes associated with this incarnation, but despite hailing from a comedy-focused show like Boom Eggman, this Robotnik still had a lot of legitimately dangerous moments, more than you'd think.

- And of course, Jim Carrey's Robotnik in the Sonic movie is just... *chef's kiss*

So obvious aesop though it may be, but you see what the more effective portrayals have in common, I assume?

Granted, this also isn't to say that SEGA Eggman himself has had a perfect track record. The decade's worth of upstagings and backstabbings by other villains should be enough of a counterpoint to that claim, and I've also made it clear now and then that I take issue with certain games regarding what they do with the doc, no matter how revered they may be by other fans. Sonic Adventure 2, for instance. I praised the fake emerald scene, and I do sincerely believe that he has a number of other badass moments in that game, but because Shadow was playing him like a fool the whole time, I can't help but have a bitter taste in my mouth when I look at the bigger picture.

So close to greatness, yet so far...

So in that case, which game do I think has Eggman's best showing overall? That's not in any way an easy question, but lack of dialogue aside, I'm gonna go with Sonic 3 & Knuckles again, as the classic journey through the sights of Angel Island plays out in a way that highlights just how determined, ruthless, and underhanded he is with carrying out his mission to revive the Death Egg by any means necessary. Other games do win out in other areas - SA1 for how bastardly he is, Forces for how cunning he is, Colours for his hilarious announcements, CD for using the scenery to show the effects of his actions, Mania for not letting the other villain walk all over him - but for the purest essence of the doctor at his cartoony yet competent best, I'd say S3&K is a reasonable bet.

And when it comes to all his many traits, which one do I find the most special one of all? Well again, far from easy to answer, but I think the coolest aspect about him is also one of the most overlooked. Robotnik, despite whatever superhuman qualities he may occasionally unveil, is for all intents and purposes a regular guy with a big brain. This might make him appear unimpressive when compared to your average Final Fantasy villain and the like, but if anything, it paints him in a more flattering light than expected, because he doesn't even need to be on their level to still be on the radar. It's easy to be a big bad threat when you're an ancient demon or an almighty god-like being, and you only have to wave a hand to cause armageddon. But when you're just Some Guy™ going up against superpowered opponents, meaning you have to earn your threat level the hard way, and you prove to be a challenge every step of the way regardless, because you're just THAT much of a genius... that's fucking awesome, no other way to put it.

And you know what else is awesome? You may not like Eggman, and you don’t have to like him, but like it or not, he is directly and indirectly responsible for a vast majority of the coolest and most loved moments and aspects of this franchise.

The opening to Unleashed? Eggman set up the scene.

Shadow running around and continuing to be part of the franchise? Eggman released him.

Blaze getting involved with Sonic’s world and continuing to be part of the franchise? Eggman’s half-responsible for that.

Metal Sonic? Eggman made him.

Egg Dragoon? Eggman.

Big Arm? Eggman.

Monkey Dude? Eggman.

That text is missing a blue checkmark.

This review is probably longer than the echidna family tree in Archie at this point, so I better finish it off. If it wasn't obvious from all the paragraphs I've belted out in this post, I'm very passionate about Eggman and the way he’s portrayed. Ever since I got into the Sonic franchise in 2003, I immediately took a liking to the doctor, and to this day, he remains not only my favourite Sonic villain, my favourite Sonic character, but also my favourite character period. Some may find it a weird or lame choice compared to other, “better” characters, but that's the way it is, and I ain't about to change it. I am very unlikely to ever stop enjoying the hell out of this villain, and even if he got irreversibly ruined in some way, I'd still continue to love what he was before that point.

Because yeah, he's not the deepest character ever, but... who cares? Is it not enough that we find something that appeals to us? When I got into Sonic, I was introduced to fantastic games, a likable cast, high quality soundtracks, beautiful worlds, numerous friends on this very site, and of course, the lovely treasure that is my partner. I may not have been with this franchise during the 90's, but it's given me just as much fun, nostalgia, and happiness as those who were. Despite the flawed titles, despite the fandom conundrums, I still love this series.

And I still love this absolute prick.

Crusher Gives Dr. Eggman a: TWO Thumbs Up!

[ninjakitty15]

Chapter 19: Good Impressions (Loki x OFC Pairing)

I looked in the mirror and couldn't help but grin widely, baring my teeth even as a sense of giddiness filled me. It was very rarely I ever actually dressed up or even really did much to prepare for an upcoming battle beyond gathering power, planning and making sure I had all my war ducks in a row, this was extra but it was the good kind in my opinion.

