#is there literally any argument to be made that the letter plot line works ?

[wildlybewitched]

Nothing really new being said here, but nice hear the issues with Vander’s letter so concisely put.

I think what honestly baffled me the most is the line they gave Jinx of all people, saying that the letter could have changed everything. She lived with Silco for like 7 years and is the closet person to him, and she makes references on more then one occasion that he might have a tendency to soliloquizes about his ideologies, and he certainly lives and breathes for his one goal for revolution. So…??

[crossdressingdeath]

#this niche of the fandom is full of geniuses#i am hugging you all in my mind at all times#the literary analysis of the durgetash nation? unparalleled#in my personal headcanon neither of them is serving 100% willingly#you don't much have a choice if Lord Bane prompts you in the actual Hells and you are a literal child with no support network#you don't much have a choice if you are woven of Lord Bhaal's flesh#at odds with your own DNA#this is why I love writing Velkyn as dysphoric as an early indicator of ALSO not liking being what they -are-: a Bhaalspawn#imagine the hurt and the angst and the FUEL of both of them being on the precipice of giving it all up#or worse yet: going through with the Absolute plan to reap and reap until they could all usurp their gods#if you think about it#with Ketheric's line on people being “coins in the gods' purses” or whatever he says#he seems 100% likely to be down to usurp the gods too#imagine... (tags via @weavewithshadow)

I will say, Ketheric seems quite content serving Myrkul (which is fascinating in its own right; Myrkul upheld his end of their bargain and in exchange for that Ketheric is devoted to him as he said he would be, it's very good). I don't know if he'd want to usurp him, since he's actually got a pretty sweet gig as his Chosen. I think there's a really interesting argument in there somewhere about how Ketheric made his choice as an adult and bargained with Myrkul to serve him in exchange for Isobel's life (and then he upholds that bargain when Myrkul does) while Durge never had a choice in serving Bhaal to begin with and Gortash definitely started serving Bane quite young and how those different entrances into their respective faiths would change how they view their gods and how happy they are to serve them. Which might also play a part in Durge and Gortash keeping him at a distance, if they had even the vaguest idea of usurping their masters; if Ketheric has no desire to usurp the Dead Three because he was comfortable with the deal he made, letting him find out what they were plotting in secret would cause no end of trouble.

I don't actually know if we're ever told when Gortash started following Bane and working his way through the ranks of his church. Definitely while he was in the Hells makes sense, but I don't know if Bane would have the power necessary to actually step in and prompt him in the Hells assuming he'd go that route to begin with. What's the lore there? But yeah, I don't think Bane's the sort of god you just casually walk away from in general, and much less after becoming his Chosen. I doubt any god would take their Chosen trying to say no to them all that well, but... yeah, the god of tyranny's probably not going to accept a letter of resignation. If nothing else it would make sense for someone who adheres to Bane's teachings to get sick of serving anyone, even a god, and Bane's obviously not going to just stand aside and let Gortash take over if he has any idea that that's the intent. And obviously Durge can't just walk away; serving Bhaal isn't just a part of their life! It isn't a choice they made (pressured into it or otherwise), it's the fundamental reason for their existence. They were quite literally made to serve him in a way that even other Bhaalspawn can't match up to. It breaks divine cosmology and dooms their soul for them to refuse him; they might be able to rebel against him in some ways, maybe they can show kindness here or spare someone who begs in just the right way there, but actually breaking free of him shouldn't be possible. Usurping him on the other hand... might just be a loophole.

I love the idea of Gortash and Durge scheming (even in only a pipe dream, "wouldn't it be nice if..." sort of way) to usurp their masters with the Absolute's power, because at this stage it might be the only way to ever truly escape them. Even death wouldn't free them, even if Bane and Bhaal let them die (we know Bhaal at least has full control over whether or not Durge stays dead and would be unlikely to just let this scrap of his own gore kick the bucket permanently so long as he still had a use for them), their souls belong to their gods. As we see with Gortash after his death, there's no escape that way! At this stage usurping them might be the only way for these two to ever find freedom. Love it when the monsters are also victims seeking a way out in the only way they know how regardless of who it hurts.

Lord Enver Gortash: You have the Netherstones - they resonate with my own. Lord Enver Gortash: I commend you for putting an end to Orin's madness - she must be screaming bloody murder in the Hells even now. Lord Enver Gortash: How was the reunion? I trust you demonstrated your particular spark of creative genius? Lord Enver Gortash: I always preferred your methods to hers. You have mastery over your Urges, Orin was consumed by her gruesome obsessions. Kyvir: My Urges are gone from me, as is any trace of Bhaal. Lord Enver Gortash: I'm surprised Bhaal allowed you to slip away from his grasp. But this changes nothing. Lord Enver Gortash: With me, you will have power greater than Bhaal could have given you, and you will bow to no master. Lord Enver Gortash: My involvement with Orin was never a true alliance. A mad dog understands the yank of the leash and the hand of its master, but it cannot be an equal. Lord Enver Gortash: You can be my equal.

I know people have talked about this before, but the way Gortash's immediate response to learning that Durge has fully rejected Bhaal is "This changes nothing" is so good. Even aside from the ship fodder of Gortash basically pulling an "I don't care about that, it's you I care about" it also makes a huge amount of sense if you think about it! Gortash doesn't like people killing just for the sake of killing, he doesn't seem all that fond of Bhaal in general, and he consistently praises Durge first and foremost for their restraint and ability to control their Urges. It feels less like he's choosing to maintain his alliance with them despite the loss of their connection to Bhaal and more like he allied with them in the first place despite them having that connection to Bhaal.

But I love how his first response is "I'm surprised Bhaal allowed you to slip away from his grasp." I mean, first off if you've got All The Brainrot like I do you can read it as a "He let you (the jewel of his collection) slip away?" sort of thing. I doubt that's the actual intention of the line, but it's fun to think about. But it can also be read as an implication that Gortash has known—or at least suspected—for some time that Durge wasn't serving Bhaal entirely willingly. After all, if he's surprised to learn that Bhaal "allowed" Durge to slip away from him that means he didn't think Bhaal would do that. He also doesn't seem to be surprised that Durge would want to reject Bhaal's power, just that Bhaal let them get away with that. Obviously it depends on the Durge, but the whole thing gives the impression that they may have confided some of their doubts in their old friend over the years. And the concept of Gortash being the only one who knows that pre-amnesia Durge wasn't as much of a gleeful, amoral monster as the companions seem to assume they were is just so good.

I'm also obsessed with the Chosen of the god of tyranny immediately choosing to assure Durge that if they stick with him they will bow to no master and have more power than Bhaal could ever give them the moment he learns they've turned on their father. On its own I'd assume he was lying, but with everything else he says... it really does seem like he means that. He decided that Durge is worthy to be his equal presumably years ago, and whether they're Bhaal's Chosen or not he does not regret that decision!

[duckprintspress]

Ten Things We Hate About Trad Pub

Often when I say “I’ve started a small press; we publish the works of those who have trouble breaking into traditional publishing!” what people seem to hear is “me and a bunch of sad saps couldn’t sell our books in the Real World so we’ve made our own place with lower standards.” For those with minimal understanding of traditional publishing (trad pub), this reaction is perhaps understandable? But, truly, there are many things to hate about traditional publishing (and, don’t get me wrong - there are things to love about trad pub, too, but that’s not what this list is about) and it’s entirely reasonable for even highly accomplished authors to have no interest in running the gauntlet of genre restrictions, editorial control, hazing, long waits, and more, that make trad pub at best, um, challenging, and at worst, utterly inaccessible to many authors - even excellent ones.

Written in collaboration with @jhoomwrites, with input from @ramblingandpie, here is a list of ten things that we at Duck Prints Press detest about trad pub, why we hate it, and why/how we think things should be different!

(Needless to say, part of why we created Duck Prints Press was to...not do any of these things... so if you’re a writer looking for a publishing home, and you hate these things, too, and want to write with a Press that doesn’t do them...maybe come say hi?)

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1. Work lengths dictated by genre and/or author experience.

Romance novels can’t be longer than 90,000 words or they won’t sell! New authors shouldn’t try to market a novel longer than 100,000 words!

A good story is a good story is a good story. Longer genre works give authors the chance to explore their themes and develop their plots. How often an author has been published shouldn’t put a cap on the length of their work.

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2. Editors assert control of story events...except when they don’t.

If you don’t change this plot point, the book won’t market well. Oh, you’re a ten-time bestseller? Write whatever you want, even if it doesn’t make sense we know people will buy it.

Sometimes, a beta or an editor will point out that an aspect of a story doesn’t work - because it’s nonsensical, illogical, Deus ex Machina, etc. - and in those cases it’s of course reasonable for an editor to say, “This doesn’t work and we recommend changing it, for these reasons…” However, when that list of reasons begins and ends with, “...because it won’t sell…” that’s a problem, especially because this is so often applied as a double standard. We’ve all read bestsellers with major plot issues, but those authors get a “bye” because editors don’t want to exert to heavy a hand and risk a proven seller, but with a new, less experienced, or worse-selling author, the gloves come off (even though evidence suggests time and again that publishers’ ability to predict what will sell well is at best low and at worst nonexistent.)

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3. A billion rejection letters as a required rite of passage (especially when the letters aren't helpful in pinpointing why a work has been rejected or how the author can improve).

Well, my first book was rejected by a hundred Presses before it was accepted! How many rejection letters did you get before you got a bite? What, only one or two? Oh…

How often one succeeds or fails to get published shouldn’t be treated as a form of hazing, and we all know that how often someone gets rejected or accepted has essentially no bearing on how good a writer they are. Plenty of schlock goes out into the world after being accepted on the first or second try...and so does plenty of good stuff! Likewise, plenty of schlock will get rejected 100 times but due to persistence, luck, circumstances, whatever, finally find a home, and plenty of good stuff will also get rejected 100 times before being publishing. Rejections (or lack there of) as a point of pride or as a means of judging others needs to die as a rite of passage among authors.

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4. Query letters, for so many reasons.

Summarize all your hard work in a single page! Tell us who you’re like as an author and what books your story is like, so we can gauge how well it’ll sell based on two sentences about it! Format it exactly the way we say or we won’t even consider you!

For publishers, agents, and editors who have slush piles as tall as Mount Everest...we get it. There has to be a way to differentiate. We don’t blame you. Every creative writing class, NaNoWriMo pep talk, and college lit department combine to send out hundreds of thousands of people who think all they need to do to become the next Ernest Hemingway is string a sentence together. There has to be some way to sort through that pile...but God, can’t there be a better way than query letters? Especially since even with query letters being used it often takes months or years to hear back, and...

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5. "Simultaneous submissions prohibited.”

No, we don’t know when we’ll get to your query, but we’ll throw it out instantly if you have the audacity to shop around while you wait for us.

The combination of “no simultaneous submissions” with the query letter bottleneck makes success slow and arduous. It disadvantages everyone who aims to write full-time but doesn’t have another income source (their own, or a parents’, or a spouse’s, or, or or). The result is that entire classes of people are edged out of publishing solely because the process, especially for writers early in their career, moves so glacially that people have to earn a living while they wait, and it’s so hard to, for example, work two jobs and raise a family and also somehow find the time to write. Especially considering that the standard advice for dealing with “no simultaneous submissions” is “just write something else while you wait!” ...the whole system screams privilege.

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6. Genres are boxes that must be fit into and adhered to.

Your protagonist is 18? Then obviously your book is Young Adult. It doesn’t matter how smutty your book is, erotica books must have sex within the first three chapters, ideally in the first chapter. Sorry, we’re a fantasy publisher, if you have a technological element you don’t belong here…

While some genre boxes have been becoming more like mesh cages of late, with some flow of content allowed in and out, many remain stiff prisons that constrict the kinds of stories people can tell. Even basic cross-genre works often struggle to find a place, and there’s no reason for it beyond “if we can’t pigeon-hole a story, it’s harder to sell.” This edges out many innovative, creative works. It also disadvantages people who aren’t as familiar with genre rules. And don’t get me wrong - this isn’t an argument that, for example, the romance genre would be improved by opening up to stories that don’t have “happily ever afters.” Instead, it’s pointing out - there should also be a home for, say, a space opera with a side romance, an erotica scene, and a happily-for-now ending. Occasionally, works breakthrough, but for the most part stories that don’t conform never see the light of day (or, they do, but only after Point 2 - trad pub editors insist that the elements most “outside” the box be removed or revised).

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7. The lines between romance and erotica are arbitrary, random, and hetero- and cis-normative.

This modern romance novel won’t sell if it doesn’t have an explicit sex scene, but God forbid you call a penis a penis. Oh, no, this is far too explicit, even though the book only has one mlm sex scene, this is erotica.

The difference between “romance” and “erotica” might not matter so much if not for the stigmas attached to erotica and the huge difference in marketability and audience. The difference between “romance” and “erotica” also might not matter so much if not for the fact that, so often, even incredibly raunchy stories that feature cis straight male/cis straight female sex scenes are shelved as romance, but the moment the sex is between people of the same gender, and/or a trans or genderqueer person is involved, and/or the relationship is polyamorous, and/or the characters involved are literally anything other than a cis straight male pleasuring a cis straight female in a “standard” way (cunnilingus welcome, pegging need not apply)...then the story is erotica. Two identical stories will get assigned different genres based on who the people having sex are, and also based on the “skill” of the author to use ludicrous euphemisms (instead of just...calling body parts what they’re called…), and it’s insane. Non-con can be a “romance” novel, even if it’s graphically described. “50 Shades of Gray” can sell millions of copies, even containing BDSM. But the word “vagina” gets used once...bam, erotica. (Seriously, the only standard that should matter is the Envelope Analogy).

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8. Authors are expected to do a lot of their own legwork (eg advertising) but then don't reap the benefits.

Okay, so, you’re going to get an advance of $2,500 on this, your first novel, and a royalty rate of 5% if and only if your advance sells out...so you’d better get out there and market! Wait, what do you mean you don’t have a following? Guess you’re never selling out your advance…

Trad pub can generally be relied on to do some marketing - so this item is perhaps better seen as an indictment of more mid-sized Presses - but, basically, if an author has to do the majority of the work themselves, then why aren’t they getting paid more? What’s the actual benefit to going the large press/trad pub route if it’s not going to get the book into more hands? It’s especially strange that this continues to be a major issue when self-publishing (which also requires doing one’s own marketing) garners 60%+ royalty rates. Yes, the author doesn’t get an advance, and they don’t get the cache of ~well I was published by…~, but considering some Presses require parts of advances to get paid back if the initial run doesn’t sell out, and cache doesn’t put food on the table...pay models have really, really got to change.

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9. Fanfiction writing doesn't count as writing experience

Hey there Basic White Dude, we see you’ve graduated summa cum laude from A Big Fancy Expensive School. Of course we’ll set you up to publish your first novel you haven’t actually quite finished writing yet. Oh, Fanperson, you’ve written 15 novels for your favorite fandom in the last 4 years? Get to the back of the line!

Do I really need to explain this? The only way to get better at writing is to write. Placing fanfiction on official trad pub “do not interact” lists is idiotic, especially considering many of the other items on this list. (They know how to engage readers! They have existing followings! They understand genre and tropes!) Being a fanfiction writer should absolutely be a marketable “I am a writer” skill. Nuff said. (To be clear, I’m not saying publishers should publish fanfiction, I’m saying that being a fanfiction writer is relevant and important experience that should be given weight when considering an author’s qualifications, similar to, say, publishing in a university’s quarterly.)

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10. Tagging conventions (read: lack thereof).

Oh, did I trigger you? Hahahaha. Good luck with that.

We rate movies so that people can avoid content they don’t like. Same with TV shows and video games. Increasingly, those ratings aren’t just “R - adult audiences,” either; they contain information about the nature of the story elements that have led to the rating (“blood and gore,” “alcohol reference,” “cartoon violence,” “drug reference,” “sexual violence,” “use of tobacco,” and many, many more). So why is it that I can read a book and, without warning, be surprised by incest, rape, graphic violence, explicit language, glorification of drug and alcohol use, and so so much more? That it’s left to readers to look up spoilers to ensure that they’re not exposed to content that could be upsetting or inappropriate for their children or, or, or, is insane. So often, too, authors cling to “but we don’t want to give away our story,” as if video game makes and other media makers do want to give away their stories. This shouldn’t be about author egos or ~originality~ (as if that’s even a thing)...it should be about helping readers make informed purchasing decisions. It’s way, way past time that major market books include content warnings.

Thank you for joining us, this has been our extended rant about how frustrated we are with traditional publishing. Helpful? No. Cathartic? Most definitely yes. 🤣

*

Have a question about writing? Drop us an ask!

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[bigskydreaming]

Hi! You've talked about Brother Blood a lot so I was hoping you'd know. I saw a post where some people were saying that Dick being brainwashed was a retcon done just to make him look less jerky. Is that true?

Eh, yes and no?

Like it depends on what you consider a retcon to be, I guess. If you view any story moment that contradicts or alters a previous one to be a retcon, then yeah, I suppose you could call it that. Personally though, I consider retcons to be later additions to a story or continuity that create a REPLACEMENT for an earlier story moment, that people are meant to refer back to from then on. Dick's brainwashing, to me, was simply a reveal. It altered the way his previous behavior was viewed, but it was deliberately led up to, like that WAS the story.

Now, to be fair, the specific way the brainwashing was explained, it made things ambiguous enough that you could make USE of the brainwashing to excuse or explain away pretty much anything you didn't like about his behavior between the first Church of Blood story (when Dick was still Robin) and this one. So I suppose in that respect, it is a retcon.

But what makes me scrunchy faced when most people write off or ignore the brainwashing as a retcon (and why is it that people are so willing to accept SOME retcons but not others, I would really like to know, like 'but it was a retcon' seems to come up ANNOYINGLY often in Dick's narratives in particular, with that line being used to try and invalidate Dick being fired, Robin being his mother's name for him, that he was brainwashed in the Church of Blood stories, etc. Yeah they were retcons, but so were eighty million other things people just accept. Like.....I'm just saying).

BUT I DIGRESS.

Anyway, what makes me go eh about people going 'oh the brainwashing was just a retcon to make him seem like less of a jerk' because yes, I have heard that argument too.....is that the things people cite as what they feel are examples of the behavior they think this was a retcon FOR, like.....just do not work as such.

Because the big ones are the ways Dick behaved on Tamaran and with Kory's political marriage, and then his fight with Donna upon his return to Earth.

And I just want to point out the timeline involved here:

Dick's big blowup with Kory over her political marriage? Was in New Teen Titans #18. His fight with Donna, was in #19. The reveal of his brainwashing, which led him to lash out due to the mental and emotional turmoil he was in fighting against the conditioning, as Mother Mayhem termed it, was in #22.

That's a span of less than five months from the biggest jerk moment people cite as what was being retconned with the brainwashing....til the brainwashing moment itself. And there's a couple of things to keep in mind here.....first, that comics - especially back in the eighties - take TIME to produce. Even if there had been a huge reader backlash at the time of #18's publication, with readers calling for Dick's head, the idea that this could lead to inserting the entire brainwashing plot setup as a fix-it retcon is dubious if not outright impossible. Issue #22 was on the SHELVES not even five full months after #18's publication. In the 80s, the way comics were produced and published, they needed to be completely finished and shipped off to retailers a couple months before their on-shelf date, and it took weeks to print everything, and the lettering and inking and every step of the creation of each issue was done by hand.....

