#its literally the only book with a decent plot

[boopboopbitch]

I'm down for genderbending Sophie. Hell give us lesbian Eloise. But Michael Sterling?? The entire point of that book is based on his male privilege. Then there is Francesca wanting a child leading her to go back on the marriage mart. Despite her reluctance because she LOVED John. You literally see her torn because she feels like she is cheating on her dead husband. We won't get her and violet bonding over the loss of her beloved husband now because she never loved him in the first place! We wont get her crying because the baby was the last piece of john she had AND the keys to the earldom. We won't get the marriage of convenience that came from Michael becoming the earl because women can't inherit. Despite frannie being far more competent at the job than michael. Which was something that was both acknowledged and celebrated in the books! We wont get frannie reading michael to filth for taking advantage of his male privilege and ditching when shit gets hard.

This was like the one DECENT bridgerton book. The one with fleshed out characters and a form of complexity.

Why destroy this plot when you had ELOISE RIGHT FUCKING THERE.

Her book is terrible and very outdated ALONG WITH BENEDICTS!!!!! Those books needed a makeover NOT THE ONE ABOUT GRIEVING YOUR DEAD HUSBAND AND INFERTITLY.

Not the one discussing important topics women go through AND RESONATE WITH. What the fuck.

This was a misfire.

[fimbry]

Dragon book recs?

I read Fourth Wing and its sequel and loved that the dragons are actually characters with personality and are important to the plot.

Little did I know this would be so rare in dragon fantasy???

Spoilers for Priory of the Orange Tree and When the Moon Hatched to describe what I do not want.

I read Priory of the Orange Tree because it was supposed to be great fantasy with dragons being super important. It was literally a lesbian romance with dragons as an afterthought. The dragon rider got completely side lined in the last third of the book and her dragon spends 99% of the book incapacitated and unconscious. The lesbian romance was decent it just was not a dragon book. Not really. I think the dragons only existed to give the lesbians something to fight?

I'm reading When the Moon Hatched right now and I don't know if I can even finish. Once again the dragons are just cardboard background effects, but this FMC is so unlikeable I'm having a lot of trouble willing myself through. I know she has trauma making her insufferable, but she is reacting to everything so unrealistically it's like HELLO? 😭 You see a mythical invisible-capable powerful feline beast the size of a house and you keep sassing it instead of idk, fear or anything reasonable. Wtaf. Guess you're just that badass. 😭 Sorry of course you are THE MOST BADASS ever and everyone clapped (and kissed the ground).

What I'm looking for: Romance is fine idc either way, I just want the dragons to be actual characters with personalities and important to the plot. Any books like that?

[pillowbugs]

so uh. that poto au i did just over a week ago.

was playing around with some ships to figure out who would fit the roles of the other characters, and landed on airplaneshipping for christine and raoul. preferably ignore all the plot that would have to happen to lead to this point. (the scene where the phantom shoots fireballs, except in the pokémon universe it's a full on battle against the phantom and his chandelure. for an added bonus, look up the name of the 'song' sung during this part of the musical.)

unmasked ver. (additional design notes under cut)

elesa:

christine's dress in this scene is light blue, which is a colour that is indeed present in elesa's design (her bw2 outfit moreso). elesa not wearing any yellow felt wrong though, which is why the layers underneath are yellow-tinted.

went with her bw1 hair colour because christine was blonde in the original book.

her cloak is mostly based off her bw2 jacket in shape; it's black with a red clasp, which makes it not only similar to the cloak donned by christine in the musical but also retains the same idea of the cloak being a visual representation of the phantom's (who wears mostly black) hold over them. (+ the other colour ingo is most associated with is red.)

however, because of the lighting, said cloak appears yellow on the side closer to skyla - more similar to her canon design, and being close to skyla in a way rids her of the darkness.

she gets to change her hairstyle as a treat.

skyla:

it wasn't common for women to wear waistcoats at the time (1900s), but sapphics in history quite famously fucked with a lot of gender norms.