"You know...I read that the Spartans, the fiercest ancient warriors our world had at one point, would pretty themselves up before battle and spies from enemy lines that caught them doing that would overestimate them. Apparently real men don't wear makeup into a war," I told Loki who walked up behind me, watching me check myself out. "Funny thing is in this country and probably a lot of other countries today have this thing called war paint which might not make them look fabulous like a Spartan but it might as well be makeup as it's primarily worn on their face."

"I remember the Spartans, Odin was impressed by their tactics and way of life, especially their stand against the Persians, the odds weren't in their favor and yet somehow they gave them hell before defeat," Loki recalled.

"Quality over quantity," I added. "Those people were literally born to be warriors, only the strong babies survived the first of many tests they were forced into." I combed a hand through my hair, considered messing it but decided against it. "I used to be more of a silk or velvet kinda girl but I gotta tell ya, I'm really digging the leather. It's fashionable, it's sexy even, and it's pretty decent armor, I mean it's no breastplate or Kevlar vest but those are a bit too obvious and that's the last thing we want right now." I took a few swaggering steps, glancing at my backside curiously to see how it all fit together.

"You're enjoying this entirely too much," he mused.

"I know it hasn't been that long since we met, but are you really surprised at this point?"

"No, not really. How long are you gonna fawn over yourself in the mirror before we actually put this plan into motion?"

"Relax, I got this. I just gotta get a few things down pat before we jump head first into this oncoming shit storm." I grinned again. "What's the hurry?"

He watched me, a glint of amusement in his eyes as he shook his head at my antics. "You got the smile right and I'm not sure how you were able to copy my walk so quickly but the humor needs to change if you insist on chattering before things get started."

"But...humor is why I'm still kicking," I protested. "And it's a far cry from your own, which mind you I'm glad you have any at all, some other gods can't seem to grasp that concept despite being eons old. Still, it's a lot more...eloquent than I'm used to."

"Then perhaps don't say anything at all."

"And leave you to do all the talking, hell to the no, spank you very much."

"What's wrong with me doing the talking for once?" he crossed his arms in challenge and arched an eyebrow, daring me to answer.

I gave the god an unapologetic and unamused look. "I'm not the only one that's been muzzled here, maybe your brother was onto something when he did it to you."

"How dare you? You take that back right now!"

"Or what? Whatcha gonna do, huh? Take your shot, green boy, you got me deadbang."

The sound of someone clearing their throat loudly interrupted our usual bickering match and we both turned to see a half amused half arachnid smirking at us with his unnaturally muscular arms crossed as well. "You know this is technically playing with yourself, right? I mean if that's the case, could you get a room that isn't the only bathroom in the apartment, please?"

"How long since this plan was in motion did you wanna use that joke?" I teased the kid.

Peter shrugged and pretended to look bashful but now that he too was throwing in dirty jokes, the facade of him being an innocent kid was now out the window. "You sure I can't tag along?"

"Kid, you got your own enemies to fight and this might be a bit above your skillset which means if you tag along theres much less chance of you coming back."

"But you could just bring me back yourself, right?"

I scowled at his optimism. "Doesn't work that way, I only bring back the ones that can't pass on on their own and want another chance at tying up loose ends, and you better not be one of those people, you're a kid, which goes against my personal code of bringing back zombie kids, that's just fucking depressing having an army of rotting midgets."

Peter sighed in despair and slumped his shoulders. "I never get to do anything fun."

I rolled my eyes at his whining. "I'd also be held responsible for letting you come with and I kinda don't want to be hunted down by a team of go getters and fancyass technology, no spank you. I already have Hydra for the latter. So do me a favor, sit your five dollar ass down, before I make change."

Peter scoffed at my implied threat but stopped bugging me, it might have been his plan that could get the odds in our favor but it sure as hell wasn't his fight and I had no intention of dragging another cute super powered person into my personal vendetta. "Aunt May says you can come back anytime, just give one of us a heads up next time...and maybe something that gets black bloodstains off any surface just in case."

I would've blanched if I wasn't pale already. "Oh no, did I ruin something, I can pay for that."