How exactly, do people propose that DC even had TIME to note any sizable need to correct or fix Dick's behavior in something like #18....and actually DO so by #22?

Not to mention, every issue in between them lays another brick into place on the road to REVEALING that Dick was brainwashed this whole time.....because in #19, when he had that big fight with Donna, he was actively shown questioning himself on his OWN behavior after the fight was over. Asking himself why he said the things he did, like....he was second-guessing his own behavior, which I don't see how that could have possibly been put in to lay groundwork for a retcon AFTER #18 was published....because #19 and #20 likely should have been already completed and off to the printers by the time #18 even hit stands.

And then AFTER #19, in #20 and #21, we saw Dick actively infiltrating the Church, or THINKING that was what he was doing, even though the Church was on to him the whole time, because his conditioning was actually just....directing him to basically walk right back into their clutches. Again, works as set up for the REVEAL that he was brainwashed, but impossible to have put into place to enable a RETCON.

So no matter how you look at it, even IF the decision to introduce a brainwashing retcon to 'fix' some of Dick's behavior had been made due to story elements from BEFORE #18.....

The events of #18 themselves, as well as #19-#22......still do not work as things that are just conveniently retconned by the brainwashing.....they have to have been written with the specific intention in mind of laying groundwork for the idea that Dick was 'lashing out due to his mental struggle against his conditioning.'

The timing just does not work for them to be anything else.

So it doesn't work for me at all, to cite those issues as things retconned by the brainwashing reveal, when HOW Dick acted on Tamaran, plus his fight with Donna, were very clearly written as DELIBERATE moments where he was behaving in a way that can literally be described as out of character, because they were meant to post-reveal, be viewed as examples of how he wasn't himself, how his mental and emotional state themselves were being impacted by external influences. (Not just in terms of external events but like, external mental conditioning).

And I just don't think it works to use moments that are written WITHIN a narrative to be DELIBERATELY out of character.....as examples of his characterization or proof of the necessity of a retcon for his character, lol. That makes no sense to me.

And lastly, I also have to point to the fact that like......good old Marv is not actually the most aware guy out there? And I question the idea that just because people TODAY may look at various things Dick said or did in stories leading up to the reveal and think oh yeah, of course they'd want to course correct that.....I don't exactly think that means that back in the 80s, Wolfman viewed those same things as even NEEDING a retcon to correct. Especially when you consider things the other characters around Dick were doing, without any kind of retcon for their worst behavior? Why would it be only Dick that he saw a need to retcon his behavior or actions, especially when Dick's worst ones literally ONLY happen in the actual narrative buildup to the brainwashing reveal, mere months before the issue revealing it hit the stands?

*Shrugs* Anyway, YMMV, but to me its always clearly read as all of that was just a story where writing Dick acting increasingly out of character in ways that isolated him from his closest friends and allies so there was no one around TO stop him from walking himself right back into the Church's grasp....like, that was pretty clearly the POINT of that entire narrative, and the literal reason those fights he had even happened.

Writing it off as a retcon just to me seems an unnecessary tangle that doesn't serve any real purpose and complicates things needlessly. All it accomplishes is more of the usual 'oh Dick's not so great, look at THIS stuff he did, and how DC did this and this to make all that go away.'

Like.....DC doesn't even see a need to retcon away BRUCE'S worst behavior - then as much as now - and if they don't do it for BATMAN why are people so sure they're invested in doing it for Dick Grayson?

Sometimes a story reveal is just a story reveal, if you ask me. Which you did. So yeah. That's my answer. Nah, it wasn't actually a retcon, it was a planned plot twist.

Edit: Actually one last thing to point out -

Wolfman wrote brainwashing and possession storylines all the time. ALL THE TIME. Like, he LOVES that shit. 99% of those other ones don’t seem to have ‘need to retcon this character’s behavior’ as a reason for them being written, so why does this particular storyline need a reason for existing beyond ‘Wolfman wanted to write a brainwashing story. Again.’

[wickedobsessed101]

Fanfic Writer Asks

[SOURCE: criminal-minds-fanfiction: Most of the writer ask posts I come across are only like ten or so questions long so I thought I’d try to make a longer one because we like talking about our writing! Feel free to reblog!]

I’m answering all of these b/c I love Q & A’s about my writing, both for my fics and other things.

1) How old were you when you first starting writing fanfiction? It was 2013, so I was 14 years old. I’m now almost 23.

2) What fandoms do you write for and do you have a particular favourite if you write for more than one? I’m mostly in the Wicked Musical fandom, but I like to read for other fandoms, like Harry Potter, Percy Jackson, Chronicles of Narnia, ect.

3) Do you prefer writing OC’s or reader inserts? Explain your answer. OCs, but I’m more than willing to create an OC for someone based on characteristics they give me.

4) What is your favourite genre to write for? I love me some fluffy romance and hurt/comfort, but I also love some angsty drama.

5) If you had to choose a favourite out of all of your multi-chaptered stories, which would it be and why? OMG, don’t make me choose! They’re all my babies! I love all my children equally! They all hold special places in my heart.

6) If you had to delete one of your stories and never speak of it again, which would it be and why? Goodness, most of my stories prior to 2017, because I was in high school and had no idea what I was doing because I was just getting my feet wet with writing.

7) When is your preferred time to write? Anytime really. The latest I’ve stayed up writing a fic was 4AM. *Glares at ‘Threads of Truth’*

8) Where do you take your inspiration from? Where ever it happens to come up. I’m not picky. Movies, music, people I’ve seen on the street, random thoughts that enter my head, anything.

9) In your xxx fic, what’s your favourite scene that you wrote? In ‘Threads of Truth’, it’s a tie between Villy’s first date, and an argument that happens in an upcoming chapter. And that’s all I’m saying about that.

10) In your xxx fic, why did you decide to end it like that? Did you have an alternative ending in mind? In ‘Play The Game’, I liked the epilogue ending that I gave Elphaba with her family, even without Fiyero. I like writing her with kids. Another ending would be with the Fiyeraba still together, but I’m satisfied with the ending it has.

11) Have you ever amended a story due to criticisms you’ve received after posting it? I’ll go back and fix typos that are pointed out, but I don’t change plot stuff. Like, I wrote what I wrote and I will amend my technique in future stories.

12) Who is your favourite character to write for? Why? Other than my OCs, because I get to fully create them and my lowkey babies, I’d have to say G(a)linda. She has so much potential and she’s so much fun.

13) Who is your least favourite character to write for? Why? Boq. Not because I hate him (I don’t!), but because I don’t normally know what to do with him. If he’s not with Nessa, he’s literally just standing there like a brick wall. No offence, Boq!

14) How did you come up with the title for the xxx? - You can ask about multiple stories. [Ask me about a specific story(ies)]

15) If you write OC’s, how do you decide on their names? I usually change consonants and vowels to already existing names, or add unnecessary letters because... reasons.

16) How did you come up with the idea for xxx? [Ask me about a specific story]

17) Post a line from a WIP that you’re working on. “Hopefully, this will soak up any more leaks.” (Upcoming Wicked fanfic)

18) Do you have any abandoned WIP’s? What made you abandon them? Yes, 2. Both of them are a few years old and I’ve grown as a writer since then. Maybe one day, I’ll edit them and repost, but not anytime soon.

19) Are there any stories that you’ve written that you’d really love to do a sequel to? Not everything can have a sequel, y’all! XD

20) Are there any stories that you wished you’d ended differently? Yes! Around 60% of them.

21) Tell me about another writer(s) who you admire? What is it about them that you admire? @vinkunwildflowerqueen @raven-curls @mylittleelphie @weaselspeedfanfic Ultimate Queen of Cliffies

22) Do you have a story that you look back on and cringe when you reread it? This goes back to Question #6; most of what I posted prior to 2017.

23) Do you prefer listening to music when you’re writing or do you need silence? Silence. I need to focus.

24) How do you feel about writing smutty scenes? I can’t write it. They’ll make out, and then be pregnant in the next chapter. Y’all can do the math for yourselves.

25) Have you ever cried whilst writing a story? YES! Yes, I have! Both sad tears and tears of joy. I’ve also cringed from second-hand embarrassment at the things the characters do and say. I’m not in control of their actions all the time. Sometimes they tell me what they’re gonna do, and I’m like, “Well, alright, then.”

26) Which part of your xxx fic was the hardest to write? [Ask me about a specific story]

27) Do you make a general outline for your stories or do you just go with the flow? I write bullet points of things I want to happen in a chapter on the Word Doc, or in the story as a whole, and I try to keep those bullet points in order. And the Notes App on my phone holds a lot of my ideas, and sometimes full scenes.

28) What is something you wished you’d known before you started posting fanfiction? That I’d become obsessed with writing and continue doing it for almost ten years, as well as expanding to writing plays and musicals.

29) Do you have a story that you feel doesn’t get as much love as you’d like? Yeah. I’m not gonna say which one, but just know there’s one... or a few.

30) In contrast to 29 is there a story which gets lots of love which you kinda eye roll at? Yes, and I’m still not gonna say which one(s). I want all the love!

31) Send me a fic recommendation and I’ll post it for my followers to see! (The asker is to send the rec, not the answerer) Yeah, sure!

32) Are any of your characters based on real people? Yes. Villy Doiir from ‘Threads of Truth’ is based on 4 people I know in real life, all mixed together into one wholesome, mother figure/ mentor. Perhaps that’s why I like writing her so much.

33) What’s the biggest compliment you’ve gotten? All reviews keep me going, no matter the length. But I love it when people review saying that they picked up on little references that were really just for me. It makes me feel like we’ve shared a moment.

34) What’s the harshest criticism you’ve gotten? A guest reviewer once said, “You tend to write Fiyero as an abusive person”. It wasn’t harsh, just... NOT TRUE. Especially for the story they were reviewing.

35) Do you share your story ideas with anyone else or do you keep them close to your chest? Close to my chest. I’ll share it with the world when I’m ready.

36) Can you give us a spoiler for one of your WIP’s? NOPE! You’ll just have to wait and see! LOL!

37) What’s the funniest story you’ve written? I... really don’t know. My stories all have their funny moments.

38) If you could collab with any other writer on here, who would it be? (Perhaps this question will inspire some collabs!) If you’re shy, don’t tag the blog, just name it. I’m very busy, and collabs aren’t really my thing, but I’m always willing to lend an extra pair of eyes pre-posting.

39) Do you prefer first, second or third person? I’ve written one story in the first person and it was fun to get into the character’s head, but I love third person, cause I like knowing what everyone is thinking. Second person makes me feel a certain way and that don’t really like.

40) Do people know you write fanfiction? IRL, no. It’s not something I bring up over dinner. I’ll talk about my plays and musicals, but not fanfiction. I like keeping my fics for the online peeps and my more personal writings for the RL peeps.

41) What’s you favourite minor character you’ve written? My OC, Princess Hannalyn, from ‘A Royal Romance’. She was so much fun!

42) Song fic - What made you decide to use the song xxx for xxx. I haven’t done a song fic.

43) Has anyone ever guessed the plot twist of one of your fics before you posted it? Not fully, but they’ve had little inklings, but certain details were still a surprise. And I’m not mad about it.

44) What is the last line you wrote? “I don’t want this to be the last time we see each other.”

45) What spurs you on during the writing process? When I’ll have one idea, and it spirals into many others, and when the characters write themselves. It makes it so much easier for me. Sometimes they tell me that they’re about to make a bad decision, and I just go along with it. They need to learn and grow somehow.

46) I really loved your xxx fic. If you were ever to do a sequel, what do you think might happen in it? [Ask me for a specific story]

47) Here’s a fic title - insert a made up title. What would this story be about? [Ask me]

48) What’s your favourite trope to write? I love a good Royalty AU (not fully AU ‘cause of our princey-prince, but still) and Holiday AUs. And I’ve never written a Coffeeshop AU, but I LOVE reading them. I’ll read anything. I’m not picky, and I love to see what ideas others have.

49) Can you remember the first fic you read? What was it about? Yes, and both of them were Gelphies: 1 - “Easier Said Than Done” by mecelphie - It’s part of a long, wonderful series of Elphaba and Glinda together at Shiz and how their lives evolve together and has many lovable OCs. 2 - “The Thropp Diaries” by denpa wave chick saki - It’s first-person Elphaba POV of the book. It expands on lots of mentioned moments and we get to journey through Elphaba’s thoughts.

50) If you could write only angst, fluff or smut for the rest of your writing life, which would it be and why? I’d have to say fluff, so I can get my escape from reality. But it’s hard to write pure fluff without a little bit of conflict.

If you wanna read my stories, they’re all right here: Fae’sFlower

[bae-science]

now newt you may be thinking you’ve decided to double major and have a minor in your greatest act of nomative determinism yet how could you POSSIBLY have time to keep your mind sharp and sexy with real books and still read fanfic? well i’m going to college in a pandemic, that’s why. hardest battles sexiest soldiers and all that. here’s some white boy tuesday.

Overworked by Ferrety

WHAT a good good depiction of a meltdown and an even better autistic hermann. great fresh voice that feels true to character, the buildup is well paced so that when the h/c does hit it’s well-earned and cathartic, and all in all some really good classic lab era whump

double back by @ghostpressure

ghost drift translated to prose is really hard to pull off, so big kudos for keeping things poetic and mind-fucky, but still coherent and easy to understand. i love the little crystalized moments we get that tell us how clearly hermann is cataloguing them, which is a great detail to show inner thoughts rather than telling. i love love love the dialogue; it bounces the line between proper banter and the more serious, introspective tone the fic takes very well

All Clear by @trifoliate-undergrowth (NSFW)

this bitch has the TROPES. hate makeouts? arguments turn to more? trapped somewhere together and tension rises as they’re forced to wait it out? WALL SLAM HELLO. never before have i actually seen so many classic newmann faves for nsfw in one place and it’s like the scholastic book fair for adults. very cute voice for hermann as well, because oh yeah, he really is a dude in his late 20s and not actually an 80 year old turtle in a sweater

heat of the moment by @kingeiszler (NSFW)

if any of you so much as LOOK at me i will stomp you to death with my hooves. trans horny newt rights also i was NOT expecting that angst with a happy ending moment at the end but like fuck. this fic is packing about as much good stuff as the front of newt’s hot topic jeans. hermann gottlieb god of WAP

Dress Code by @arcanemoody

there are not enough fics centered around newt and his self-image post-pru and ESPECIALLY not enough dealing with him finding his style again. i think this concept is such a good one to explore nonbinary newt through (if i get a single “kinnie” in my askbox i’m writing a fic where stan twitter outs the precursors as possessing newt because they made an account and popped off. do not test me you all know i’m fucking crazy but i’m free) since so much of gender presentation is in clothes, along with the other stuff the precursors clearly took over in uprising. and then i know we all love to interpret the “whoever will take him” as newt being bi but i’m always glad when it’s noted in fic, and the way it’s used to develop his character works very well

The Geiszler-Gottlieb Wedding by Goldmoth

if for nothing else please go to the second chapter of this fic and read the playlist because i literally fell out of my bed laughing and had a bump on the back of my head the size of a cherry. worth it.

Baby, I’m a fool for you by @that-one-fandom-chick

wingman vanessa supremacy. twilight soundtrack supremacy. hermann meeting newt while he’s in a band SUPREMACY also with a lot of these fics combining it with “first meeting” everything usually goes wrong, but it was so refreshing to have that extremely cute diner scene at the end.... the old friend mitski vibes of it all........ gay hands hermann rights

Now We Have the Salad by MnemonicMadness

i wanna say right off the bat this concept tickles me so deeply because if a non diabetic person switched bodies with a t1d (moi) i would have to helicopter parent 90% of everything they did if i didn’t want to, like. die. or at least have a fucked a1c. anyway this is a really great twist on the body swap trope that takes full advantage of hermann’s disability as a plot point, and with the added variety of being post-uprising. that last bit is what makes the story work, actually, because if it were simply pr1 era, you wouldn’t really have an excuse for newt so desperately wanting to give hermann time in a pain-free body without it coming off as pitying and insensitive. but tack on the guilt of the precursors, and what they did to hermann, and you have the perfect justification for newt’s actions. smart writing! and some good old mortifying ordeal of being known that stays tasteful in context

i’m drawn to you, honey, like the sea to the fisherman’s daughter by @campgender  

i love a good post pr1 beach house fic i cannot lie! “newt and hermann don’t have ppdc jobs anymore but they sure do have trauma!” fics have sort have gone out of fashion post-events that occurred in 2018, but this one is a very good blast from the past. i love the beginning, which is such a fucking accurate depiction of how people used to having to be hyper competent in traumatic situations react to it being all over abruptly. i LOVE LOVE the ending, it’s so true to character and what i hope a good pr2 would have done for newt. this thing is chock-full of so many good lines, like “Maybe I don’t know how to live with nice things.” fucking MOOD and “’If you’re good enough at what you do,’ Hermann says firmly, ‘which you are, people tend to pretend as if the rest of it doesn’t exist.’” is so so accurate to the academia climb when you’re disabled, let me fucking tell you. great moment after great moment.

I’ve Got Your Letter by @coloredpencilroses

A if i rec this then ten things i hate about you au in my mouth please. please. please. anyway this fic is SO fun and good i love the writing style and how the humor is fun and consistent throughout both povs, the slowburn keeps things agonizing but has enough fun characters and plot to keep you invested and not just begging for an end so you can skip to it, TENDO KING OF BRAIN CELLS, and i haven’t seen you’ve got mail so i’m literally saving it until this thing finishes to keep the suspense. excellent fic for autumn

now usually this is where i plug my most recent work but since #theprecursorsareoverparty has spawned a more vitriol and hateful reaction than i ever could have dreamed, read i never liked that ending either and get yourself some culture. and stan tom stoppard

[snkpolls]

SnK Episode 70 Poll Results (for Manga Readers)

The poll closed with 170 responses. Thank you to everyone who participated!

Please note that these are the results for the Manga Readers’ poll. If you wish to see the results for the Anime Only Watchers’ poll, click here.

--

RATE THE EPISODE 167 responses

This episode received good ratings, though it wasn’t as hype as previous episodes have been. We presume this is likely due to the primary focus on Gabi and Falco over the Survey Corps/Warriors. Overall, though, the episode was solid for most respondents. 

Beautiful😍✨

MAPPAGOAT 

Its pretty good

Alright for what it was.

WHICH OF THE FOLLOWING GABI AND FALCO MOMENTS WAS YOUR FAVORITE? 167 responses

The majority of the most favored Gabi/Falco moments from the episode were in the second half, starting with Gabi’s unfortunate encounter with the horse with 29.9% of the vote. Behind that is Kaya and Gabi’s argument about why Kaya’s mom had to die with 27.5% of the vote. At 21.6%, Kaya remembering Sasha was favored and at 13.2% was Kaya taking Gabi and Falco to her old home. 