actually both of these lovebirds are blue now. sets up a colour contrast between the lighter, friendlier blues of the couple and the darkness and reds of the phantom. (blue = friend and red = foe like it's fire emblem)

the way swanna is placed is intentional, to set up a more angelic imagery mirroring the phantom's darker version (more on that in a bit).

both women wear matching white roses in their hair. something something flower symbolism. but skyla does also have feathers in her hair, for obvious reasons.

swoobat because hearts :D

ingo:

was debating on whether to make him actually more deformed in this au, but didn't really feel in the mood to sit down and design it in detail for this piece.

there isn't much i can say about his outfit design given it's literally just mashing his usual uniform together with his butler alt from masters. though upon actually looking up the phantom's outfit, the end result is actually surprisingly close. not surprising given both wear victorian suits and primarily wear black.

my original concept for the au was that he still works with the subway, he just does it from the shadows instead of being a public figure - hence he still wears a train conductor's hat. though since the battle subway isn't a thing (or at least not in the form we know it) he doesn't have its logo.

his cloak is intentionally flared up in this scene, for a few reasons: 1) it looks cool, 2) it resembles gliscor (albeit it isn't present here) and 3) mirrors skyla with a darker angelic imagery - the original musical had the whole "angel of music / death" thing.

i actually went through quite a few variations of his mask before settling on this one, and even then i'm not entirely satisfied with it.

version 1: exactly the same as the one used in most advertising for the musical - decently terrifying, but considering ingo's main 'issue' is his mouth, which this (and the one actually used within the musical) doesn't cover, this would be completely useless aside from probably hiding his identity and especially his resemblance to emmet.

version 2: leaned more into the angle of trying to alter his expression, particularly to be smiling instead - to be more similar to his brother. also suitably unsettling, but this specific style wouldn't work if you looked at him from any angle besides this one though. also, from this angle, because his actual mouth is obscured, i was worried he would actually be mistaken for emmet instead (given generally fandom tends to make emmet the unhinged one - let ingo have some fun too, guys).

version 3, the one i went with: has patterns at the cheeks simulating the edges of a smile (and also has the black-on-white contrast); his actual mouth is hidden but visible through the cloth.

why is there a litwick on the gravestone? good question!

in all honesty, this was part me drawing blorbos into an au and part me conceptualising what the pokémon universe version of POTO would look like.

[reel-fear]

Bendy And The Power Of Representation

So those graphic novel pages huh? Seems I posted my cover post at just the right time because literally minutes after I was informed the preview pages came out and uh. This is Buddy and Norman!

Oh dear... I'll put the full graphic novel pages down below but I have so much to say on how awful this is it'll need several posts. However, right now I want to mostly talk about representation and briefly touch on why it's so damn important + inform others about the current shit Mike and Meatly are saying about the books n such.

Now note: All the things I'm saying below are based on my personal experience, maybe some people don't care about seeing the representation of their identities in the media they consume. Maybe some will think I'm merely being dramatic and I might be but I'm not lying when I say I personally believe being represented and seen in the media you consume can be one of the most wonderful feelings in the world.

Look I'm not here to argue with people who think that Norman in particular was never meant to be a person of color, I would argue he is very coded but the points I'm making here are not about how Norman particularly had to be black. The point I want to make is the lack of diversity in our cast in general and how Norman's design has heavily dwindled it considering most people [including myself] rightfully assumed he was at least one of three black characters in our cast. Not according to this though and looking at the the rest of the pages our chances of seeing any kind of decent diverse character designs dwindle more.

So firstly... Buddy a character who has been said to experience discrimination for being Jewish, lacks any kind of ethnic features at all. That's... Cool but yeah I think this shows a rather grim future for the character designs as a whole.

Also, Norman... As I mentioned he was largely assumed to be black due to his southern dialect, his voice, and other factors. But nope, he's a generic white guy. With... Gross looking hair tbh...

Sadly this is not the first time the topic of poor representation has come up concerning Bendy either.

[note how he disregarded the other mentioned minorities and specifically cites LGBTQ+ characters]

This sucks as a response but sadly considering Mike's recent behavior it seems to fall in line with the Bendy team's general lack of care towards representing anyone who isn't straight and white.