"No no, just, I think she thinks you'd only come here if you're in trouble like you were this time and she's worried you might miss a spot next time if that's the case, normal blood you can just use hydrogen peroxide, but I'm not too sure it works on corpse blood."

"Noted and tell her thanks for everything, same goes for you of course since you were the one to let us in before she agreed to it. And also not informing the A team, that's important...you didn't tell them right?"

"Not like they take me all that seriously or even answer my calls if I did," Peter muttered. "You're all good there, promise."

"Excellent! You stay sharp and cute, the second either of that fails, you're fucked."

"Thanks, I think."

"Right then." I turned to Loki with another smirk. "How's this for a first impression?" I asked in smooth sorta British sorta something else accent.

He scowled at me but couldn't complain it seemed. "I'm getting the sense you've been working on that before this came to pass."

"Anyone can do an Avenger impression, hell anyone can wear their costumes, right Peter? But I'm not about the hero life, so why waste time on them when I've been giving it all to you?"

Loki was silent at this and it was Peter that actually responded to me. "That was actually really sweet."

"You say that like it's a surprise, physically dead here, not emotionally dead, thank you. My heart hadn't reached that stage where it becomes calcified like a fetus that won't leave its womb."

"You always have the oddest choice of metaphors," muttered Loki. "So you have the walk, the voice, the smile even though I'm not sure that's even necessary at this point."

"When are you going to prepare for the plan then?" I challenged. "Go on, see how well you know your part."

"Don't you worry about my side of the plan, I've been doing this sort of thing for the sheer fun of it long before you decided to do it out of sheer boredom."

I snorted and rolled my eyes at him. "Yes, we're all very aware of your old age, you don't have to remind us like we have to remind you, old man."

"Ye of little faith," he mocked, earning a bar of soap flying at his face he was lucky enough to duck. "Your aim needs improvement."

"I'm sorry, did you actually want to be hit in the head by something solid and hard and not a pillow, because I missed on purpose, you cotton headed ninny-muggins."

"Seriously, is all you two do bicker at each other?" asked Peter.

"Well I mean you wouldn't let us have any real adult fun while we crashed here so we gotta get that pent up energy out somehow, right?" I reasoned.

"She's not wrong," Loki agreed.

"Besides, no one's getting hurt from it, I'm convinced this is our own special way of showing we love each other without being a bunch of saps. I'm 99 things but a sap ain't one."

"What's wrong with being affectionate?" asked Peter, almost sounding offended.

"That implies I have more emotions than I'm willing to admit to anyone including myself, I'm generally not ok with having that much feels." I grinned, slicked back my hair again before doing a little dance for funsies.

"I'd refrain from doing that little jig when the plan's in full swing," warned Loki though he was still smiling in amusement.

"Oh but I like this," I purred with the accent again.

The smirk on his own face twisted, like I said something that somehow offended him and all his ancestors and pissed him off or deeply upset him. "Don't make me take it away from you till right before the fight starts."

"Oh come on, maybe you just need to hug it out and join the fun, bring it in, big guy." I opened my arms wide for emphasis. "There's no better love than self love."

He rolled his eyes at my stellar pun and green magic rolled over him as he changed into character. "I bet you were just dying to make that joke."

I stared at him and it was my turn to glare. "Was that your attempt at a dead joke? Oh hun, you gotta do better than that to fit the bill."

"Don't patronize me, woman, I wasn't even trying then."

I walked over and patted his cheek just to mess with him. "Sure you weren't. Do me a favor and work on that but also turn around for me."

"Why?"

"Just...do it."

He did begrudgingly and I frowned upon studying his form thoroughly before he faced me again. "What's wrong?"

"Nothing, you got it right, it's just...I didn't realize it looked like that and now I'm suddenly an insecure teenager. Peter, is this how you feel all the time because, dude, this really sucks and I feel for ya."

"You say that like you were never one yourself," Peter noted.

"I know I was but like, I don't remember what it was like then, I couldn't tell you what I was like as a teen."

"Why not?"

"No memory of it, at all."

"You mean like it was so long ago that you can't remember that far back or lots of stuff happened during it so fast that it's all a blur."

"I mean it's not even accessible, it's gone from my mind completely."

Peter frowned, probably trying to understand what I was getting at. "Amnesia?"

"Mindwipe."

"Like Bucky Barnes?"