Gabi's character is so real. LOVED her and Kaya's argument; the va's went all out & it made me cry

Why do ask us what our favorite Gabi/Falco moment was without the option "I don't have one?" Falco's cool and all but Gabi's story has literally been nothing but a drag to me from start to finish

Would have chosen the horse thing for my favorite moment but went with Kaya remembering Sasha instead. At this point so close to the end of the manga I'd rather focus more on moments with characters I enjoy than obsessing with a character I utterly despise having some misfortune (to put it mildly)

WHICH OF THE FOLLOWING MOMENTS FOCUSING ON OTHER CHARACTERS WAS YOUR FAVORITE? 168 responses

This pie chart was a bit more colorful than the previous one, with the largest piece going to Mikasa’s headache with her flashback to the night Eren saved her (26.2%). Behind that moment, 16.7% most enjoyed Hange confronting Floch and Co. about their involvement in leaking information about Eren, 16.1% favored seeing Hange remembering Sannes’ warning. 14.9% liked seeing Mikasa and Louise’s brief conversation in the dungeon and 13.1% liked the moment with Magath and the Warriors discussing their retaliation. 

GIVE HANGE A BREAK </3

WHICH FLASHBACK HAD THE MOST EMOTIONAL IMPACT FOR YOU? 169 responses

Nearly half of respondents were most touched by the moment at the end of the episode where Kaya talks about Sasha saving her and says she wishes to become a person like her. 29.6% got most emotional over seeing the flashback to the night Eren saved Mikasa, and 18.3% were most impacted by Hange remembering Sannes’ warning.

RATE JEAN’S OUTFIT 169 responses

Jean doesn’t do anything in this episode really, but he sure did come dressed in, erm, a unique outfit. Overall most people were neutral or felt that he needs to up his fashion game. Although 34.3% altogether ranked on the higher end, feeling he’s a total fashion icon. We’re questioning the legitimacy of these claims or whether they were just being sarcastic for the fun of it. lol

WHO WERE YOU MORE EXCITED ABOUT TO SEE SHIRTLESS? 159 responses

Eren thirst won out on this question, with 70.4% being most excited to see his half naked body in the previous episode. Though Reiner stans came through for him in their support of his shirtless moment this week with nearly 30% of the vote (and commentary).

Poundtown

More half naked Reiner thx

My only disappointment is that the shirtless reiner scene wasn't longer.

WOULD YOU LIKE TO HAVE AN EXCUSE TO TALK TO YELENA? 169 responses

When asked if respondents would like an excuse to have a conversation with our chaotic bae Yelena, 40.2% said they would absolutely love a reason to talk to her. 29% aren’t sure if they would want to or not, while 16.6% were a solid “no.” 14.2% didn’t care about this question. 

Yelena is hot

AS ALWAYS, WE’RE GONNA ABOUT CUTS. MAPPA LEFT OUT FALCO’S THOUGHTS ABOUT IT NOT BEING THE RIGHT TIME TO TELL GABI HE DELIVERED EREN’S LETTERS. THOUGHTS? 165 responses

There was a brief moment in the manga after Gabi’s misfortune with the horse where Falco thinks to himself about how he’s not yet ready to tell Gabi about his involvement in Eren’s attack on Liberio. 35.8% had completely forgotten this was a thing at all, while 24.2% felt it would have been a nice thing to keep, although ultimately unneeded. 20.6% feel it wasn’t a big deal since he tells her later anyway, and 9.7% feel that this thought of his will come up at a later time. 

I honestly forgot about it but it would have been really cool to see his thoughts in a better way, if that makes sense.

MAPPA ALSO CUT THE BEGINNING OF PIXIS AND YELENA’S CONVERSATION WHERE HE ASKS HER ABOUT HER CELL, TO WHICH SHE RESPONDS IT WOULD HAVE A BETTER VIEW WITHOUT THE BARS. THOUGHTS? 165 responses

Though a small detail, a few lines were cut from Pixis and Yelena’s conversation as well. 42.4% feel that it was unneeded and feel ok with the cut. 23% thought it wasn’t necessary to begin with, and 20.6% had completely forgotten about this as well. A handful didn’t care or feel saddened by less Yelena content. 

Maybe the actress wouldn’t come in to say one line l idk

I knew something was missing

HOW DOES IT FEEL GETTING TO RELIVE GABI’S EARLY CHARACTER DEVELOPMENT AGAIN? 167 responses

We get to reexperience Gabi’s evolution from a perpetuator of Marleyan propaganda to someone who learns to “understand Reiner’s feelings” and see that those she was taught to hate are just like her. 25.1% of respondents feel unbothered by her initial resistance to see things any other way as they know where her arc is headed. 22.2% were never annoyed by this facet of her character to begin with and are totally enjoying the ride. 15% love her but can’t help but feel frustrated by these early moments of her development. 13.8% have always felt annoyed by her character and so their feelings remain unchanged, and 10.8% simply stated that they had forgotten just how annoyed they felt by her at all in the early portion of this arc. 

It's annoying AF but looking back/knowing what I know now makes me more empathetic to her storyline. She still annoying AF rn, though.

Back then I was just antsy to get back to the other plot lines. But I’m enjoying this a LOT more this time around.

It's a mix of painful and Gabi I love you but you need sense knocked into you, ya know?

Always hated her, always will, nothing the anime does changes my hatred of her

To quote Eren, "I always hated you".

I feel bad for her, she doesn't deserve this

She’s so annoying but I found Eren just as annoying in the beginning and I grew into loving the character. The get the reasons for her character but boy yams really made her so fucking annoying

Gabi Braun Must Die

HOW DO YOU THINK GABI’S BELIEFS WOULD HAVE DEVELOPED HAD SHE BEEN THE ONE TO MEET EREN INSTEAD OF FALCO? 168 responses

The majority has spoken. 54.8% feel that if Gabi had been the one to encounter Eren at the hospital, her views would have mostly remained the same, as opposed to Falco who was probably a better person to put into that role narratively speaking. 24.4% don’t want to say for sure as there is no way we will ever know, and 14.3% feel that she would have had her views altered to a slight degree, but would still not have been as empathetic to Eren as Falco was.

DID KAYA TALKING ABOUT WANTING TO BE LIKE SASHA HAVE MORE EMOTIONAL IMPACT ON YOU WHEN INITIALLY READING IT IN THE MANGA, OR IN THE ANIME? 168 responses

Overall, the anime had a profound effect on the emotions of the audience. 36.9% state that they were equally impacted in both mediums, though if a side was chosen, 32.7% felt that the anime made the scene more impactful, versus only 19% who thought that Isayama nailed it better in the manga. Only 11.3% were unaffected by this scene in either medium.

PORCO AND PIECK GOT ADDED DIALOGUE IN THE ENDING SCENE, ARGUING THAT THEY MUST RETRIEVE GABI AND FALCO DUE TO THEM BEING VALUABLE WARRIOR CANDIDATES, AND THAT IT WOULD TAKE YEARS TO RETRAIN A NEW BATCH. WHAT DID YOU THINK OF THIS INCLUSION? 167 responses

MAPPA included dialogue of Porco and Pieck vouching for saving Gabi and Falco ASAP, arguing that they should get them for the sake of the warrior program and that losing their talent would be a blow, and it would take ages to train up new warrior candidates. This is most likely just their excuse to appeal to Magath while wanting to save Gabi and Falco because they care about them. 41.9% felt that their commentary added more depth to the situation and the urgency to retaliate against Paradis and get Gabi and Falco back. 28.1% were simply content to get more content of them. 18% weren’t super excited about it, just stating that it was alright, while 9.6% just felt “meh” about the addition. 

I like how they all piled on about the need to take immediate action

I want to say I enjoyed it and it added depth but thinking about it longer makes it sound like they only care about rescuing them only because their valuable warrior candidates. Like, it makes it seem like they don't actually care that much about them, even if I know that's not the case. LOL 

Any extra scene with Pieck is much appreciated!!

made me sad that they only see them as soldiers and not kids that need saving.

WHICH MOMENT FROM THE PREVIEW ARE YOU MOST LOOKING FORWARD TO? 165 responses

The vast majority (65.5%) of manga readers are most excited to see Zackley blowing up in the anime (bye bye, poop machine!). At a distant second was seeing Eren his cell at 22.4%. Only 7.3% are looking forward to seeing Mikasa and Armin pleading with Zackley to see Eren, and Yelena and Pixis got minimal love. 

My memory is not working well, did Wit showed Zackleys poop machine or was it supposed to be shown in the next episode?

WE GOT CONFIRMATION THAT EPISODE 16 OF THIS SEASON IS GOING TO END ON CHAPTER 116. THOUGHTS? 159 responses

The plurality of respondents (42.8%) seemed a bit disappointed, but had no problem accepting this cliffhanger. 27% seemed rather displeased, but nonetheless were also understanding of MAPPA’s decision. In contrast, 10.7% looked back to the Promotional Video (which had content from up 122) and expressed their PAIN. 8.2% actually wanted the season to end on this cliffhanger, so they were rather pleased instead. We also received a lot of write-ins.  

There absolutely needs to be season part 2, i don't accept any early endings

I am... not sure yet.

As long as it means less cut content lmao

Don't really care much where it's gonna end. I just hope the pacing is good.

i read it ages ago idek which chapter 116 is

I want people to stop complaining about the trailer “lying to them”.  Also my anime only gf is going to be very frustrated with where episode 16 ends.

I thought it would end with 122 according to the preview and it would have been, IMO one of the best cliff hanger ever since all the logic of the plot turns around with revelation about Eren path shenangians. However, I think it's really fine since it allowed MAPPA to take its time to show us the story without making to much choices or compromise. It also means longer s4 part2 if there's one.

I dare you to stop at chapter 114 and fluster up all Levi fans

I am going to die waiting for Paths. 

I need to recheck chapter 116 I forgot about almost everything happened after ema encounter in 112 :D

I don't care as long as they all cover it eventually.

Chapter 119 would have been a better end, but well, I'm gradually learning to lower my expectations for this season

I just roll with whatever they give me xD only fearing Hange's farewell </3

:((((

both 122 and 116 are okay for me tbh

It's all fine to me

Someone explain this whole "ending on chapter 116" thing please

It should've been 117 :/

I was hoping for 119, but I get why they picked 116

WHAT ARE YOU MOST HOPING FOR AS A CONTINUATION? 169 responses

In a nearly unanimous vote, the large majority of respondents feel that the series is best wrapped up with a “part 2” of the final season over the potential for MAPPA to conclude things as a movie (or as movies). Hopefully we’ll have an answer from MAPPA on this front at the end of this run. :)

Another season or movie series works as long as they keep to the source material

I’m happy with either. 

I really really reeeeeeally hope it's not movies. I do not want movies! It would take literal years for fans outside of Japan to get a proper conclusion to the series. Last time people waited years for a season so many people stopped caring, moved on and the popularity took a huge hit it never recovered from. I'm worried that due to Demon Slayer's success they're gonna get greedy but SNK movies wouldn't even make a fraction of what Demon Slayer made. That series is a behemoth over there, it's insane. And I love SNK but Evangelion it is not, and people aren't going to wait and will lose interest. Just please, NO MOVIES!

Final Season Part 2 BUT with lots of time to adapt it

part two but don't call it part two XD.... let's stay in a hiatus for an anime season or 2. or more i don't care , i hope they have enough time to make the amazing job they are doing right now :) 

Series Spin-Off after Final Season Part 2 !!

A movie would be super sick but unrealistic

Whatever MAPPA decides is best

ADDITIONAL THOUGHTS ON THE EPISODE?

The scenery is a 10/10

gabi braun and the terrible, horrible, no good, very bad island vacation. 

Gabi sucks

All hail the Eldian Empire

I thought it was overall really good and funny because of the scenes where falco and gabi were just arguing,, it didn’t have much blood and all but I still really liked it!

I never noticed this in the manga, but seeing gabi constantly almost give them away and falco anxiously making up excuses felt like watching reiner and bert again 😂 

Gabbbiiiiiiiiiiiiiiii!!!!!! Kaya MVP btw.

Bless MAPPA for delivering on the shirtless scenes after we got robbed in Season 3. lol :p But seriously, this episode's scenery was gorgeous.

It was like the calm before the storm that's about to come with the next episode. Episode 71 will be when everything starts to violently turn

people should understand Gabi's character even more

I think Falco was very cute the whole time

Gabi beating that guard was way more brutal in the anime, but the scene of her slapping Lisa's hand away was badly done here.

It was a bit boring, but it was needed for character development

One thing I noticed about this episode is how heavily it featured female characters being influenced by other female characters/female characters in general (Louise and Mikasa; Kaya and Sasha; Kaya and Gabi; arguably Hange depending on how you identify them) which was a nice reminder that of the fact that AOT isn't one of those shows that falls heavily in the 'one token girl' dynamic. Isayama worked to include a wide variety of female characters with very differing outlooks, which clash occasionally, without it ever being about romance. 

Like most of this season (except episodes 1 and 7 maybe), I appreciate Mappa's work but that's all. I'm sad, disappointed, and I guess it's a good thing this season will end on chapter 116. Let's hope they will have enough time to adapt Part 2 and make it legendary, because this first part is good at best. Also, I totally forgot how annoying Gabi was back then. I really like her now, but geez, she was awful this episode.

Felt good to see Gabi get horsebite all over again. Can't wait to see how MAPPA extends Nicolo punching her lol

cool episode, i’m looking forward to seeing more of gabi’s development in the future episodes :))

The horror of mikasa's newly resignified memory... PERFECT. i was fearing they would use wit's romanticized scene... which worked just fine in the first season BUT NOT NOW! because the whole connotation of the memory is different. ALSO! the scenery was insane! 

Horse for President!

Damn, MAPPA's killing it on the scenery this episode. I really enjoyed the animation as well as the plot and voice acting.

In spite of the animation quality I had to give it an obligatory 1 because it was a Gabi episode, and anything involving Gabi automatically decreases the overall quality of the story

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 156 responses

Thank you again to everyone who participated!

[ciriceart]

OC profiles: the Lawson family

From the now-defunct semi-interactive comic/creative writing projects, “Hunger, Nevada”, “Far From Any Road”, and “Saudade”.

The plot of these three stories cover topics and conflicts such as learning to relate to those around you, breaking toxic cycles, smalltown stagnation and the isolation of close-knit communities, and metaphorical (sometimes literal) body horror monsters that slowly poison towns and families. I wrote these stories from the ages of 14 to 21, and they're all very much a reflection of myself and my perspectives/outlook at those times. I still go back and revisit certain areas, but can't see myself rewriting them in full any time soon. I feel like that would be a disservice to my past self - I used these to sort out and explore my own feelings and hangups, and they served their purpose, but I still draw and talk about the boys more often than I expected I would when I drew my first doodle of Ellis and Lawrence in 8th grade detention. This post is just an infodump about the family of the main characters. I'm not getting into plot details just yet. Though it is worth noting, this was at the height of my Silent Hill hyperfixation, and Ellis and Lawrence began life as the protags of my imaginary Silent Hill fangame for which I made an entire gamefaqs walkthrough because I did not know how to write or draw too well. That doesn't really matter too much now, I just think it's fun.

The Lawson family consists of Francis (or Frank) and Amalia Lawson, and their two sons, Ellis and Lawrence.

Frank is a large man, about 6’3 with green eyes, short auburn hair,  and a beard. His skin is somewhat pale but has a minor farmer’s tan from working outdoors, and there’s a spatter of freckles across his entire face. He sometimes wears rectangular half-frame glasses and uses a walking stick.

Amalia is about 5’4 and stocky, with dark brown, almost black hair cut in the patented Mom Bob(tm) with bangs and dark eyes. Her face is somewhat oblong with round, soft features and her skin is a warm mid-to-light brown.

Ellis ranges in age from 17 to 26 across plots. His facial structure favors his father. He’s about 5’10,  has very light brown skin, freckles on his face, arms, chest and shoulders, dark eyes and auburn hair. As a teenager, his hair reaches to about his jaw with an off-center part, and he keeps it short and parted on the side as he gets older. He usually at least attempts to comb his hair back but half of it just falls back in front of his face anyway. Sometimes sports various non-serious injuries such as scratches and bruises. He’s rough-and-tumble.

As a teen, most of his outfits consist of torn up jeans, skater shoes, and a plethora of graphic or band tees. Sometimes an old flannel stolen from dad, or black canvas jacket. As an adult, he wears mostly intact but faded black work pants, black or brown work boots, a plain T-shirt and often an unbuttoned overshirt with either short sleeves or the sleeves rolled up.

Lawrence also ranges in age across stories, from 9 to 17. His facial structure favors his mother. He has pale skin, freckles across his cheeks and the bridge of his nose, green eyes, and auburn hair in a short, choppy buzzcut that he later grows out to reach past his shoulders as he gets into his teens. As a child, he’s very short and scrappy, and then becomes gangly and awkward as a teenager.

As a child, his wardrobe is typically all childish graphic tees and cargo shorts or jeans, all picked out by his parents. As he gets older, he becomes introverted and shy, always covering himself up in an absurd number of layers – he's often seen wearing a short-sleeved shirt with long sleeves underneath, either a flannel or sweater, and a massively oversized forest green jacket with a red fleece collar. He usually sticks to plain, slightly baggy jeans and sneakers.

--

Frank and Amalia married in their mid to late 20’s and moved to Frank’s hometown of Ansley, [state redacted].

Frank works in a hardware store and as a repairman. Some years ago, Frank suffered a spinal injury, resulting in chronic pain and his use of a walking stick. He still works at the hardware store and takes repair jobs, though he’s unable to work as often or for as long as he used to.

Ellis drops out of high school in the second quarter of 11th grade to work full-time at the hardware store and begins picking up smaller repair jobs around town. Lawrence, being much younger, is not employed but occasionally does smaller tasks such as sweeping up or organizing shelves after closing hours, or tagging along with his brother or dad on repair jobs to help where he can.

Amalia works at a packing and shipping facility in the city. She works overnight, six days a week with Mondays off. She’s usually home about an hour before her sons have to get up for school. Amalia’s pack a day smoking habit and Frank’s temper are the subjects of most conflicts, but they never progress past passive aggressive remarks or heated discussions. The family occasionally relies on financial help from a man named Mike, whose family has been friends with Frank’s for several years, to make ends meet. He’s often the reason that their heat and water stay on.

The Lawsons are a practicing family of Amicists. They regularly attend service at The First Church of the Shoal United in the next town over. More on Amicism at a later date.

Ellis has a lot of pent up resentment toward authority figures and “grown-ups” in general, even into his own adulthood, due to Backstory Reasons I won’t get into here.

James, Marie, Robin, and Brian are Ellis’ friends from high school. They mostly sit around smoking pot and watching bad movies, sneak out to drink at the park after curfew, and attempt to skate in vacant parking lots.

James was held back in middle school and is one or two years older than the rest of the group. Most parents in town still call him Jimmy and think he’s a very nice boy. If asked to describe him, his long line of ex-girlfriends would say “he’s so nice, but GOD he’s so dumb.” Marie was closer to Robin and James than she was to Ellis, so they didn’t hang out outside of the group at all. She thought Ellis was kinda weird, but not a “bad weird” so she never mentioned it or complained. Robin is that sort of midwestern emo girl in everyone’s math class who’s an artist, but all she draws is semi realistic eyes with elaborate eyeliner in her English notes. She regularly gets into arguments with Ellis and James on what genre different bands count as. Brian is the obvious stoner friend who would be kinda chill to hang out with if he weren’t so loud and annoying about how his parents totally don’t even care and just like, totally let him do whatever he wants.

Dropping out of high school to work a fulltime job, having no interest in college, minimal relationship experience, and staying in such a small and rural town leads to Ellis becoming socially isolated and unable to fully relate with people his own age. He slowly falls out of touch with his friends and people he knew from school, preferring surface level interactions with older coworkers, relatives and friends of the family.

Lawrence, as a result of his older brother’s attempt at parenting while Frank and Amalia are working, learns to be untrusting and uncooperative as well. He picks up a smoking habit by age 14, often stealing them from Ellis or from their mom's purse when she’s home, and sneaks out of his and Ellis’ shared bedroom through the window at night.

Lawrence is a nice kid, but struggles to make friends. Throughout all of middle school and into high school, he only manages to befriend two others named Catherine and Donnie.

Donnie is Brian’s little brother. He and Lawrence aren’t actually friends, but they tend to tag along when Ellis and Brian hang out at each other’s houses. Catherine has known Lawrence since they were in third grade, but they never hung out until they got put in the same advanced math class in middle school.

As he gets older, Lawrence begins to neglect his few friendships and social life in favor of fiction; most notably stories and unfiction focusing on the occult and supernatural, as well as a video game series called Sprout Friends, a puzzle game involving farming and anthropomorphic fruits and vegetables. If he isn’t hiding out on the rooftop of the house at night, he’s locked in the bedroom playing one of multiple Sprout Friends titles, or hunting for strange occurrences around town during the night.

--

Fun fact: Ellis' middle name is Layne, and Lawrence's middle name is Elijah. I thought it would be cute if their middle names had the same first letters as each other's firsts.

[kob131]

https://www.youtube.com/watch?v=7txJGzFpifw

30 seconds. That’s how long it took for me to get mad at this review.

“We start the episode post-argument where it’s explained Atlas’ borders are closed. Then the military guards suddenly change their minds and decide the group can speak to their commanding officer, Caroline Cordovon.”

The very first thing about the episode and we already have a problem. 

The guard’s change wasn’t sudden- They changed when they saw Weiss.

Qrow: Hey, if you don't wanna believe that I'm friends with Ironwood--

Both Nubuck Guards: General Ironwood!

Qrow: Yeah, General Ironwood, then fine. But look, we have Weiss Schnee with us and we're trying to get her home safely.

Weiss looks down with reluctance upon hearing Qrow say that. The two guards look to each other before turning their attention back to the group.

Both Nubuck Guards: Approach!

Weiss shares a look with Blake Belladonna, who just shrugs. Weiss then walks up to the gate and the two guards step up and bend down to inspect her. After a moment, both guards stand straight back up.

Both Nubuck Guards: Very well!

Guard Nubuck 2: You may speak with our commanding officer!

Guard Nubuck 1: We will fetch her at once!

Considering her tone and the video title- I expect to at least go a minute without an issue.

“We then spend about two minutes and a half doing nothing as Cordo just says random shit as opposed to saying why the kids aren’t allowed in.”

A. We already know why they aren’t allowed in- They want into Atlas, Ironwood says no. This stated BEFOREHAND. The reason why Cordovon came out was to see Weiss.

Something you’d know if you paid attention before.

B. Cordovon isn’t saying random shit- it’s demonstrating her character which is important since this is the ONLY time we see her before she busts out the mech so we need to know why the character would do it NOW.

Seriously, this is pretty god damn important. Well at least it can’t get wor-

“Then Cordovon drops some odd racism-”

...

All that bitching about the Fanaus not being discriminated against...and how Atlas wasn’t built up enough...this line does BOTH...and gets bitched at.

Are you starting to see why I’m surprised RWBY improves at all?

“Ruby wanders outside to find Maria, who tells her to sit down and tell her about her eyes a bit. Maria spends most of her speech telling us about her backstory and barely touches on the eyes.”

A. Again, character building. Even worse here since the character building is about her father (the previous eye warrior), emphasises that her training and Semblance are more important and explains why the Silver eyed warriors aren’t so well known.

B. She also scolds Ruby for beating herself up over Jaune and Oscar (I skipped over her explaining that because it was worth less than what she says the episode is) which is pretty important to a character like Ruby.

C. About half the talk is about the eyes, she doesn’t just ‘barely touch on it’ since it sets the rules for the eyes (Ruby needs to think about what she wants to protect, only works in presence of Grimm). This isn’t nearly as worthless as you treat it.

“Why start the episode at the conclusion of an argument then just pick it back up immediately? Yang’s line at the beginning must be very accurate because it looks like they saw the kids walking up and closed the gates. It’s just a very clunky way to start the episode.”

... When was it said or shown that the argument had ended? Yang’s line ( Come on! You didn't even hear us out!) can be applied in both situations. While the guards line imply they know why they’re there, thus there must have been a talk,... Team JNPR is there, they can infer why they are there.

“This entire scene with Cordovon is trying so hard to be funny and fails every time. The jokes land about as well as Jaune does-”

Okay, you really shouldn’t make a bad joke when in the middle of complaining about bad jokes unless it’s an intentional example. I know it’s not because you never use it as an example. In fact, I find your joke worse because you do the cringey ‘GET IT?!’ punchline with a weird metal rift in the back so it just...fails at the punchline even though just playing Jaune’s audio in that scene would have actually worked.

“And the pauses for laughter are just filled with utter silence.”

... Did it never occur to you the punchline is the silence? As if everyone is so flabbergasted at Cordovon’s actions no one knows how to act? You really should show a joke instead of talking over it.

“I spend half my time in this scene screaming ‘just fucking go already!’“

That explains your utter failure regarding this scene.

“How did the guards not notice Weiss? Why did they need her to come closer to know it’s her?”

They’re trying to get inside and Weiss never spoke while an angry blonde is yelling at them. People don’t act like computers.

“How does Maria know it’s Cordo who runs this place?”

Maria: Oh, yes. I come through here about once every ten years to get my eyes checked up in Atlas. You bring outside cashews on one flight, and suddenly you're placed on the additional screening list for life!

Where you screaming over this line too?

“Why did she not inform everyone she was utter rivals with the commander they’re trying to work with?”

Ruby: (mouth stuffed) Well... (takes a gulp) We're trying to make our way to Atlas. We'll probably start with the military base.

She wasn’t expecting to deal with her.

“And it takes so long-”

11 seconds. From Maria talking Ruby down (being generous since she bitches about the group guessing what they are) to Maria confirming they’re enemies.

11 seconds. Standard joke procedure too.

This just makes you look impatient.

“Dragging it’s feet as it pretends having Maria yell is the same as having a joke-”

She says as the animation with Maria shows comical facial expressions and the audio implies a random incident with cashews, common joke technique.

This reminds me of something I learned about media and the relationship between creators and audience: it’s a lot like bartering. The creators offer you something you want and the audience pays with suspension of disbelief and patience. Some creators ask too much, we’re well aware of them (like M. Night.)

However, the audience or members of it can also demand too much. Like refusing to accept anything except for a certain thing done a specific way at a specific time or demand stuff not what the creator intends to sell. Criticism videos believe it or not have something similar, offering insight and more for good faith.

Twiinks sounds like she’s being pissy about what she is given in an unfair fashion and because of a lack of insight, I am not willing to give any good faith in turn.

“The only saving grace in this mind numbing mess is the one tiny joke that actually lands.”

... But it’s effectively the same joke as the one you chewed out. In fact, it had more dead air in it than the others. Also since you just showed you have the audio it REALLY doesn’t excuse your lack of examples so far.

“DO SOMETHING!”

They did, right before. You cut out the audio. And this is the same dead air you praised before. 

Do you just not understand how to dissect jokes?

“Why is Maria arguing with Cordovon?-”

They JUST said they hate each other and Cordovon just insulted her. No, I don’t care you said they need to work with each other- You’re demanding they sacrifice character for plot as everyone bitches they do too much plot.

“How does Cordo know they’re connecting to RNJR? She hadn’t seen them in the distance before-”

Dunno, they asked the same thing while acting like they tried to get in before?

“Presenting the only other good joke of the episode-”

THE SAME TYPE OF JOKE YOU CHEWED OUT BEFORE. LITERALLY THE SAME. SAME SETUP, SAME EXECUTION, SAME PUNCHLINE.

“Honestly based on this one joke, it’d be funner to see RNJR interact with Cordo instead of this slog-”

And based on the video so far, it wouldn’t do a damn thing to fix things.

“I just showed you one of the stupidest moments in RWBY history. Let’s break it down.’

Oh this should be rich.

“If this base and that relay tower are so important, why aren’t we looking at them?”

Because the actual focus is on Cordovon’s massive sense of patriotism and ego. In fact, when you look at what she said again-

You civilians are clearly incapable of comprehending the importance of our mission here in Argus. So allow me to say this slowly, with smaller words: This base, that relay tower, the very safety of Argus are all gifts from the glorious Kingdom of Atlas! (a backdrop showing the Atlesian flag waves behind her) And it is my duty to uphold them, as only I have the wit and tenacity for such a task.

The focus is all on Atlas and herself. The relay tower and base are her justifications.

Which is important as these drive her actions later on as she feels slighted by the team and insulted, leading her to act irrationally.

“We’re stuck watching Cordo because...no good reason.”

*taps the section above this*

We’re not even a third of the way into the video BTW.

“Second: this has nothing to do with anything in the conversation at hand.”

You know, other than the good guys questioning her and pressing her to relent when her ego says otherwise.

“Ruby asks Cordo to listen to their request, she says she already heard it, says she’ll explain herself then...just tells us her job.”

And it is my duty to uphold them, as only I have the wit and tenacity for such a task.

This is her explanation. Do they have to have her say “Because I know better than you!” in order for you to understand.

P.S. “Cordo says ‘I’m a General!” That’s IRONWOOD’S rank. Did you do so little research and/or cared so little that it never once occurred to you that made no sense and she was referred to as ‘Special Operative’?

“Protecting Argus isn’t brought up and has nothing to do with getting to Atlas!”

*holds up a piece of paper saying ‘EGO!’ in big bold letters.*

“And this tendency to have Cordo sputter out random bullshit to force unnecessary events persists throughout the conversation.”

And you completely missing the point to obnoxious and I dare say intentional degrees persists throughout everything I’ve seen. And unlike the show, where this all feeds into Cordovon’s character and shows human flaws, you just show immense ineptitude. 

You bitch that this scene took forever but I’ve seen time pass faster watching paint dry than this shit.

“Almost nothing she says can be interpreted as a valid response to what the characters say.”

That. Is. The. Point.

If it’s not well executed- TALK about it’s execution. You’ve gone on for five minutes and yet cutting it would in fact make your video more tolerable.

*shows an example.*

“Cutting out the filler lines about Ironwood being scared prompting her rant shows how none of what she says has anything to do with what the characters say to her.”

... 

The thing that triggered her rant... you cut out. All while trying to prove that Cordovon isn’t listening to them...when the point of the scene is to show she won’t listen to reason...

... You know what? I’m done here. This is so blatantly missing the point that you’re effectively useless.

Twiinks, actually PAY ATTENTION to the show. Your flaw here is that you don’t pay attention (a critic’s JOB) and you keep missing such details (and outright the PURPOSE OF A SCENE) that there’s no reason to listen to you.  You can’t offer insight because you fail to see anything beyond the surface and applying your criticisms would lead to the creators insulting their audience’s intelligence.

Give people like FMF and Vexed Viewer credit- They can at least understand the PURPOSE of a scene. 

You know, the same guys I preach as biased incompetent idiots.

[itsclydebitches]

Bribe - There’s one demon in particular who’s interested to know how Crowley survived that bath.

Read on AO3 or below! 

***

“He sent a letter.”

“A letter?”

“Well yes. However else is he meant to contact us? It’s not as if we’ve been very free with our telephone numbers—”

“Speak for yourself.”

“—your lot are perpetually behind in technology—”

“Good of you to notice, Black Pot.”

“—and meeting in person without some warning would be... well.” Aziraphale smoothed down his vest. Then did it a second time, the worn fabric soft against his hands. “I'm grateful for it, is all. Strange as it may be. I say, will you at least pretend to take this seriously?”

With a roll of his eyes Crowley ceased terrorizing a starling, finally releasing the poor bird from his hypnotic gaze. It shot off across St. Jame’s park, off to tell the other birds all about the snake who was not a snake, who very much looked as if he’d eat her, but hadn’t. Within an hour it would be the talk of the nesting grounds.

“I am taking this seriously,” Crowley said. He rolled his neck and set back off down the path, leaving Aziraphale with no choice but to follow. “Course I’m taking it seriously! Demon contacts you out of the blue, wanting to meet all secret like, what’s not serious? It’s just...” he snatched the letter, holding it up to the sun. “I just didn’t know that Ligur could write.”

Aziraphale stumbled. “I’m sorry, dear. Did you just say one of your colleagues can’t read?”

“No, I said write. Keep up, angel.” Aziraphale once again made an attempt, both literally and figuratively. “He obviously can. Just surprised me is all. Why are you surprised? You know I don’t read.”

“Poppycock. You’ve read since humans started carving on stone slabs, you simply claim otherwise in an effort to annoy me.”

Crowley fiddled with his glasses, hiding his smile. “Huh. Is it working?”

“I will chuck you into the pond, dear boy. Don’t think that I won’t.”

“But this skirt is new!”

“Precisely my point.”

With grumbling on both sides the walk continued, the letter passed back and forth as if reading it again and again might change their circumstances. Crowley was well prepared to deal with any push-back from Beelzebub, curses laid around the bookshop and a new thermos of holy water locked up tight in his safe. Aziraphale, in turn, had mustered up the emotional energy needed to plot against his brethren—although he steadfastly avoided words as damning as “plot.” Too close to the original Rebellion for his nerves, thank you. The point, however, was that he had begun praying directly to God once again and found time among his reading for light sparing with a human-made blade, two activities that he hoped he never had to draw on under more dire circumstances. That was the fear though, wasn’t it? That hope alone would only carry them so far.

Thus, they had prepared for hoards and hosts; a veritable army of creatures set to take out the angel who wasn’t quite an angel anymore and the demon who, arguably, had never been much of a demon to begin with.

A surprisingly polite letter slipped beneath the door was... not on the list of expected threats.

Aziraphale shook the paper a bit. Or parchment, rather. He hadn't the slightest idea where Ligur had gotten it. “Didn’t you kill him?”

“Didn’t your bookshop burn?” Crowley mimicked and then immediately looked contrite. He bumped shoulders in apology as they walked. “Yeah. I did. Holy water right over the head. It’s gotta be the antichrist then, right? Brought him back along with everything else? Satan, but ten-year-olds are stupid.”

“That stupid eleven-year-old has a name,” Aziraphale said. “And I’d like to see you reset reality without a few, unfortunate consequences. We’re not going to blame Adam for what we did.”

“What we had to do,” Crowley corrected. Then he sighed. “Yeah. No argument from me. Over and done with, all that. Only question is...”

He trailed off. They’d come to the end of the path, with it a long line of benches. Their benches. Crowley’s hands curled into fists as he spotted a bedraggled figure seated in his usual spot, hunched slightly against all the sunshine and happy park goers that surrounded him. Ligur’s eyes shifted their way and Crowley took an instinctive step in front of Aziraphale.

“What does the bastard want?”

A hand landed on his arm, trailed downward, stopped just short of taking his hand. Aziraphale gave Crowley's wrist a squeeze.

“Only one way to find out. Together then?” and he tugged them forward.

***

Meetings in public spots. It was all very spy-ish. Clandestine. It occurred to Aziraphale that he might have enjoyed this immensely under other circumstances. Problem was, meeting publicly meant actually getting the public involved. Living, breathing, entirely ignorant human beings flitting here and there, the perfect hostages should Ligur take it upon himself to secure one. It made his otherwise lovely lunch sit rather heavily in his stomach, but Aziraphale stood firm before the demon, still slouched as he was over the bench. Crowley had taken up position behind Ligur, pacing and chewing a strip of gum he’d gotten from Heaven only knew where.

Hmm. Not that there was much chance Heaven actually knew. Or Hell. The only person who might have any idea was Aziraphale himself, and he didn’t, so he supposed Crowley’s gum was simply one mystery he’d never solve. Unless God herself decided to descend and tell him—

Crowley caught his eyes across the bench. There were no words. But then, after 6,000 years you didn’t really need any. The message was clear: Stop panicking!

I am not panicking.

I know your panicking look, angel, thoughts all over the place.

Then stop staring at me!

Crowley did, settling for staring down at Ligur instead. He poked him hard in the shoulder. “You wanted something?”

“Yes—”

“Well too bad. Whatever it is you’re not getting it.”

Ligur shot off a glare, but it was halfhearted at best. With the exception of Crowley, all demons were a bit of a mess. Aziraphale didn’t know how they could stand it, wandering around in filthy clothes reeking of all sorts of unmentionables. Hair unkempt. Those nails. Yet despite this all being quite normal for his lot, Aziraphale had the distinct impression that Ligur was more ruffled than usual. He appeared not just sloppy, but run down. The sort of look Aziraphale might have been tempted to adopt had his bookshop been well and truly gone.

All of which was made clear when he turned fully towards Crowley and said. “You killed me.”

Ah.

“Yeeeaaah,” Crowley said. One hand snuck to the back of his neck. “But you deserved it! You tried to kill me first! Is that it then? Out for revenge and all that?” He frowned, looking around at the sunny day. Not a trap or another demon in sight. “You’re not very good at it...”

Ligur snorted. “If I wanted you dead, Crowley, you’d be dead.”

“What? Like last time?”

Aziraphale valiantly tried to turn his laugh into a cough—and failed rather miserably. He wilted under the look Ligur shot him. “Sorry.”

“Revenge,” he sniffed. “Who exactly do you take me for? We’re demons, Crowley. I’ve never trusted one of my own and I never will. Of course we’re out to kill one another! No sense getting worked up about it. What? Are you going to get mad at feathers here for shooting rainbows out his ass?” Aziraphale blinked under the onslaught of that image while Crowley’s mouth slowly unhinged. “No. It’s in our nature. I’ve got no problem with that. Besides, bucket of holy water over the door frame? Spark of genius that. Even if the rest of your work lacks craftsmanship.” Ligur shot up a boil-laden hand when Crowley moved to protest. Aziraphale could see a hissed what? already forming on his lips. “I died. Our Lord’s son brought me back. Pretty straight forward, far as I’m concerned. All I care about now is how you did it.”

A young jogger shouted out a “Left!” and Aziraphale stepped aside, instinctively moving to join Crowley on the other side of the bench. He wanted to take his hand this time, but settled for turning the letter over and over again instead. “I’m afraid I don’t understand. You just said it. Young Adam was responsible for your resurrection. I’m afraid such miracles are beyond our power. I couldn’t begin to tell you how he accomplished it. Nor, would I guess, could he.”