"No, that's brainwashed...wait, those do sound synonymous, damn, hadn't even thought about that. Brainwashed is basically having your mind overridden and reprogrammed, there's memories there but they're not real ones. Mindwiped is just nothing there to reprogram at all."

"Did Hydra do that too?"

"No, Hydra can't touch this, something they need to have programmed in their heads for all the times they tried and failed any of their aims when they had me. I can't tell you the who, but I can tell you it was painless and done willingly and without regret."

"You chose to have memories taken from you?"

I nodded simply, unable to elaborate as per the deal.

Loki, knowing there was some things I couldn't talk about for reasons he wouldn't know until hopefully later, chose to cut in then. "I think that's enough curiosity for now, we should get going and finish the plan you concocted for us."

I smiled thankfully at Loki and nodded in agreement. "Yes, of course.  Parker, if I don't make it back by tomorrow...just wait longer."

"Stop teasing the child, Nell, you could be really testing his patience with your antics and we wouldn't be welcomed back."

"You wouldn't, I would because I'm a delight to be around." I strutted after him anyway and he shook his head and beckoned me out of the bathroom and unfortunately out of the apartment.

"The Hydra agents and people that turned on you would say otherwise."

"The Hydra agents don't even know what joy is, the only time they're smiling is when they think they're about to take over the world and people are dying around them...the traitors are just pussies which means it doesn't take much to make em weep."

"Again with the metaphors."

"Maybe you should start taking some notes, eh? Give you a head start seeing as I'm all caught up on my end, unless you got something to add there?"

"Well you still haven't proven you can get the mannerisms right and mannerisms maketh men."

"But we are not men..."

"No, we're immortals."

[neptunevasilias]

Balancing the components of a fight scene(RWBY meta)

Last weekend I sat down and watched about a half a dozen episodes of an old trading card game anime I liked in middle school, because I had a theory that the basic principles/“skeleton” of regular fight scenes could be found in card fights from this genre. Since I’m writing this meta, I’m going to say that theory was correct, because I was able to apply the stuff I realized to RWBY.

And what’s that? Basically, I realized that a fight scene is more than the fight itself, there’s multiple components that you have to balance, and fights will turn out better if you address some of these things beforehand. Here’s a small, incomplete list of things a fight scene might need to balance

The environment - where they are, how it might limit/help the participants, and being able to keep track of them as they move around

Fighting style - this includes their weapon(s), their strengths/weaknesses, their metaphorical “trump cards,” how “strong” they are(aka where they fit in the power scaling of the story, I’ll explain that later)/how likely they are to win, etc.

Story - the narrative weight behind the fight, any personal grudges or goals characters might have, etc.

Whether you realize it or not, when you watch a fight scene, you’re taking all of these into account. So it can be overwhelming if a fight scene tries to inform you about all of these at once, leading to them being confusing/hard to follow, or hard to care about.

The way to avoid this is introducing at least some of these components ahead of time, and in some cases(more on that later) at the start of the fight, so that when the actual fight comes the amount that you need to digest as it goes is smaller.

This goes hand in hand with what I call a reverse Chekhov’s gun(I do not know any actual term for this, or if there even is one, so I came up with it myself). But before I get into that, let me explain what a Chekhov’s gun is.

The definition is “a dramatic principle that states that every element in a story must be necessary, and irrelevant elements should be removed.” The motto is that if you have a gun in the first act of the story, it should be fired in the second. Basically, it’s the philosophy that everything introduced in a story should come up again later. I personally have small qualms about that(although for the most part it is true), but that’s not the point. What’s a reverse Chekhov’s gun?

Basically, it means that any elements from the second act should have been established in the first. This way, you can avoid a deus ex machina(something that radically alters the story that seemingly comes out of nowhere and feels forced).

One more thing I’ll explain before I get to my examples is power scaling. You might’ve heard of it before, it’s the concept of “ranking” characters within a story by how “powerful” they are(which really means how likely they are to win a fight) by seeing who can beat who. In a show like RWBY, there’s lots of room to establish this sort of thing.

Now let’s take all of this together and look at an example scene from RWBY with this. I chose the Tyrian vs Qrow fight from volume 4. We know both from the scene when Salem sends him to find Ruby and from his conversation with team RNJR why he’s here, what his personality is, etc. And we also see his weapons and get a grasp of his fighting style in his fight with them(which also quickly moves him up the ranks in the power scaling since he can take on four main characters at once while having fun), and we get to see his tail(and since Qrow saves Ruby from that tail we can guess that it’s poisonous). We also see them move around the environment a little bit, although they really stick to the courtyard.