“What? I’m not talking to some snot-nosed mortal boy. Even if he is the Deceiver’s child.” Ligur sat on his knees, arms now folded across the bench’s top. He rested his chin on his hands and the chameleon atop his head blinked, oh so slowly. Both sets of eyes remained trained on Crowley. “I’m talking about what came after. What everyone’s been whispering about downstairs. How’d you do it, Crowley? As someone who has had one very nasty encounter with holy water and is not eager to repeat it: How’d you survive that bath?”

Aziraphale’s gasp was, luckily, drowned out by a shout from afar. A group of children playing, their joy unexpectedly saving him from what might have become quite the predicament. Crowley risked a glance his way, but had a better poker face than expected. Then again, hadn’t they been preparing for this? The day when Heaven and Hell finally figured out what they’d done.

Except it wasn’t Heaven. Or even Hell. Just a single demon, now gripping the sleeves of his jacket with a desperate intensity that nagged at Aziraphale. Tempted him to reconsider things that, to be frank, were best left not considered. Because if he—Heaven forbid—ever started feeling sorry for any demon other than Crowley... well. It didn’t bear thinking about. Not when their neat and ordered world was already so topsy-turvey.

And yet, that had been his holy water. His blessing that had driven Ligur off of this plane. Funny how Aziraphale could feel so much regarding an indirect killing than he had when he’d leveled a gun at a child.

Luckily, Crowley wasn’t the sympathetic type. Not when it came to his fellows, anyway.

“Now why would I give up a secret as big as that?” Crowley asked, leaning right in Ligur’s face.

The demon gave as good as he got, rising up until they were nearly nose-to-nose. “Because I dropped that letter off at your angel’s precious bookshop. Because I chose this spot knowing you two come here every Thursday. I know you, Crowley, and if you don’t tell me I will dedicate every free moment I have to making the both of you as miserable as possible.”

Crowley paused. “Got a lot of free time then?”

“Since I technically got off the roster thanks to your murder? Oodles.”

A stare. A smile. A full minute of silence that dragged in the worst way. Then Crowley clapped his hands.

“Right! C’mon then,” and to Aziraphale’s quiet shock Crowley turned on his heel and began marching across the grass. Once again someone was watching out for them—Her, fate, just a hefty dose of luck—because Ligur was vaulting the bench, too immersed in keeping pace with Crowley to take note of Aziraphale’s stunned expression. After a moment he shook himself and began to follow.

What a trio they made: Crowley in flowing skirt and lace top, a skimpy middle finger to the heat; Aziraphale in linen and a lighter vest than usual, but otherwise buttoned up; Ligur trailing a coat so dirty and infested it seemed to squirm around his shoulders. If anyone thought their manner of dress odd, a quick miracle took care of that. Crowley led them through throngs of mortals enjoying the day, each giving them a fond glance that Aziraphale took strength from.

What was even better for the nerves than love though was food. Perhaps blasphemous to say so, but true nonetheless. When Crowley stopped at their favorite ice cream cart Aziraphale had already bustled his way to the front. He suddenly needed a cone and flake like nothing else, all but throwing himself into Toby’s line of sight with a miracled fiver in hand.

“Usual, Mr. Fell?” Toby said, already scooping up an extra-large serving. “‘Ello, Anthony. Can I tempt you to one of my strawberry pops?”

“Grape today,” he said, earning a pleased smile. “And my friend here will have a vanilla cone. Best you’ve got in stock.”

Toby chuckled. “Righty then. Best cone, best scoop, best jimmies. Coming right up.” He was entirely oblivious to the sarcastic tilt of Crowley’s ‘friend,’ or the near panicked look that shot across Ligur’s face, followed quickly by disgust. Over his own mouthful (Toby was mercifully quick) Aziraphale couldn’t help but compare the expression to another, similar one he’d seen not too long past: Gabriel’s horror over him eating sushi.

Too many commonalities. Too many implications. Aziraphale stuffed his mouth full of ice cream and decided to let sleeping reforms lie. Best to let Crowley do whatever it was he was doing. Or thought he was doing. Hopefully they amounted to one and the same.

Things became a little clearer when he gestured to the cart with a vaguely reverent air. “This is it, Ligur. You wanted my secret, you’ve got it. The jig is up,” and Crowley accepted his grape popsicle with exaggerated gratitude.

Ligur hissed with displeasure. “Do you take me for a fool?”

“Yes. But that’s not the issue here. Why would I lie?”

“Because you wish to keep such a significant advantage for yourself.”

Crowley shrugged. Beneath Toby’s nose he unhinged his jaw and swallowed the popsicle whole. Gum too. It went unnoticed. “I mean sure. Makes sense. Except you just promised to make our lives a living heaven and I believe it. Not worth the risk. Besides, me giving up the secret doesn’t mean you can use it.” Crowley tossed the stick over his shoulder. Aziraphale waved his hand, sending that and the bit of paper stuck to his cone into the ether.

“I see.” Ligur’s eyes narrowed as Toby handed him his treat, decked out in as many jimmies as the ice cream could hold. “You say eating this will make me immune to holy water? You think I wouldn't suffer through this for such a reward?”

Under the sun, Aziraphale began to sweat.

“No. Ice cream won't make you immune.”

He began to sweat harder.

Crowley just managed to catch Ligur’s wrist before he chucked the cone at his face. With his other hand he wagged his finger back and forth like a disappointed parent. “Patience. You’re going to need a lot of it if you really want that reward. Because ice cream is just step one.”

“Explain.”

Crowley spread his arms, this time encompassing not just the ice cream, but the entirety of the park. The world, as Aziraphale soon understood. “You’ve gotta be human, Ligur. Or as close as we can manage. That right there is your ticket.” He nudged the demon in his chest… then frowned at whatever sticky substance had adhered to his finger. Toby kindly handed him a napkin. “Thank you. As I was saying, you’ve gotta blur the lines a little bit. I mean, you’ve seen humans. Those righteous ones flicking holy water at each other every Sunday.”

Ligur shivered. “Repulsive.”

“Right? But the corrupt ones do it too! Take the nastiest, awfulest, most foulest, meaniness—”

“Those are not words, dear.”

“Shut it, angel. You picture that lot, the ones we’ve helped turn, and you think about whether they really function any differently.” Crowley made a shushing noise as Ligur tried to speak. “No, no, no, don’t actually think. I know it’s hard for you. Luckily, I’ve got the answer: they don’t! the most sin-ridden human on the planet can still waltz into a church un-burnt; dump a whole vat of holy water over their head if they want without anything going all melty. Why? I mean, we could get into Her favoritism and all, but really the ‘why’ doesn’t matter. The point is they can. So if you want my advantage...” Crowley tilted his head, grinning. “You’ve got to become just a little bit human.”

Ligur was still. Not in any way that a person would have been able to achieve—and wasn’t that just the point? Azirphale found that he was holding his breath, trying to stay just as still, until slowly, agonizingly, Ligur dropped his gaze back to the melting cone in his hand.

The distaste was apparent. Yet he licked it once, like a cat indulging in a wary taste. Aziraphale found himself impressed.

“There you go!” Crowley cheered. He made to thump him on the back, remembered sticky fingers, and awkwardly dropped his hand.

Ligur took a bite this time, leaving ice cream smeared over his lips. It was impossible to tell whether he liked it or not. “And how long until I’m more... human?” His teeth chattered over the word.

Crowley shrugged, but Aziraphale’s eyes were sharp. There was nothing casual in that gesture. “Hard to say. I mean, we’ve been here since the beginning, so...”

Beginnings. Ligur had to start somewhere and Crowley pointed him towards a patch of grass where a group of teens were playing Frisbee, encouraging him to join in. Aziraphale was both horrified and curious as to how that would go over. Would he finish the ice cream first? Drop it? Catch a Frisbee one handed? Use it to decapitate one of the teens? He flexed his fingers and resisted the urge to give them all invulnerable necks.

“Do you think that will work?” he hissed to Crowley, both of them watching Ligur approach and say something to a young woman that, astoundingly, brought a smile to her face. “I mean, how long before he picks up on the ruse?”

“Is it?” Crowley murmured. “A ruse? I mean... when was the last time you encountered any hell fire?” At Aziraphale’s startled look he laughed, tilting his head upwards. “I don’t know, angel. I really don’t. But I figure at the very least I've bought us a six thousand year buffer.”

Aziraphale considered. Huffed. Returned to watching Ligur examine the Frisbee (still with ice cream in hand) and ignored that awful tug around his chest, encouraging him to consider impossible things.

“I suppose,” he said. Aziraphale finally took Crowley’s hand like he’d wanted to, safe in Ligur’s distraction. It was warm and tight in his. A solid, reliable weight.

“And think, all for just the price of an ice cream.”

[youngbloodbuzz]

Tell me about your characters! Answer 10 of your favorite of those questions!

sagklsdjfsndf bro thank you! i love talking about my kids

23.  If your character could go back in time and change one thing about their life, what would it be?

venia: she would have run away from her normal life as the royal princess earlier after spending her entire life living in fear as a born fire sorcerer in a kingdom where using magic is punishable by death. instead now she’s on the run from being found out and having to fight her way out the palace. 

andromeda: she would run deeper into the underdark instead of risking the life of the man who died saving her and breaking the heart of his wife, who andy highly admires and respects

theodora: i don’t think she would. she isn’t a believer in fate or destiny but she knows that everything she’s done, she’d do all over again. though i think maybe she’d try to talk to her brother more about what they had been through to get where they are now, as migrants and refugees. 

33. What person does your character admire most?

venia: she had once admired her father as a child, but then she’d witnessed his reign of terror as she got older. then it was her mother, who she emulated to survive the court and life in general, but then her mother turned out to have known about ven’s magic the entire time and never said anything. and then her eldest cousin, the only person she ever willingly told about her magic as a young kid and encouraged it, comes rushing to save her at a moments notice and they escape the kingdom together, and... at this point ven’s trying not to keep her hopes up anymore. 

andromeda: without a doubt hands down it’s professor essaris, a wizard and headmaster/teacher of her own school and the wife of the man, maximus, who died helping to save andy in the underdark. andy wants more than anything to live up to the expectations of max dying for her to octavia but octavia has her own complex issues with andy since she’s the reason her husband is dead even as she’s been trying to help her through her amnesia. it’s....a Lot. 

theodora: it was once her older brother, jaxon. the one person who stood side by side with her in agreement of how to save the group and helped her do the dirty work. but it’s been months and months later now and one day she wakes to find him gone, leaving her a single letter telling her he can’t face what he’s done anymore and he’s off to find his own fortune somewhere far away. she burns the letter. 

36.  What would be your character’s theme song/favorite band/favorite genre of music?

venia: oh i have playlsits for all of them. she has a few but if i had to choose, ven’s theme song would be it’s a fire by portishead, but also instrumentally it’d be the winds of winter by ramin djawadi. maybe i was inspired by dany. what of it. 

andromeda: televangelist and conversation piece by julien baker; i cannot choose one, my poor girl is so depressed lmao. and dead before the dawn by ramin djawadi which genuinely helped me form the idea of how she saw the sunrise for the first time as an amnesiac when climbing out of the underdark after being trapped there for two years. 

theodora: angel by massive attack and caleb’s seduction by mark koven. her life is lowkey a horror movie. 

41. Does your character care about how they’re perceived by others? How do they change themselves to fit in with other people?

venia: as a born royal first in line to the throne, she sure does. it’s almost an inherent trait from her mother, where she learned to control her emotions, her expressions, how to speak in court. it’s second nature at this point. 

andromeda: being a six foot tall tiefling with grey-purplish skin, she makes an immediate impression but that’s not what worries her. she tries to come off as worldly and normal and not like a person who has amnesia and intelligence of 8 but it’s kind of hard when she assumes/lies in front of other people about knowing something when it’s actually wrong or not true. 

theodora: for the most part, she couldn’t a shit tbh. mostly she wears a mask of whatever she knows will appease others to get her way. 

51. Is your character the most swayed by ethos, pathos, or logos?

venia: i think at first it’d be ethos because of the way she was raised to respect arguments of such, but over time away from that kind of environment, it’d be in-between pathos and logos but mostly pathos. 

andromeda: pathos undoubtedly. she wears her heart on her sleeve, she’s ruled by it. probably to the detriment of her own health and safety. 

theodora: logos. it’s literally how she rationalized her way into saving herself and the group she was traveling with during a disastrous migration across uncharted territory in the winter (think donner party levels of disaster...)

54. How does your character feel about keeping secrets from the rest of the party?

venia: all day every day she keeps secrets. her entire life and existence is a secret. venia isn’t her real name. zen is in fact her cousin, not her brother. she’s terrified and paranoid, but on the surface she’s reserved sweet charm and smiles.  

andromeda: for someone who’s generally an open book, andy keeps many things to herself, but it’s all always to protect herself and her heart from the shame of the truth. her amnesia and low intelligence and her experiences at the essaris grammar school did a number on her self-esteem and self-worth.

theodora: she has no issues with it at all. she’ll do it for the sake of herself and the group if she believes if it’s for the right reasons. 

59. Does your character value their own best interest more than the party’s?

venia: at a certain point, yes. she grew up a privileged princess, and even though she has a good empathetic and diplomatic heart, she still has a lot to learn. and she’s just been thrust in a world that doesn’t care about her with zero warning or preparation so she’s going in cold turkey.

andromeda: oh andy....my dear sweet depressed andy. if it came down to staying safe or risking her life for someone, or even worse, a child, she would gladly lay down her life. no hesitations, no questions asked.

theodora: she’s alive for a reason and it’s because she made the hard choice, the only logical choice. she likes to think she did it to save the group, and her small family in particular who were a part of this venture, but really, she’d do anything for her own best interest. including cannibalism. no she doesn’t regret it.

73. If your character knew that they were going to die in a month, how would they spend the rest of their life?

venia: well. if she’s going to die, she’s going to die fighting in a blaze of righteous fury. she’ll find the fastest way home and find some way, any way, to convince her father to stop his tyranny. even if that means starting a revolution and dying a martyr. 

andromeda: god. it would be such a quiet resignation and acceptance. like she knows she’s cheated death. knows it in her very bones, knows she should have died and not maximus. she would go back to those that took care of her in her first few months back into the world and say her goodbyes, but in a way where an unsuspecting person wouldn’t realize it was happening. she’d spend as much time as possible with them, and exploring the city, spending time in the temple of pelor where she felt most at peace. she’d think about trying one last time to find her real family but would consider it a lost cause. and then on the second last day, she would pack her bag with her journal and her favourite books of history and poetry, and quietly walk into the wilderness never to be seen again.

theodora: like hell she’s dying. she’s an undying warlock, she’d sell her soul double time to her patron to prevent it from happening. if that won’t work, she’d look for some other entity. it’s not happening. she will literally do anything to prevent it. 

81. What does your character’s name represent to them? (Or: why as a player did you choose your character’s name?)

venia: ven’s name i specifically chose for an incredibly niche plot reason. venia means “forgiveness. consent, permission, approval,” and the etymology derives from the name venus, which as a goddess represents “prosperity,” and as a planet is also called the morning star and is one of the brightest objects in the sky. venus also represents lucifer, the light-bringer, a being who fell far from heaven. there is also a long held belief, a prophecy, in venia’s home kingdom for centuries that “the morning star will rise to bring the kingdom to ashes and bring forth a new world aflame.” a prophecy that’s driven the line of king’s mad with paranoia. and guess who was born as a phoenix sorcerer. 

andromeda: honestly? i just really liked the name lmao she’s a haunted one who was born under a dark star, i figured a good astrology name would be fitting. 

theodora: i also thought this was just a really good name but i mean, her full name is theodora cane which means gift of god and warlike respectively and when you put it together....i mean..... not too bad.  

85. What would be your character’s major in college?

venia: political science and law. 

andromeda: english and library sciences.

theodora: theo’s my newest so it’s tough to nail her down but i think she’d try for a medical degree but then drop out to become a private investigator 

[jancys-blue-bayou]

Yeah so Stranger Things 3 was painfully bad

Yeah yeah big negative post about ST3 coming up. Just... holy shit, my expectations weren’t exactly high but jesus I didn’t think it’d be this bad. Wow. Mindboggling to think it was made by the same dudes who made season 1, it feels like a different show. Some of the worst writing I’ve seen in a long while, parts of season 3. This got very long because it was very bad so it’s under the cut. Starting with the few positives and then away we go...

Of course there were bright spots, I thought what we got of Jancy was generally good (just wish there had been more of it. Just like... more lines between them, a few moments could’ve gone on longer...like after the awesome hospital fight scene jesus just let them fucking desperately embrace and profess their love for each other, it was awesome how they relentlessly kept going at the monster to save the other but can we please just have a few more seconds for a comfort moment after?) I liked how they handled the fight btw, apart from the Oliver Twist comment yeah yeah heat of the moment but still felt OOC with that loa a blow. Nancy and Karen scene was nice and um... well Max and El bonding was nice. And um... Mr Clarke! And I kind of dig Murray.

My main issues with it:

- The product placement. Jesus Christ. Okay, ST has always been a show with noticeable product placement. But it’s gone from things like a Coke can prominently on display on a table in s1 (El crushing it with her mind) to literally having a straight up ad for Coca Cola in the middle of a tense scene. That’s the big offender that made me go wow you’re really doing this to yourselves huh, there are many others ofc (everything at the mall ofc, Slurpees being in hyperfocus for a bit, and a lengthy talk about Burger King. These smaller things one by one wasn’t the worst but all combined jesus it was too much, all added together and then bam the Coke commercial was wow... Congrats on the like 80 sponsorship deals and esp the new ST themed arcade hall by Coca Cola hope it was worth completely selling out for.

- Relatedly, the original fucking song. Holy christ talk about jumping the shark. That was the oddest, cringiest, weirdest shit I’ve seen in a long time. Gaten’s a great singer don’t get me wrong, but there’s a time and place for it and an original song stuffed into the middle of the tense climax of the season is not it Duffers. Just a blatant cash cow, hoping to bring in more money via the song.

- Robin. Sorry but holy cow what a Mary Sue. Hey here’s this super cool girl who’s cool™ and funny™ and super smart™ and NOT Nancy (like they seriously for real said in a scene, they actually for real had to pit Robin and Nancy against each other for no reason). And she conveniently has these specific skills needed for the plot (which she gets involved with for no real motivation other than having nothing better to do, lazy writing). Said skills were so over the top unrealistic it completely sucked me out of it. To start with, this random girl in small town Indiana in 1985 speaking French, Spanish and Italian um... does Hawkins High have the most amazing language department or what? Very un-american in that case... and okay then, her knowing those languages wouldn’t help jackshit with understanding Russian. Russian is a notoriously difficult language to learn and it is not related to the Romance languages at all, Robin knowing those languages and oh, having “a good ear” bc she’s in band (?!??! what?!) wouldn’t help her at all. Having the alphabets on the wall and listening to strange words in a foreign language she has no understanding of would never work. No way for her to understand what is she’s hearing, what letters are in the words just, nothing. It’s completely ridiculous. The good thing is she’s a lesbian, crushing Stobin that made me LOL. Btw, I don’t get what age they were writing her as? She’s still in school but later says she and Steve was in the same class, and she knows who Nancy is but Nancy, who is still in school, doesn’t know her even though presumably they’d be in the same year at little Hawkins High? Was it just sloppy writing or what?

- Too. Much. Plotting. What happened to “this season is about the characters” um there was just so much plot stuff and action sequences and barely any character driven moments at all. Those intimate moments that made s1 amazing. Generally regarding plots felt the Russian plot was messy and not well-written also what happened to the US government as the big bad? Unless they’re setting up a big Cold War thing for s4. And felt the zombie thing was wasted, could’ve been used differently like I’d have thought it’d be used like the MF spreading it’s influence over vaster areas and being harder to keep track of etc.

- Too little Will. Will’s whole thing with feeling left out etc was just dropped halfway through it felt very undercooked. His arc was just dropped wtf.

- NO BYERS FAMILY INTERACTIONS WTF. The sequence in the first episode when Jancy has overslept and Joyce wipes the lipstick off Jonathan was cute (but could’ve been even cuter I’d have preferred a short fluffy Jancy moment here just as they wake up before they realize they overslept, bc we didn’t get much pure fluff, and then it’d been awesome if Joyce would’ve just called Nancy into the house to mess with them). But like... that’s kind of it. For the Byers family. Talking to each other in the whole season. When they partnered Jancy with the kids many thought awesome we’ll get Byers bros talking and teaming up (and Nancy and Mike) but there was just nothing. Not even a family hug after the battle at the mall, just Joyce hugging Will, with all this tightknit little family has been through you telling me Jonathan wouldn’t join in?

- No Will and El bonding wtf? SUCH a wasted opportunity. They’ve built this unique awesome connection over s1 and s2 and now in s3 would finally be able to bond normally for real and... nothing.

- Turning Hopper back into an even bigger jerk than he was at the start of the show, neglecting all his character development. What was the point of the whole El and Hopper thing they devoted so much time to in s2 if Hopper’s back at it with the yelling and all now? And jeez his constant whining to Joyce about every man she interacts with holy christ that got annoying. Generally Hopper was such an annoying asshole this season I was so tired of him by the time he “died”.

- TOO MANY CHARACTERS. Jeez, I know I’m on about it all the time but jesus christ there is way way too many characters in this for 8 episodes which hurts the narrative and screentime for interesting characters is just... yeah.

- Speaking of screentime, did we really need that many identical generic fight scenes between Hopper and the Russian guy? Jesus Christ it’s so boring watching fight scenes like that, so repetitive (compare to the hospital fight scene which was dynamic and awesome). Also regarding screentime did we really need to devote so incredibly much of it to Steve and Robin being comedic relief while drugged? Yeah yeah mix light and dark and all that but jesus christ at that point in the narrative shit has hit the fan lean into the dark.

- Totally expected of course but still, the furthering of Steve Memeington. My god they actually had him literally call himself daddy... christ.

- The Billy and Karen/all the other middle age women remains gross and bad in a billion ways. Also completely pointless for the plot, they could’ve come up with any other way to get Billy to the factory. And what did it give Karen in development? Just the realization that yeah I’m tired of my husband but I’m not leaving my family and I’ll stick with him just ‘cause? Okay but did we need her almost sleeping with a kid a year older than her daughter for that? Icky. Also the editing of the scene where Billy hits her was so weird. Also that was weird as fuck.

- The ending. Okay christ my main gripe with this is because of a point above: No Byers family interaction at all! Joyce and Hopper talk briefly about her thinking about moving once or twice but she never talks about it with her kids... obviously she did in the timegap but we need to see that to build to the thing. Having no Byers interactions the whole season and then just oop we’re moving is so weird. I’m also not sure if Joyce’s motivation for moving (her bad memories of Hawkins) would be enough. For sure an argument for it, but an argument against is the one Hopper presents to her (and though he’s not around still there’s still a support system around them there, especially for her kids which she loves above all). Speaking of her loving her kids above all, she knows they love their friends/girlfriend/boyfriend to bits, have walked through fire with them and are each others support system as mentioned, would Joyce really just uproot them from that? There’s also some purely practical things that stuck out to me immediately: the timeskip for the epilogue makes it so they move when the schoolyear is already well under way and Jonathan has started senior year, feel bad for Jonathan there in a number of ways. Also, how the hell did Joyce manage to sell her house and what did it fetch? Her rundown house on the outskirts of a now infamous town with an incredibly bad rep? Even if the buyer bought it for the land the land doesn’t look special, just find it hard to believe she could get much for it. And where did they move? Where did she find a place? And work? Did she have something lined up or? I guess we’ll see.

- Oh and speaking of work, that was another thing that was just dropped, the mall killing downtown and the protests just fell out of the story. But, with what happened to the mall wouldn’t business come back to downtown (possibly reason for Joyce to want to stay if Melvald’s going out of business was another reason to move).

- Sorry but Mileven took way too much space.

- Again, no Jonathan and Will actual brothers bonding. But a whole lot of Steve and Dustin meme fanservice wank.

- Erica is just the sassy black girl trope non stop the whole season and nothing else and it’s so grating and... I was gonna say disappointing but I had no faith in the Duffers regarding this. Just because a bit character becomes a meme doesn’t mean they need to become a main. *cough* Steve *cough cough* Sorry.

- Last but not least, the woobiefication of Billy. Uggggghhhh. Disgusting. And having Max cry over him WTF?!?!?!?!?! staaaaaaahp.

[supportforindieauthors]

What are all these "author rules" we're supposedly breaking?

It happens at least once a week. I receive a newsletter in my inbox telling me about the top 10 rules I’m accidentally breaking as an author or the top 5 rules I should NEVER break as an author. . .

First of all, I haven’t published a book in 4 years, so I KNOW that I haven’t broken any of these rules recently, but I can’t help but wonder where all these rules are coming from and what’s going to happen if I’ve broken one of them. Is my college professor who ruled over her grammar class like a dictator going to show up and lock me in grammar prison? 

Based on all these articles that I continue to receive on a weekly basis and read because I just can’t help myself, I have determined that these rules are nothing more than grammar, punctuation, and plot development suggestions to make publications feel important and needed. 

Does that mean that these suggestions are bad? Not at all! In fact, if you find that they help you improve your writing, then that’s fantastic! But let’s not pretend like someone is going to lock away your book for all of eternity if you break one of these “rules.”

All of this being said, Riley and I thought we would review some of these rules and what we think about them as indie authors, and then we would go over a different kind of advice, one that is absolutely important for this day and age.

So let’s get started!

Always be consistent with point of view

Riley: Why is this a rule? I could never understand that. What better way to show two different points of view for differing characters. After all, what your narrator sees is different than your protagonist or antagonist.

Ann: I think this rule is more a reminder to the author to be conscious of how you’re speaking to your readers. Jumping around from first person to second person to even third person can be very jarring. That being said, if you have a creative reason for changing up your point of view, go with it! Let those creative juices flow and have fun with it. 

Never start a story with the character waking up

Riley: This is just ridiculous. Our jobs as authors is to connect our characters with our readers. A simple way to do this is to use little actions we all use, like waking up.

Ann: Who are we (or who is anyone really) to tell you how to start your story? Each day we wake up is potentially a new start to something exciting, something traumatic, or something completely life changing. We have no idea. If that’s how you want to begin your work, you have every right to do so. There are a lot of books out there. To say that you have to be fully original in the way you begin you work is a tad ridiculous. Start it the way you want to start it. Be you. Don’t worry about whether or not it’s been “overdone.” Your work is unique to you. As long as you’re not plagiarizing, we won’t judge. 

Never use adverbs, and especially not with speech tags

Riley: I get it, too many people use "like" all the time. That doesn't mean you should restrict creative juices. A few are fine, and I believe they enhance your work, as long as you don't carry them too far.

Ann: I think anything in moderation is fine. Honestly, the only reason to consider looking this in depth at your individual sentences and paragraphs is to intensify the action your characters are taking. If your work feel disjointed and a bit passive, then maybe you should look to this as a recommendation. But really, let’s all just calm down, shall we? 

Never give main characters names that begin with the same letter

Ann: Sigh...So many of us authors feel the same way about our characters. They name themselves. We’re merely transcribing the story. It’s possible that some people who aren’t carefully reading your work will become confused, but the people who really care will be able to keep track of your characters as long as they’re memorable. I don’t even remember a time when I confused Eowyn with Arwen, even though they’re pretty similar. . .but my husband doesn’t even remember that there were two main female characters in Lord of the Rings. The people who are invested in your work will know the difference. 

Riley: I really can't add anything to this. Besides, you should be striving to make your characters individual enough that you could almost name them all the same thing.

Never info dump

Ann: Info dumps can be beneficial. I think it’s important to keep it entertaining and make it pertinent to the plot, but when done well, I fully enjoy being caught up on what I need to know about the world an author has worked so hard to create. 

Riley: Aye, exposition used in the correct way can really further your books. Look at how George RR Martin uses sex in his books. There are a ton of plot points dropped in between all the genitalia.

Kill your darlings (crutch phrases)

Riley: Actually I would tell you to do what your story tells you to. You never know when you'll suddenly be struck by an idea. Besides, if you really don't like it, take it out at editing time.

Ann: I think this is from Stephen King’s advice about the written work, but you can look at it from a variety of perspectives. If we’re talking about characters, you’re allowed to kill off any character you like - just have some good reasoning for it if it’s a particular fan favorite. (Looking at you George R.R. Martin) If we’re talking about crutch phrases, I think this is something to keep in mind just to ensure you’re not overusing a phrase. I recently listened to a podcast in which the interviewer used the phrase “100%” at least 30 times. Just be aware of the words you’re using. I don’t think there’s any set limit. Maybe your character has a favorite phrase that she or he uses consistently. Maybe it’s for comedic purposes. Regardless, do what works for your book.

Riley: And thus we see the joy of English. I took that rule literally!

Don’t use passive phrases

Riley: Passive phrasing has been a weakness of mine since I started writing. I don't think I'll ever be able to get over it, as I believe it offers versatility. I could be wrong, but I don't believe I am.

Ann: Why are suggestions often confused with rules? Don’t people realize that authors see the word “Don’t” as a challenge? Should we overuse passive phrases? Probably not as it makes for weak paragraphs and tends to make our readers feel left out of the action. But should we NEVER use it? That seems extreme. An occasional passive phrase isn’t going to sabotage your work.

Never open a book with weather

Riley: Again with the inane rules about how to start your book. Whatever the first words are that get you started and fit the story, they're the correct ones.

Ann: *rolls up sleeves* Is that a challenge? Seriously. DO. WHAT. YOU. WANT. Maybe your character is watching the incoming storm and thinking about how cliche it is that a storm would happen on THIS of ALL nights. As long as you’ve got a good hook, roll with it. A plot device can be used poorly or incredibly well. Just because some people have used it poorly doesn’t mean that you can’t use it to your advantage. I imagine that a lot of real life stories have begun with a turn in the weather. 

Never use a verb other than “said” to carry dialogue

& then Never use an adverb to modify the verb “said”

Ann: To quote John Locke, “DON’T TELL ME WHAT I CAN’T DO!” Seriously, let’s find a happy medium, shall we? I feel like I’m just repeating myself with each of these. An argument can be made either way. I try to use a variety of phrases and words and I’ve never felt that my work has suffered as a result of it. 

Riley: Besides, I read somewhere that readers skip 90% of your dialogue tags. So what does it matter? Use what you want!

Avoid cliches

Ann: Do you know how many cliches there are out there? And do you know how often we identify with cliches because they are so common? One of my college professors would mark down our grades for any cliches used. She and I did not get along very well. Can cliches be used to your advantage? Yes, yes, absolutely, 100%, yes. Should you attempt to use every single cliche in one work? …. Again, that seems like a challenge...

Riley: Just look at a hero's journey. How many books are based off of this "cliche" idea. Remember, it's all in the eyes of the beholder.

Don’t attempt to use semicolons

Ann: We have so many resources at our disposal. Do your research. Learn to understand, love, and utilize the semicolon. The internet is vast. If my husband can learn to install a toilet via YouTube, you can learn to use the semicolon and have a very successful relationship with it.

Riley: Yes! Use Google, use YouTube, use the resources afforded to us in these modern ages, and work that language.

Show don’t tell

Riley: Why shouldn't I show? What's wrong with painting a clear line that's easy for readers to follow? Not every story has to have a mystery or a twist. Some can be straightforward.

Ann: Sometimes you should show and sometimes you should tell. Only you can decide which is the right course in your particular work. Listen to your beta readers. Listen to your own instincts. Use what feels right to you and what feels right to the words you’re writing. I think that both can be an effective means of communicating to your readers. 

Never start your book at the end of the story

Riley: What better way to get the tone for the rest of the book? I mean, there's a lot that can happen between the start and the finish, and some stories change over time. What better way to prepare your readers for the insane ride ahead?

Ann: “The end is only the beginning.” From The Mummy, right? But still true. If you have a reason for doing it, then by all means, stride boldly forward. Be confident in your decision. 

Turn off the TV 

Riley: Some of my best writing is done with a TV on! The sound of the voices in the background offer just enough of a distraction for my ADD addled brain. It helps me focus in the long run, and inspires me to do better than what I hear and see.

Ann: No, there is no singular right way to write a book. If you’re distracted by the television, radio, etc, then change your setting up. Find what works best for you and stick with that. I listen to music or have movies playing in the background as I work. Sometimes I need distractions because I get lost in my own thoughts and can’t force my fingers to type with all the conflicting plot points. A distraction helps me zone out and move forward. I can edit the dust bunnies out later. 

Stay away from sentences that start with the words “there are” or “there is"

Riley: There is something wrong with this rule. There are people who truly believe this, and that makes me sad. English is a flexible language, use it.

Ann: A truly masterful answer, Riley. Enough said. 

Write what you know

Riley: How do I expand my point of view then? I have never once done heroin, but people have told me Everyone Dies At The End did a great job of explaining heroin addiction and the demons it causes. Research, and write what you don't know.

Ann: Does no one know how to use the internet? Or a library? Or even discussing with your friends who know about the subject when you don’t? We have some pretty powerful brains. Use the opportunity to learn something new. If you’re determined to write about a topic you know very little about, then you’ll do your due diligence and learn about it in order to write about it. And you’ll be a better person for it in the end. We should all be attempting to expand our horizons with a little research every now and then. 

Treat writing as a job

Riley: Maybe you’re lucky, maybe you're in the minority of people and you love your job. Most people don't. I love to write, I wish I had more time to devote to it. I love the freedom it gives me, especially in our modern age where I can literally pick up my phone at any time and start writing. Don't treat writing like a job, treat it like something you love to do.

Ann: Why, so I can hate it? You know what I did when I worked? I wrote. You know what I do now that I’m a stay at home mom who home schools her kiddos and designs websites? I don’t write because I feel like I SHOULD be writing. Find the joy it in it and stick with that. If sitting down at your computer from 9-5 with the sole purpose of writing brings you joy, then do it. But that doesn’t work for me and I refuse to adhere to that. 

Focus on quality over quantity

Ann: What are we talking about here? Word count? Published book count? Pseudonym count? It’s so vague. If you’re capable of publishing a book a month and you feel passionate about that, then you go! Should we be working to put our best foot forward? Yes. But only you can decide when you’re ready to publish your book. Don’t let someone tell you that you shouldn’t just because you published a book a mere six months ago and you can’t possibly have completed another book since then that’s worth anyone’s time. Do what you feel led to do. And don’t let anyone shame you for that. 

Riley: The most prolific author of our times has an entire religion based around some of his writings. Love him or hate him, L. Ron Hubbard has shown me that less isn't necessarily better. The man wrote in the golden age of pulp fiction, and had grammatical errors throughout his works. And yet, there are millions of people that follow his words to a point of reverence. This is not an endorsement or a chastisement of Scientology. Just something I always think about when people mention quality over quantity.

If you’ve read through all of our answers above, you’ve seen a common theme. A confusion over “rules” versus suggestions given to make us really examine our work prior to publishing. Don’t confuse the two or you’ll end up driving yourself (and everyone around you) completely insane with your constant recitation of grammar and writing rules.

I personally believe that any suggestion that makes you take a second look or a fresh look at your current WIP is helpful. But that doesn’t mean that you should lose sleep over the idea that one might have slipped by you during your editing process.

Sleep well. Write on. And Support Indie Authors!

-Ann Livi Andrews and Riley Amos Westbrook

Looking for more?

Our moderator, Dwayne Fry recently published his thoughts on Self Publishing in a book titled: Things I’ve Learned as an Indie Author. Some of the above rules are addressed as well as a multitude of others. If you’re looking for a fresh perspective on your work, I highly recommend giving it a read. You may see your work in an entirely new light. 

[ohscorbus]

Harry Potter and the Cursed Child: Saturday 11th August, 2018

I’d call this a recap but it’s going to read like a love letter to this cast and in particular, Joe. You see, Albus has always been my favourite. I’m so emotionally attached and invested in this character that I panic every time a new actor comes in to play him. This isn’t just a character I like, he’s a kindred spirit I need in my life. I’m in too deep. My biggest fear is that there will be an Albus I can’t connect with and although Joe is the fourth Albus I’ve seen now and this has yet to happen, that fear still lingers. So I’ve been taking my time and just watching and learning who his Albus is and you know what? Good things come to those who wait because now, especially after today, I’m at a place where I can say he’s become one of my favourites to watch on stage. He completely pulled my focus for the entire show today. Which is really saying something when next to him you have Jonathan doing that smile he does. You know, the one that looks like it can cure cancer and bring about world peace? Anyway, my point being, Scorpius has always been distracting for us as an audience. That character is suppose to pull on our heartstrings that way. Albus always has to work a little harder to get that reaction. (Although I do appreciate the irony of people not seeing who he is. Life imitating art and all.) Yet each Albus has been quite distinctive. Each one different from the last but still inherently the same character. To me, Sam’s Albus was defensive and impulsive, Theo’s Albus was open with his vulnerability but found hope and determination in his despair, and Joe’s Albus is resigned to his lot in life. He accepts every hit but continues on in spite of them. There’s quiet sort of maturity about him. His shield is his humour, not his actions or words. It’s such an interesting take on the character and it’s one I don’t think I could ever tire of watching.