On Qrow’s end, we know why he’s here(he’s been following RNJR in secret), we’ve seen him fight before, we know that his his sword can turn into something(we just don’t know what yet), and we know that he’s a renowned huntsman in oz’s inner circle that has done things like save the fall maiden from Cinder’s faction before.

So all that’s really left(from the things I outlined anyway, there are probably more things a scene needs to balance) is the environment(and of course seeing exactly how these two will clash). Qrow and Tyrian go all over the place, but it’s easy to follow them because you’re not trying to figure out anything else; the layout of the village is the only new thing your brain has to learn.

(Also an addition that I couldn’t find a proper place for so I’m putting it on its own line: while we do see Tyrian’s weapons in his fight with RNJR, the gun part of them isn’t revealed until the very start of his fight with Qrow, but it still counts because it’s at the beginning. In a way, that last reveal is showing Tyrian go “all in” to start his fight with Qrow. The same goes for Qrow turning his sword into a scythe)

The fact that all these things were established beforehand also means that there’s no twists that go too far into deus ex machina territory. We know before their fight about Tyrian’s tail, so while it’s shocking when Qrow gets poisoned, it doesn’t feel like something that happened just so that it could happen.

In summary, by laying more cards out on the table before the fight, it made the fight itself easier to follow and go more smoothly.

Another example I looked at is Blake’s fight with Ilia in her house in volume 5. This example is much more basic. A lot of what happens during this builds upon things that were already introduced in Ilia’s introduction in volume 4. I’m talking about her camouflage and her electric whip.

Since we know from her introduction that she can hide in the dark and has a whip, those concepts aren’t new to us. So in the second fight between these two, we see Blake counter those things. She shoots ice dust rounds at Ilia’s whip to freeze it in place, and she lights her house on fire to negate Ilia’s camouflage. This works better than if Blake had done that in the same fight where Ilia’s ability and weapon were introduced, because we’ve had time to process those things. So rather than introducing us to Ilia’s abilities and ways that Blake works around them in the same fight, it’s split between two separate ones.

In summary: fight scenes have many different components that need to be balanced, and you can lighten the load by addressing some of those things before the fight itself. This makes them easier to follow. It’s also important to not introduce anything late into the fight, and instead show them before the fight itself or even at the start of it. This tackles two birds with one stone. Also, RWBY.

[thealliteration]

Blog 4: Image & Metaphor

Imagery and Metaphor are two staples in poetry writing that can expand and clarify the meaning of a poem. They are important in poetry because of what they can bring to a poem. Oliver de la Paz’s poem titled “Aubade with Bread for the Sparrows” uses both Metaphor and Imagery to shape his poem.

Metaphors

Metaphors, where a writer can relate two unrelated ideas, are important in poetry. They can further clarify a poet’s theme, meaning, or idea and can be used to add layers to a person’s art. Metaphors are used often in poetry and can usually be seen at least once in a poem. Amorak Huey and W. Todd Kaneko mention in their book Poetry: A Writers’ Guide and Anthology,metaphors that are more than two sentences long are called extended metaphors (Huey)

While Oliver de la Paz describes a Winter morning, he writes the line…

This metaphor compares mornings to Church hymns. it connects the two concepts and gives the reader a sense of what mornings are like to the narrator. To me, it seems like he is saying mornings are a constant ritual that happens constantly. However, to another reader, it could mean something completely different. This is how a metaphor brings layers into a poem.

Imagery

Imagery in poetry can be invoked by appealing to the five senses– touch, sound, smell, taste, sight. Writers can use imagery to help connect and bring their readers into the story they are telling. The imagery can clarify the setting and theme of the poem. Connecting with the reader is important to help bring out the meaning and emotions in a poem. Huey and Kaneko mention how important it is to use concrete images when creating imagery (Huey). Using very abstract terms and ideas can cause abstractions that can confuse the reader or make the poem vague. Abstractions can be used in poetry to aid the poet when planned out.

In his poem, Oliver de la Paz uses imagery to create a setting.