Act One, Scene Three

After Albus and Rose had decided to check out the compartments, Albus started to walk in the opposite direction to her and began peering down the ‘corridor’ of the carriage. He ended up in front of Scorpius’s compartment but he didn’t look in straight away, he just sort of lingered outside. He was completely unaware that Scorpius was watching him the whole time with this look of recognition and awe on his face. He knew who Albus was and couldn’t look away. On stage there’s no walls or doors that show us the Hogwarts Express, yet I’ve never felt that sliding glass door separating them in this moment more clearly than I did today. It was such a heart stopping, delicate moment. There was a stillness about it. Being able to see their two worlds so separately before they become entangled. You had Albus looking at all these compartments but it’s the one right in front of him that’ll change his life. The very thing he’s scared of will make him stronger. While Scorpius is alone in that compartment, still safe in the bubble his family have kept him in for years. We could only watch and wait. Then Albus looks and makes the decision almost instantly and as Albus steps in that compartment, into his bubble, Scorpius’s world changes too. You could feel the excitement rolling off Scorpius once he started talking to Albus and Rose. This is the boy who knows his history and has dreamt of having friends like Harry Potter. Then suddenly he finds a Granger, a Weasley, and a Potter standing in front of him. I think Hogwarts became very real to him in that moment. All the stories he’s read and now he’s living it. This is quite literally the dream. Except of course they reject him. He sat down and turned his back to the door to avoid having to watch them leave him behind. But then Albus says he’s staying and Scorpius was not expecting that. You could see the internal panic as he visibly breathed in and out to calm himself. Partly out of shock, probably mostly out of nervousness. His thank you was precious. He truly meant that. Which is why I think Albus really goes out of his way to make sure Scorpius knows he’s teasing him about only staying for his sweets. That reaction (“I didn’t stay for you”) is so Albus. You know how I said before about Joe’s Albus using his humour? I think this is a great example of that. I’m sure Albus is just as nervous as Scorpius in this moment. So he’s instinctively fallen back on his dry humour. But then he looked at Scorpius and sang, ‘I stayed for your sweeeets’, making Scorpius relax almost instantly. For a lack of a better word, it’s really sweet. They’ve known each other for a matter of minutes at this point and already they’re giving each other what they need. Reassurance and a clean slate. Albus needs someone to look past his family name just as much as Scorpius does.

Act One, Scene Four

As soon as Albus walked up to the Sorting Hat and stood there all happy and smiley, like he knew he’d got this, I knew this was going to be a good scene. Why? Because it made me realise this Albus doesn’t know yet. He’s got a good relationship with his dad, he’s nervous about school but he’s ‘ready’, he’s already made a friend, and now the Hat is going to listen to him just like his dad said it would. Nothing to worry about! But then that one word brings his whole world crashing down around him. Slytherin. There must be so much running through his head in that moment. Everything has changed. The future he’d expected is now unknown. Yet the worst part? His dad lied. The Sorting Hat hadn’t listened to him. (Although I’d argue it did, but you know, to Albus in this moment it felt like it hadn’t. Little did he know that house is exactly where he belongs and needs to be.) The look on his face tells you that much. This was not the answer he was expecting or on some level, hoping for. Then Scorpius’s voice cuts through the noise and Albus turned towards him. He then looked up at the Slytherin banner hanging above him before walking towards Scorpius, accepting his fate. I think for Albus, this was the first of many cases of ‘works for Harry Potter but not Albus Potter’ at Hogwarts. It’s what slowly crushes him over time. That feeling of not being good enough. For the Hat, for the other kids, and for his family.

“And be my good friend” – Albus’s face broke my heart today. He looked so heavy hearted and somewhat shocked by Scorpius’s words here. His good friend? Isn’t he already a good friend? Why is Scorpius even asking that? Albus reached out for him as the scene ended after this line and he still looked at a loss over his friend. It also made me think about the argument later on in the library. Albus is always floored and then completely guilt ridden over Scorpius’s accusations and evidence of him being an awful friend. It’s an interesting contrast with Joe’s Albus and other interpretations. I’ve seen others take that phrase and agree without a second thought because it goes without saying. It never occurs to them that Scorpius would think anything different of him. That he’d have to ask for that. Is he failing at this too?

Act One, Scene Six

“Meet the once great Harry Potter, now a stone cold Minister man” – As Amos is speaking, Delphi and Harry always shake hands. It’s not a big moment, they’re both just being polite and humouring Amos. It’s what happens afterwards that’s interesting. So Harry looks down at his hand after she’s gone. He doesn’t know why, it’s an instinct thing. Sometimes he’ll shake it or flex his fingers. Just something so small, a detail easily missed and overlooked, but there and a sign if you know. It’s great. But anyway, that’s not what had me on the edge of my seat. I don’t know if Eve always does this and I’ve only just noticed, but after she shook his hand, she slowly and subconsciously reached back for her wand with this look in her eye as she stared at Harry while he was focused on Amos. Then just as her hand was there, she seemed to snap out of it. Years she’s been watching and planning and her instincts nearly made her throw it all away. It was super interesting! It gave me a fascinating insight in her Delphi, and Delphi in general. It definitely made me pay more attention to her smaller movements for the rest of the show. Like how visibly relieved she was when Amos backed down in St. Oswalds. It makes me wonder whether that’s part of her mask, or her mask slipping. I ended up watching the show with that in mind and made me realise just how young she is. The disorganised, frantic, and repetitive words scribbled across the walls of her room (there’s a panel that just has the word ‘father’ written over and over again in her disjointed, pointy, jagged handwriting) now felt childish. I felt her age and isolation in them. They became less ‘writings of a mad man obsessed’ and more ‘rages of a hurting, angry soul’. If that makes any sense. Don’t get me wrong, she’s dangerous, I guess what I’m trying to say is that I could see more clear than ever that part of her that desperately wants her father. It drives her like it does Albus and Scorpius. (Although all three take completely different roads in terms of handling it, obviously.) That’s why she can manipulate them so easily in that respect. She understands. I know this is all level one of understanding the characters/plot. I don’t think I’m explaining it very well. I think what I’m trying to say is that Eve made me think about Delphi more than I have before. I like the idea of her slipping. That one little action created ripples, and I’ve been intrigued by it ever since.

Act One, Scene Seven

Ginny and Albus sharing a smile at the very beginning of this scene still warms my heart. I really love the openness of their relationship. They may not say anything to each other in words here but they communicate quite easily. It’s practiced and heartfelt.

I think it’s great how relaxed and at home Joe’s Albus feels in his bedroom. He’s lying down and one of the most chilled out Albus’s I’ve seen in terms of being comfortable with his family repeating invading his space. Probably because he doesn’t see it as that I guess… I loved Dylan’s James bragging about the cloak. The emphasis on the ‘my’ as he pointed to himself really rubbing salt in the wound. Except Albus is lying on his back and mocking him once he’d left, imitating him by mouthing back his mouths and his pointing. He then started to sit up to help Lily look for her book but once his mum took over he carried on lying down. Joe’s Albus feels less like an outsider to his family. His issue is a communication one with his dad specifically. Which is interesting, and leads me into my next point, that Tom’s Harry and Joe’s Albus really worked well with this in mind.

(Did I mention that Tom Peters was on as Harry today? I haven’t seen him before but he was barely half way through his first scene and I already knew he was going to be brilliant. He’s someone I would definitely go out of my way to see again.)

Joe’s Albus and Tom’s Harry were so different to how Joe plays against Jamie’s Harry. Or any Albus and Harry in fact. It was in scenes like this that you could really see it. Now I’ll admit my favourite versions of this scene are always the angriest ones. The ones where they shout, get all up in each other’s faces, and even hit the other with blanket). To me, the aggression made those ugly words make sense. They’re not thinking, they’re feeling. Too much. They’re both explosive when pushed so of course when that’s aimed at each other it’s going to be a catastrophic. But then today happened. The whole scene felt different, less volatile. Albus seemed more open with this Harry. He was lying down on his bed but then sat up when Harry walked into his room. Then Albus shuffled further away as Harry got closer and Harry stopped, mid speech and in his tracks. Albus realises what that movement must have looked like so he patted the space next to him on his bed and encouraged his dad to sit down next to him. He was simply making space, not trying to put distance between them. Harry continued talking and then at some point Albus brought his legs up onto the bed and sat cross legged, with his back against his pillow, so he could face his dad. By this point I was on the edge of my seat because I don’t feel like I’ve ever seen this dynamic before. This Albus was still giving his dad a chance, and this Harry was really trying. So it felt uneven worse when it fell apart. It was less explosive but hurt just the same. Albus’s resigned face said it all. Those words didn’t cut him down the way they have other Albus’s because they’re words he already believes. He’s a disappointment. It makes sense. Just like fairy wings makes sense and invisibility cloaks make sense.

Act Two, Scene Six

So ‘Hide and Seek’ is playing in this scene and right at the beginning, even though it’s the instrumental version, you hear the words ‘hide and seek’ sung as the two boys walk forwards out of the shadows and towards the light, towards Hogwarts. My head connected the two and all I could see was Albus lagging behind, looking to the left of him into the depths of the forest, while Scorpius proceeded on forwards, looking up in awe at the castle until he was bathed in the same warm light. Hide and seek. A random observation I know, but I like their differences as much as I do their similarities and the music is in show is beautiful. I should definitely talk about it more.

Act Three, Scene Seven

What struck me here was Scorpius’s happiness. He was noticeably excited to be there with Hermione and Ron. I can’t help but imagine a younger Scorpius reading all about the trio and wanting his own adventure. Now he’s here, with Hermione and Ron, and they’re doing something completely wild. These aren’t just stories anymore, he’s in one. I bet he gets a tingle. If not over that, then maybe the fact that if he’s with Hermione and Ron and surely that makes him Harry in this scenario? I’m sure that hits him later on. He’s too much of a nerd not to. (Although I’m sure part of his happiness is relief. Those two are familiar faces and he has a way of fixing things now. But thinking about Scorpius’s geeking out is way more fun.)

Act Three, Scene Nine

So while Scorpius was doing his whole ‘It’s Haaaarry Potterrrr’ thing, Albus looked round at his mum and pulled this ‘I don’t know this lunatic, I played no part in these antics’ face. I love that Albus clearly loves Scorpius, weirdness and all, but I also love that he sometimes pretends he’s judging him for it. Or maybe he is. But it comes from a place of love. The way only true, long lasting friendships can. Your best friend is judging you, but they’re allowed to because you both know they’re just as bad.

Act Three, Scene Ten

“I agree it doesn’t sound good” - What I really loved about this scene was Albus and Scorpius’s interactions. I’ve seen previous Albus and Scorpius’s share looks as McGonagall speaks but these two went beyond that. Scorpius in particular was talking/mouthing something to Albus after he spoke. I really love all these additional interactions. It reads so much like a four year long friendship should. They have that connection that makes them sometimes forget there’s other people in the room.

Act Three, Scene Eleven

“Are you okay, Albus?” “No” “No. Nor me.” - These lines really hit home today. I felt them in a completely new way I’ve never thought about before. So Joe’s Albus is opening up to his dad here. He’s trying. His dad asking him if he’s okay means something to Albus because he responds honestly. No, he isn’t. What broke me today was how Harry’s own honesty back may have been taken. I felt like Albus started to believe they were connecting with this conversation. That his dad was finally listening to him and they were openly talking about the things that matter. But then Harry turns the conversation back onto himself (’Nor me’) and Albus breaks. Ginny is right, Albus does want him to be honest with him, but in this moment? I think he just needs his dad to listen. This look flashed across Joe’s face, of disappointed and hurt, and then he just walked off. He wanted his dad to hear that he’s not okay and do something about it, not just have him tell him he’s not okay either. It’s easy to forget that he’s simply just a child reaching out for his parent. I know people find it comforting to know they’re not alone in their pain, but I think here Albus feels like it trivialises his own. It didn’t surprise me to see Joe’s Albus looking more upset here than he did after their argument in his bedroom. That comment before was something he’d half suspected anyway, but to have Harry still overlooking him even now really hurts him. Meanwhile Harry was left sat on the suitcase at the end of Albus’s bed and staring off into space. Harry was so wrapped up in Harry (and the loss at what to do) that he fails to see Albus. Again. Quite literally too. He didn’t look at Albus for those last lines and I don’t think that helped Albus’s thought process.

Act Three, Scene Fourteen

“Do you think I’ve been tested too? I have, haven’t I?” - Another line which left a new impression on me. I think there’s a couple of ways to interpret its meaning but today I really felt Albus’s resounding disappointment. He isn’t asking if he’s been tested because he doesn’t want to feel left out or as a way of making sense of their adventure, it was said as if he’d already accepted he had failed. This was just another failure in a long list for Albus. You could hear it in his despondent tone.

Act Three, Scene Sixteen

I absolutely adore Albus and Scorpius’s interactions here. They shuffle in closer and face each other as they talk animatedly while the scene sets up around them. It’s like they’re in this bubble and are completely unaware as the world/stage moves around them. It portrays their relationship beautifully. You really feel the history and depth of their friendship in these moments. 

“Let’s do something new, something fun” - I love, love, love, love that Albus’s idea of something ‘fun’ was to drop it off the owlery. He just sort of looked around and then stretched his arm out over the side with the Time-Turner in his hand. It’s so reckless and instinctive and you know what really intrigues me? It requires zero magic. I wonder whether that’s a conscious decision...

Back to Delphi again. I just want to add that I find her one of the most sinister Delphi’s I’ve seen. I think that’s why I’m so interested in where that comes from. This child, hidden from the wizarding world but the focus of rumours. The scary parallel with Scorpius probably isn’t lost on her. She hates Scorpius. Eve makes that blatantly obvious on stage. She’s spiteful at every given opportunity. Even right in front of Albus. It’s a fine line but it’s like she can’t help herself. I wonder if it’s because of his family and their deflection, or if it’s something more petty, like everyone believing him to be the son of Voldemort. This is what I meant before when I was trying (and probably failing) to explain what I meant by seeing her youth. It’s not about her literal age, but her approach to things. She’s focused yet reckless at times. It makes a terrifying, vicious combination. She’s definitely more like her mother than her father in that respect. With previous Delphi’s, I’ve seen her here still be quite playful and innocent with the boys. The act doesn’t drop until that very last second. But with Eve, I could see her slowing slipping. The point where she’s telling them about augureys, she was glaring down at Scorpius with this look on her face that told me she knew he was making the connections in his head, and she wasn’t scared or nervous, but enjoying it. She wants him to give her a reason to end this charade. She’s enjoyed playing with them, but she wants her goal. Now.

Act Three, Scene Nineteen

“Craig. Get away. Get help!” – Albus is bound on the floor and at the mercy of Delphi and yet his first words were to try and save Craig. I just wanted to highlight this before I make my next point. (I will fight anyone who tells me this boy doesn’t have the loveliest heart.)

“Avada Kedavra!” – Albus looked away as her words rang out. He couldn’t bring himself to look at Craig. He knows their meaning, he sees that flash of green. He knows, and he’s broken by it. The way she said the word ‘spare’ a few lines later really looked like they cut into him. He tried to save a spare, both Cedric and himself, but instead he’s created a whole new one. It wasn’t until the very end of this scene, when Delphi stands in front of his body with the Time-Turner in her hands that he finally looks. He was stood next to her and he looked over his shoulder at Craig’s body on the ground before looking back and finally placing his hands on the Time-Turner. It was such a heartbreaking moment. It was slow and felt fragile. Like he couldn’t leave, not without acknowledging what he’s done first. It added even more weight to his line (“what she did to Craig…”) a few scenes later.

Act Four, Scene Three

“The Bathilda Bagshot?” – Albus nerding out over Bathilda is everything. He went up and slightly stroked the door, and then ran away when it opened. His ‘acting casual’ as she walked past him afterwards was atrocious. The boy has no chill, and he calls Scorpius out for this! Bless.

Act Four, Scene Eight

The ‘Made Leanne Cry’ Award today goes to… James Howard! (He always looks far too happy every time I tell him.) So, background context. Although he didn’t do it today, Joe’s Albus has been running over to Scorpius during Act Four, Scene Three during his geek out over Bathilda. He focuses him and gets him to breathe in and out in time with him. It’s really sweet and a true testament to their relationship. Acknowledging your anxiety and panic attacks with someone and then letting that person not only see you but help you in your weakest moments speaks volumes as to how much Albus means to Scorpius. While I know that moment on stage is by no means a full blown panic attack, it’s just Scorpius freaking out so much he forgets breathe, I love that Albus recognises the signs instantly and stops his own geeking out to help him. We know they’re that close but to see it in such a ‘blink and you’ll miss it’ moment says how these actions aren’t even a big deal to them. They will help and protect and save each other without question and move on with their day. I’m completely digressing now but that’s why I love Joe and Jonathan’s Albus and Scorpius so much. Their portrayal of the friendship is subtle but everywhere and so rich. Anyway, back to James Howard. So after they had all been reunited and hugged it out, Scorpius was trying to process how they’d got there and talk to them about Delphi and of course he started to stumble with his words and Draco, just like Albus, focuses him and makes a point to take a long, deep breath in and out as a way of telling him to do the same. It broke me. Jonathan is consciously playing Scorpius with these panic attacks in mind. It’s who his Scorpius is. I’ve always personally imagined Scorpius having these kind of issues so that in itself is nothing new, but I thought it was something he would probably keep hidden from his dad. So seeing that Draco was one hundred percent aware and knew exactly how to help him was unexpected but so completely welcomed. They may be having some communication issues but Scorpius needs his dad just as much as Draco needs him. I don’t know if it’s because it’s just the two of them but I feel their desperation and reliance on each other so much more than I do with Harry and Albus. Their relationship is so intense in those scenes once they’re back together it leaves you knowing without a doubt that they work through their issues.

One last point on this. I really love that Scorpius has the unwavering support of the two people in his life he needs the most. The fact that he doesn’t have to hide it from either of them and that they both play yet another role in his life, an important one too, really warms my heart. I’m glad Scorpius has this. That feeling when you can’t breathe and the moment when your vision falters and you can’t focus properly on the sounds around you, only the feeling of your chest as its about to burst, it feels life threatening and terrifyingly endless. Yet he gives them the power to pull him out of that. To be the light in the darkness. It speaks of so much trust and love. Again, it’s another ‘blink and you’ll miss it’ moment but it gave you such an incredible insight into Scorpius and his relationship with his dad. This cast are exceptional at providing these little moments. Look out for them!

Act Four, Scene Nine

This is going to seem like a really weird note to make but between scene nine and ten, they kind of lower the lights and the actors do this thing where they slowly move into place before snapping into the scene as the music and lights do. (It shows movement of time and I love it.) Anyway, sometimes the actors do things in character during this slow motion bit that make my heart burst. Like, Samuel’s Scorpius would do this little wave at Albus because they had just been separated while Albus slept and Scorpius was, presumably, hanging out with his dad. Anthony’s Scorpius would tuck his hair behind his ear. And, like father like son, Alex’s Draco once smoothed his hair down as he walked through the door. All these tiny actions brought me such joy. Is that weird? Anyway, Joe joined the club today by waking up during this part and doing this big yawn. I think I giggled. It’s so Albus-y. I love it. That boy’s relationship with sleep reads like a love story. He’s such a teenage boy.

Act Four, Scene Ten

“Draco, trust my dad. He won’t let us down.” – Two things about this scene. One, the look on Scorpius’s face as he looks between Albus and Draco is priceless. He’s on the edge of his seat (literally), not knowing what his dad will do after being spoken to like that. I think there’s also a little bit of awe in there? Albus speaking to his dad without fear means something when your dad is Draco Malfoy. Making friends isn’t easy when your family has that reputation. The fact it doesn’t phase Albus isn’t lost on Scorpius. (Although personally I do like to think they already sort of know each other. They’ve been best friends for four years, there’s no way they haven’t met each others parents yet. And I’ll fight anyone who doesn’t believe Albus met Astoria. You think a mother who knows she has years left not decades wouldn’t go out of her way to meet her son’s only friend?) Anyway, Draco doesn’t say anything back but his fingers were working overtime.

(To explain that last comment for those of you who haven’t read many of my recaps before, James’s Draco does this thing where he rubs this thumb and forefinger together, going round and round in frantic circles, whenever he’s stressed or anxious or angry for some reason or another. I think it’s a form of control for him? Like he’s channeled all that energy down into his fingers so it’s manageable. I’ve always been a big fan of this but now that we have Jonathan who’s emphasising Scorpius’s own anxiety, it’s added a whole new layer to it. Maybe that’s why he opened up to his dad or maybe how Draco spotted the signs. I really like the idea of these two helping each other out that way.)

And secondly, once Draco decides not to contest the plan anymore he pulls Scorpius (and sort of herds Albus) over towards the back of the church and behind him while he helps transfigure Harry. Today, once Draco had turned round and was facing away from the boys, Albus turned to Scorpius and pulled this face which can only be described as the grimace emoji. That kind of ‘eek! I can’t believe I just did that!’ face. It was great. He seemed so confident in the moment but obviously inside and afterwards he was not so chilled.

When Harry has transfigured into Voldemort, he turns round and faces everyone in the church. The reactions are what you’d expect. From Ron’s ‘bloody hell’ to the memories and fear cursing through Draco leaving him looking rather drained. But nestled behind the adults and peering through are Albus and Scorpius. I couldn’t see Scorpius that well but Albus’s face was loud and clear. His face hardened as he looked at ‘Voldemort’. It was unexpected but the more I think about it, it’s really not. For a boy with confidence issues he does have a tendency to tackle things head on. Visually though, it made such an interesting mix of reactions!

Act Four, Scene Eleven

“Alohomora!” - Joe’s Albus does this thing with his wand every time before he uses it. He holds out his arm and then wipes it on his sleeve quickly a couple of times. I love it because it’s a quirky Albus thing. But it also makes me a little bit sad when I think why he might be doing that. Because to me it reads like he’s doing it because he doesn’t believe in himself. He doesn’t trust his wand or his magic not to fail him. So maybe he’s cleaning it? Hoping by polishing it, it will somehow make it work better? Maybe he did it once and then he managed to successfully cast something and now he thinks he has to do it every time. Or maybe it’s just a ‘thing’ but you know me, I like to read into everything and make it angsty. It definitely feels like it’s something to do with his temperamental relationship with magic. Albus isn’t a Squib or bad at magic, it’s a self esteem issue that hinders his ability. The more pressure he puts on himself, the more it falters. The second he convinces himself he’s going to fail, he does. Back in the wand dance (Act One, Scene Four), Albus pulled this face as he held up his wand that clearly told us he knew this wouldn’t work but hey, he was going to have a go anyway. Of course then when he doesn’t work he’s proved himself right. Jump forward to this scene and what’s interesting here is that in this moment failure is not an option, and it’s in moments like this when there’s no time for doubt that Albus always succeeds. (For example, the cushioning charm as he jumps off the train.) Yet Albus still stopped here to swipe his wand across his sleeve before he cast. He’s exposed and there’s lethal spells flying all around and he still stops! I wonder if whether it’s a case of that seed of doubt being so ingrained in him that he still has to do it, or if it was done subconsciously out of habit, or even because he knows he can’t fail and does it to (in his mind) make sure he doesn’t fail.

On a personal note, as someone who’s struggled with OCD for the past fifteen or so years, that connection with cleaning and something working right isn’t lost on me. I’m not saying that’s what it’s about, or that act is a compulsion for Albus, but it could so easily be because that need to clean isn’t always about cleanliness. It’s sometimes just the act itself. It’s your brain telling you that you have to do this process otherwise something bad with happen. Sometimes you’re not even aware, you subconsciously do it with little thought. Other times it chips away at you until you break. Or worse, those times when you do it with no resistance because you’re convinced those voices in your head are right. This thing will work if only you do this process first. I’ve never really thought about what it would be like for a wizard with OCD before but there’s no way it wouldn’t affect their magic. Especially if it was in relation to their wand. Again, I’m not saying that’s what it is, but if it was then I could understand Albus not wanting to fight it in that moment. 

You know what? It almost reminds me of Scorpius’s wand too and how Anthony felt the carvings on it were a kind of self harm born from Scorpius’s grief. Magic is so greatly affected by your emotions and both Albus and Scorpius have to deal that. They both do it in different ways but what’s interesting is that, in theory, they’ve both focused all that negative attention onto their wands. This physical extension of their magic. I might be completely wrong here but it definitely makes for an interesting line of thought...

Act Four, Scene Fifteen

“I’m going into pigeon racing. I’m quite excited about it.” - Another Joe thing that I loved! When he said this line he leaned into his dad and pointed upwards as if pointing out a pigeon in a nearby tree. Sadly, Harry didn’t look so he never reacted to it but Albus was having a great time teasing his dad. What a beautiful way to end the show. I love their mutual hug afterwards of course, that always feels like a conclusion. But seeing where their relationship was and where it’ll be again was something we need even more than that.

Trying to summarise this show in a few sentences is impossible. I’ve just written six thousand words on something I’ve been watching over and over again for two years now and I could still easily say more. That’s what I love about this play. You can’t see and know and understand it all. No one ever will. Every cast and every show gives you something new. I sat there today and I’m still in awe of the beauty of this story and its translation onto the stage. I tell people that this is my favourite instalment of the Harry Potter series and they’re baffled by that. I love the books and using my imagination because yes, even though it’s happening inside my head ‘why on earth should that mean that it is not real’? And as much as that is true, this play brings me out of my head in that sense. It makes it real in a way a movie can’t. I’m there at Hogwarts with Harry and better than that, I get to share the experience with others. Imagination is great but it’s so personal. No one’s Hogwarts in their head is going to be the same as anyone else’s. You’re always going to be alone in that sense. But there in the Palace Theatre I’m not. We’re all watching the same thing. It’s that Scorpius feeling of realising you’re not reading about this adventure, you’re part of it. 

I think because I purposely distanced myself from fandom until Cursed Child, I never felt that inclusion of the wizarding world that way. Fandoms can be so destructive but here I’ve found a community of kind and passionate people (fans and actors alike) that has been so welcoming. It’s what Hogwarts should be. Every new cast feels like a new term, and each show feels like a lesson. You live, you laugh, you learn, and I come away feeling a little bit more connected to this world that I’ve loved since I was a child. My family often ask when I’m going to grow up and give up on Harry Potter and it confuses me every time. You don’t outgrow Harry Potter, you grow with it. I found myself in the teenage version of these characters and I still see myself in the adult versions now. They’re real to me, to a lot of us, and getting cast after cast who understand that is what makes this show what it is. Their skills as actors are of course phenomenal, but it’s the heart and energy they put into every show that makes it magical. That doesn’t come from acting lessons or theatre experience, it’s a feeling you just have if you’ve grown up with the books. It stays with you and inspires you.

[stevenuniversallyreviews]

Episode 80: Gem Drill

“I’m talking to the Cluster?”

So I finally figured out why I don’t like Gem Drill.

For a while I had it in my head that the issue was pacing. And it does remain true that the episode-to-episode pacing did it no favors, what with the arc it concludes being interrupted by the utterly unrelated Super Watermelon Island before jumping back in. But because Gem Drill’s third act drags on forever and somehow feels rushed at the same time, I just chalked it up to bad internal pacing and called it a day.

However, rewatching the series for Steven, Universally reminded me that there are several episodes that I’ve praised for incredible pacing which share a similar structure to this one: Mirror Gem, The Return, and Message Received stand out as stories that speed right through the first two acts for an extended third, and I love them all. And what’s more, I enjoyed the first two acts of Gem Drill way more than I remembered. Something was up with my pacing-as-problem theory.

So right after rewatching the episode for review, I rewatched it again. That’s right, I rerewatched it. And it struck me this second time through that the X factor is something I’ve taken so deeply for granted that I haven’t discussed it much, or even really thought about it, until now: Steven Universe has unspeakably terrific dialogue.

Individual lines may stick out more in my memory, and are definitely easier to write about in this format (for one thing, I can quote them), which might be why it hasn’t stuck out as much. It sounds so basic that I feel sorta dumb writing it, but this show is so good at developing characters and plot through conversation. It excels at banter and arguments and reassurances and just having people interact in a way that’s always compelling.

The reason I have to mention it now is that something this reliably solid is hard to notice until it’s gone. But sure enough, the conclusion to Gem Drill (and what’s worse, to the Cluster Arc as a whole) is nearly four minutes of Steven talking to an entity that can barely talk back, and it just does not work. He might be astonished that he’s talking to the Cluster, but this episode falters because he isn’t talking with the Cluster.

Compare this to Mirror Gem, The Return, and Message Received, where we use the extended third acts to have major conversations with Lapis, the Homeworld Gems, and Yellow Diamond. You can’t have that sort of satisfying ending when one of the characters isn’t even a character, but a jumble of nearly incomprehensible voices. And what sucks is that making the Cluster “talk” this way is a perfectly reasonable creative choice: it should sound like a jumble of nearly incomprehensible voices. 

But the show is usually way better at getting around limitations like this to create compelling television. I know this is a journey of the mind and that Steven is special, but we still could have included Peridot with a wave of the narrative wand to continue their low-key debate about necessary force and commit more to the theme through conversation, where the show shines. Barring that, we could’ve used music to add narrative oomph to a one-sided conversation, which would’ve been especially interesting with such a discordant legion of potential singers. Instead, we get a finale that’s just...

It’s just boring.

And it’s frustrating because I think it’s boring of me to just write “it’s boring,” but lord, this scene is so uninteresting to me that it’s hard to find the energy to write about it. Zach Callison is always great, and the animation is gorgeous, but takes sooooo lonnnnnnnng for the scene to convey something it could’ve done in half the time, and there’s nothing to distract us from how long it’s taking. There’s barely any tension despite this clearly being the intention, because there’s only one character in the scene that I care about and he’s obviously not going to die because the show’s named after him. I guess Peridot is in danger, but maybe we’d care about that if we could see her in danger instead of generic rumblings and loud noises.

If this criticism sounds similar to my spiel about caring about Malachite in Super Watermelon Island because she came out of nowhere, it’s because both episodes share a similar character problem. A show about empathy falls apart when the viewer is apathetic, and giving major plot importance to poorly handled characters is a go-to formula for viewer apathy. For a series that’s usually so awesome at both characters and dialogue, it’s shocking that we end the first arc where our heroes literally save the world with back-to-back episodes that are this weak. The buildup was awesome, and the rest of Season 3 is amazing, but this is a bizarre pair of misfires in the middle of a hot streak, and it couldn’t have come in a worse time in terms of the plot.

Please note that I’m not at all against a conclusion where Steven saves the world by talking it out. It’s the best message a show like this could tell, especially because the rest of the episode does an amazing job presenting Peridot’s brutal pragmatism as the alternative: while her blithe penchant for violence makes for a few great jokes, particularly when it comes to D-pads, the line of the episode is Shelby Rabara’s somber justification for attacking a mindless being: “It doesn’t matter if it knows what it’s doing, it’s still going to do it.” And while Super Watermelon Island bears a lot of blame for sucking all the momentum out of the Cluster Arc before Gem Drill valiantly tries to rev us back up, having Steven’s approach come right after a huge brawl does seal the deal. Steven should save the world with kindness. This would be a top-tier episode if the execution was as good as the moral.

With that said, the episode surrounding this disappointing conclusion is fantastic, even if said conclusion blocked it from my memory. We get off to a breakneck start that concisely confirms the stakes before we leap into the plot. It’s not only great at setting the tone, but it efficiently allows the episode time for the lengthened third act, regardless of how that act turns out.

This is a terrific Steven/Peridot episode, thanks to the same great dialogue I was just complaining about the conclusion lacking. They hit just the right balance of humor and heart, with Peridot finally allowing herself to be vulnerable and admit that she not only misses her home, but doesn’t actually hate the Crystal Gems. We’re already paying off “Wow, thanks!” for emotional value, but this touching scene is still played with laughs instead of pure sap; I love that Peridot feels the need to clarify how little she cares about humans that aren’t Steven in her last words. 

Still, I’d love to see an alternative universe where Super Watermelon Island and Gem Drill were made as a full-length episode a la Bismuth rather than a traditional two-parter. Perhaps a more direct juxtaposition of the action of Alexandrite fighting Malachite with Steven talking things out would’ve improved both scenes, and in any case, spending more time setting up before we reached both conclusions would have added more tension than the rush both episodes give us. This is clearly an A-plot and a B-plot that could happen more or less simultaneously; Steven could easily black out in the drill to let him possess a Watermelon Steven, and it would make the team’s split-up make a bit more sense. I dunno, it just seems like any sort of rework would be preferable to the finished products we got.

So yeah, sorry to be so down on these two. But I’m pretty excited to be getting back to episodes I like, and I can’t really think of what the next bad one on the horizon even is. Season 3 ahoy!

Future Vision!

I love love love the recurring plot point that Blue and Yellow Diamond don’t know that the Cluster was neutralized. Because for one, of course they wouldn’t, and for two, it’s the impetus for their appearance in Reunited. All the Cluster needs is a thumbs-up to add more character than Gem Drill did in an entire episode.

This is the exact halfway point of the original series, the 80th episode out of 160. While I’m not huge on Gem Drill, I at least appreciate that the moment that divides both halves of Steven Universe is its title character saving the world.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

Definitely a step up from Super Watermelon Island, and I like a good two-thirds of it, but I’m still not a fan of Gem Drill. The ending just isn’t captivating, which is pretty bare minimum for any form of entertainment, and it’s a disappointing conclusion to an otherwise outstanding arc. At least we still have Message Received for an emotional climax. 

Top Fifteen

Steven and the Stevens

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

The Answer

Sworn to the Sword

Rose’s Scabbard

Coach Steven

Giant Woman

Winter Forecast

When It Rains

Catch and Release

Chille Tid

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Cry for Help

Keystone Motel

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

No Thanks!

     5. Horror Club      4. Fusion Cuisine      3. House Guest      2. Sadie’s Song      1. Island Adventure

(As with Super Watermelon Island, there’s no official promo art, so I’m using this nifty piece of fanart by Nina Rosa.)

[funkymbtifiction]

Ni

Can you do a post like you did for Ne?

Since I’m not a Ni, this will be Ni as I conceptually understand it, and how Ni-users have explained it to me.

Since the primary goal for Ni is to find “a singular truth,” it absorbs and internally processes intuitive information (reading between the lines, insights, hunches, a sense of something ‘missing’ and seeking to find that missing piece); the conclusions it reaches will be similar to Ne under similar circumstances (this person is lying to me about that, for this reason), but the Ni does not need external affirmation to believe in their conclusion, nor are they as likely to change it based on the whims of additional information.

Ne’s approach life with a mentality of, “Here is my idea / intuitive conclusion about this -- do you think it sounds valid?” because Ne craves external affirmation on their ideas as being the right idea among many. So, going off the example I used last time about a friend vanishing and the intuitive deciding it’s because the friend does not like / is bored with the book they sent them; a Ni might also reach that conclusion and operate on that assumption, without asking for anyone else’s input on the idea itself. The Ne might reach that conclusion and turn to someone they trust, explain their Ne-reasoning to them, and ask, “Does this seem like the most reasonable explanation to you?” If validated, the Ne operates under that assumption; if the person says, “No, I know this about them, and you should factor this in...” the Ne’s hypothesis about the person’s behavior changes on the spot.

A good literary example of high Ne, in these terms, is Elizabeth Bennet, who operates under her (wrong) assumptions about Mr. Darcy, confident in her perceptions about him and her intuitive interpretation of the situation; she seeks out ideas that reinforce these views (Wickham) but literally changes her strong opinion of Darcy overnight when he explains himself to her in a letter; Wickham is astonished that she has done such a complete reversal from “someone I hate” to “I could fall in love with this man.” All Ne needed was more information / his side of the argument and POOF, the presupposition vanished. Her entire perspective changed based on intuitive objectivity.

Of course, if the up side of Ne is flexibility, the down-side is lack of commitment to a single perspective or idea, which can lead to flighty behavior (and, as an INTJ friend says, “the rapid change of topics / mental distraction that baffles me”; I should mention I had denied changing topics rapidly, and she laughed). Ne is prone to what I call a “flypaper” mentality -- every idea sticks to it, and Ne will run with it, sometimes without pausing to consider if it’s valid.

Ni’s take much longer to reach intuitive conclusions, but are far less likely to change them once their mind is made up (Ni-doms are more prone to this than Ni-auxes, but imbalanced ENXJs still do it). Their visions are always singular and often quick -- leaping ahead to a future implication or action and then engaged in a subconscious reversal-processing, where Ni assembles abstract information to fill in the gaps between now and then. Because these things are hard to articulate (introverted function), Ni’s do not volunteer this information; often what you hear is the result or conclusion, not the reasoning.

An ENFJ explained it that she gets a “flash” or a visual image of her future self in a specific career, and then Se triggers her into immediate action to make that vision a reality -- like, signing up for a class. She does not “worry” about how to get there, because she waits for the right door to open, and will know it when she sees it -- she described it as walking along a corridor and darting through a door when it opens. Because her Ni / Se is healthy, she is not afraid to correct or shift her vision once she realizes the limits of her abilities (Se, coming to terms with that Ni maybe overestimated the multi-tasking involved). When in a situation that requires her to interpret someone’s future motives, she becomes quiet / withdrawn / analytical, decides in her own mind the likely outcome, and then responds to head it off if it is destructive (as opposed to a Ne asking for her opinion on whether “this idea / motive is correct”). She cannot imagine not having a future self to strive toward.

When we discussed how we approach writing projects, we discovered her Ni approach is an unconscious weaving of the story in a particular direction, whereas mine is a process of reshuffling and discovery (Ne). She was a bit horrified to learn I will take away, or give, different characters different names, careers, roles in the story, or plot arcs as the story revolves; to her, those things are “fixed” and cannot change. (”What do you mean Alfred used to be a falconer and now he’s a priest, and his name was Gethin before?!”) She will not plan out everything in advance internally as my INFJ friend does (INFJ can spend up to a year crafting a story in her head, then sit down and write it all out with no overhauls of character / plot / etc) but their approach is similar -- in writing and in life. Singular forward motion, based on instinct.

If the strength of a Ni can be accuracy, its weakness can be rigidity. Since they are unlikely to change their minds once they have found “the truth,” if their Se development is good and they have solid judging functions, this causes no problems -- but if they are going off intuition with no Se evidence / attachment to reality, or have poor judging functions, it can be like arguing with a brick wall. Their desire to find “one truth” can mean shooting down any external theory or possibility or piece of information that proves their Ni’s chosen truth or ideas about life wrong. They will use Se only to find evidence that supports their chosen view of reality, which may be completely detached from reality.

For example, let’s say INFJ decides friend is avoiding them because they hate the book INFJ gave them. Friend comes along and truthfully argues no, that was not the case; I got snowed under with work at the same time my cat got sick and my social life was nonexistent for six weeks. An unhealthy Ni will reject this information and insist the person is lying to them, since THEY KNOW THE TRUTH. Their friend can argue until they are blue in the face, and produce evidence, and the unhealthy INFJ will still walk away convinced their friend has gone to elaborate lengths to sell them a lie.

I hope that helps.

- ENFP Mod