In the first part of the poem, Oliver de la Paz uses imagery to give a sense of morning in winter. He mentions the sound of bird chirps, the difficult light, and the feeling of silence in the first moments. Oliver de la Paz uses concrete words like Sparrows to help the imagery. Within the first few lines of the poem, he gives the reader a sense of sight and sound, allowing them to connect to the scene. From the first lines and throughout the poem, tells the reader that the poem is set on a winter morning, near a busy road, and in a person’s home. Using concrete terminologies like road, sparrow, and morning. removed any vagueness from the poem and made it easy for a reader to know exactly where they are

Studying the use of imagery and metaphor in the poet’s works helped me grasp an understanding of the concept. It even inspired me to write something of my own and I ended up jotting down a quick rough poem myself. Although I had a lot of fun including metaphors in my poem, I feel like I should revise my use of imagery and work on including concrete imagery. Oliver’s poem made me realize that you do not need abstract words to create a beautiful and vivid image in a reader’s mind and I hope that I can begin to include that in my poetry.

Works Cited:

Huey, Amorak, and W. Todd Kaneko. Poetry: A Writers’ Guide and Anthology. E-book, Bloomsbury, 2018

[jadestrange]

Death.. it’s not what you think

I don’t know why but ever since I was a child I was soulfully drawn to a character in a drama series I’m to embarrassed to mention the name - She said somehow she’d always known she would die young and indeed she did.

Ever since I’ve never really managed to let it go. I contemplated death from an incredibly young age and I’ve never really known why. No one close to me had even ever died when I was a child, yet death and the concept of the non-existence was constantly on my mind.

I recall for some reason I always thought about it every time we would drive through this one curve of the road near my grandparents home that would trigger it. Every time they drove past it on the way to drop me off at home I would immediately imagine non-existence, something I possibly couldn’t grasp. For some reason “nothingness” terrified me.

Death seems to be motif throughout my life, but to an abnormal degree. Ever since I could cognitively dream, I had only and ONLY had lucid nightmares. I was aware. But never fully in control. If I screamed, my voice disappeared. If ran I’d move in slow motion. If I covered my eyes from gore or horror my hands and eyelids would turn transparent. I think about the age of 5/6 I finally managed to gain enough control to do one thing and one thing alone…Kill myself

It was the only escape. The simulated pain of death within a dream was much more bearable than the nightmares themselves - even though I experienced genuine pain while doing it sometimes.

One time in particular there was nothing to kill myself with. No tall building. No bridge. No water. No knife. Nothing… 

but a wall

So I ran 

over

and over

smashing my face into my wall - until I woke up.

I felt it all

In fact recently I had a similar lucid nightmare. 

The problem with lucid dreams is that the deeper you go the more real and tactical they feel... and the more you feel. 

I often recall ever tactical piece of physical items in my dreams, analyzing them with my hands and fingertips in awe, amazement and sometimes fear at how real they felt. There was no physical telling in the difference between the dream and reality itself. Only the conscious tells whether it is or isn’t a dream - normally due to the absurdity of their nature.

In this Dream people or things were chasing me. Fear pure fear. I don’t know why. But all I knew was that THAT emotional pain was so unbearable that the risk of the pain of jumping headfirst off a bridge was worth it. I took a moment, feeling the scratchy grit of the cold metal poles of the bridge railings inside my sweaty palms. ‘This felt real’ I knew it. ‘But I had to’, it was the only way to escape. I was no longer in the lucid state of being able to control my environment only myself. I had to fight every instinct any real person would jumping head first into the low ground, the only difference was that little shred of hope - that maybe - just maybe I would wake up from the impact before I could feel anything.

I wonder if that’s what people who jump off buildings think as they’re falling down and there’s no turning back - that maybe - just maybe - they’ll die before they feel any true pain.

I paused writing this. A sudden chilly reminder came over me of a boy who momentary lost his sanity and indeed jumped head first down the stairs and indeed died. My friend saw it... I just felt a memory of a dream doing the same thing. That was weird.. I’m moving on

So right death. Another theme I carry is the need to resolve things with everyone and anyone I have encouraged to the point that it is either annoying or maddening for other people.

I guess I felt and still feel like I’m in a perpetual awareness of my death possibly arriving on tomorrows door.

Or perhaps I just want to feel lighter, because everything else, all the hidden things were too heavy to carry on their own. Like a camel’s back I could handle no straw - or more yet not even a feather.

I guess that makes me rather pathetic in other people’s eyes. But perhaps those are normally the eyes of someone who has not felt that weight.

I’m aware that a kg/ton of feathers is the same as a kg/ton of straws ( a metaphor for different the forms of pain if you didn’t catch that) - but how strong are the camel’s legs? How wounded are they? How well nourished were they since they were born? Are they loved or lashed?

Perhaps the weight may seem the same to outsiders eyes however - how it feels internally cannot be seen but merely felt by those who themselves have experienced it or at least something very similar.

I think I have a very confusing and troubling relationship with Death. On one side it always made me aware of the appreciation of my existence (the physical world, emotions, senes, conceptualization)

But on the other side it always came with an impending sense of constant pressure to fulfill my deeds and “pay my debt” in some sense. perhaps that’s not the right way to say it. More like “do the best I can” you know? Leave your mark on the world, give something back, make a positive impact as your farewell.

Which could either be unrealistic or perhaps it is just my assumption how grander that impact has to be. Something big. Something that says “The carbon footprint left by this one was worth it” haha.

Is that silly? Is that normal? Do other people feel this way or is everyone right about me? That I put too much pressure on myself.

Which too within itself seems to be a contradiction since society itself, friends, family, work, reputation, sustainability all requires pressure.

Some say I over think. While I think others under think.

Which is funny - considering I once had a lectuer tell me I was under thinking a script concept when in reality he was under thinking and unwilling to assume it had any more nuances or complexities that was an incredibly difficult topic to tackle.

It’s funny how sometimes you can seem stupid when you try explain something complex because the jargon and general context / information you’ve build up over time seems so obvious to you. Without that context your explanations can become muddled - since they would require a lot of time to give the context.

Quantum Physics for example. I remember trying to explain the concept to my friends in high school. It seemed… crazy - ridiculous - stupid - pseudo. In a strange retaliation my ex BFF went to the science teacher and queued it to come back to our group to tell me I was wrong (after we all agreed to have dropped it by the way).

I of course responded “Yes because a person who’s literally only studied a high school’s equivalent of physics would have the knowledge of a field way beyond her years and degree”

Eh.. School. Not so much friends. More just the people you settle for. Looking back all my relationships were pretty toxic - aside from one. I wrongfully teased my one friend for having hairy legs once and I still feel really bad about it today, in fact I messaged her a few years ago about it saying sorry.

But what the rest did to me… was.. ah.. definitely not on the same scale. I was betrayed a lot.

I got use to betrayal from a young age. Families seem to think it’s funny to undermine things that are important to children. It’s like they seek joy from it, I think they think it’s fun for the kids but it’s not.

Having your secrets shared between your family and laughed at as a child is.. betrayal. Being neglected, left in unsafe or unhealthy hands, unjustifiably disciplined … physically disciplined - are all betrayals.

I got accustomed to it. Silence was the way. Never tell anyone anything. People don’t help you anyway. In fact they often use it against you. Or worse undermine your pain.

It was strange.. I was clearly bullied. Yet I was the one who got sent to a shitty - oh lets just distract you for a bit but not really do anything- school councilor.

Death… mm. death death death. I understand the contemplation at around the time I started school, but why when I was like little little? Why have I always been crushed so easily?

Why was I always a target?

Did I want pity? no.. maybe sometimes (not that THAT ever worked - but no mostly it is was genuine emotion and debilitating pain. Crying. Freezing. Hyper-ventilating.

I wonder if I did it to myself. Had I done something so outright bizarre that deemed my the school target? What it cause I was a year younger? Was the shame of teachers shouting at me due to my ADD in front of my class.

Or was I just Overly Empathetic?  I remember my first day of school…. the teacher shouted at a girl next to me and I started crying - she in turned shouted at me for crying.

Despite being broke now I did have money as a kid. Not like the rich kids of the school but, I had lunch money. Maybe that was it. I shared it too often maybe?

Was I too honest? Too weird? Too much of a push over? It was everything I had every been taught to my by mother’s side of the family. The family I mostly grew up in.

It’s quite sad. My mom could write a way better book full of funny characters and bizarre relatives like a movie - all the drama - the comedy. She started writing - it was good too. But she was too tired from work and stopped.

I think it’s sad because my stories aren’t funny.. just sad. Maybe with some beautiful moments (although the best ones would be indescribable). I think hers would have been better. A story a woman overcoming a broken abusive family and poverty who worked her way to the top of owning her own company.

Inspiring.

While mine just feels like a bummer… maybe that’s just because it isn’t finished yet.