So how did Mike respond to all of this? Well...

TDLR - "Who cares if the Graphic Novel we're selling to our fans for full price sucks, we now no longer consider the books canon."

This is horrible, I know Mike and Meatly are only really in this for the money, the fact BATIM is in the state that it is proved that, but they really couldn't have been less obvious about it?

So basically when it benefited them, AKA when it meant people would have to buy the books to understand important lore like Boris' identity... [the character you spend all of chapter 4 trying to rescue] They were considered canon... At least the author sure thought so.

Hell even in the tweet Meatly made here he doesn't say the books aren't canon, he just says they're not needed to understand Bendy's world. Now Mike is using that as a shield instead of doing the right thing and saying "You're right, the poc in our fanbase deserve better we'll have it fixed right away!" Like most reasonable people would considering how his studio has literally been accused of bigotry, poor rep, and general lack of diversity before. Why risk making more people avoid this franchise?

Also just... Imagine how insulting it would be to be an author who helps flesh out so much of this world and gives its characters depth like NONE of the games have managed to do, filling in plot holes, creating a timeline for events, etc... Then because they couldn't bother to change the graphic novel for ur story to be better they instead throw out all ur writing and declare it non-canon.

If I were her to put it bluntly I'd feel insulted and horrible. Why make her do all the work of making sure her works align with the timeline and game's canon if they're not part of it?

I can't speak for her obviously but Meatly and Mike know of her account, so speaking out against this could very much risk her being fired or at least not allowed to work on Bendy anymore... So I would take all her tweets on this situation with a grain of salt. She very much is not in a position where she could be honest if she was against this.

So with all that history now, the question I'm sure many are wondering is... Why does this even matter? Who cares how diverse the characters are when it doesn't affect the story?

Well for one thing, if you think like that consider having more empathy for your fellow human beings but also it does affect the story. One of DCTL's themes is about the bigotry of the period it is set in.

Now the Bendy team has managed to make the discussion of this book centering around their bigotry which is ironic in a way I almost find funny... Though this entire thing is just a bit too hurtful and upsetting to find any humor in, at least for me...

But another thing is representation can bring people such joy when it's done with care. It really shouldn't be understated how far it can go to make people feel more comfortable in their own sense of self to have a franchise choose to represent them and their experiences. I know this from personal experience.

Now if you've been following me for a while, you know I'm a big fan of Transformers. I no longer engage with it much due to baggage from the fandom's awful treatment of me, but before I left I remember being able to witness the release of Transformers: Earthspark first few episodes.

These introduced the Maltos the family who meets the Transformers and serve as our protagonists and guess what?

It's a family of Filipinos!

Now look I'm not Filipino, but I am half Mexican and I have a lot of love for that part of me. So seeing the representation of any Spanish culture in this franchise I loved made me so happy! I remember just watching the first episode I was happily telling my partner how fun it was to see people like me and my family in a world I love!!

But it didn't end with the Maltos in fact... There was another character who spoke to me, their name was Nightshade. Their pronouns are They/Them and they spoke about it on the show! Not just mentioning it and moving on but actually sitting down to speak about their experiences...

This clip in particular really turned them into an absolute favorite among fans and well... I'll let you see it for yourself.

This scene... Fills me with a joy I cannot describe. It is the creators of a franchise I love telling me they see people like me and find the stories of people like me important enough to include in this series. There really is nothing like being able to say there are Non-Binary characters in a franchise I have so much love for. I was far from the only one too.

This is amazing, this is wonderful, this clip and character were moving to so so many people and...

This is a joy the Bendy creators have no interest in giving their audience. They don't care how you feel as a queer and/or black person, which... Hurts...

I... Discovered I was trans while in the Bendy community... It was where I learned the word Non-Binary and started using it for myself. To me Bendy will always have that connection... But the devs themselves seem to hate the idea of being forced to actually represent that in their games... And I still haven't really gotten over that pain or betrayal if I'm being honest.

So...

With Norman now being portrayed as white here, we are down to two black characters. Thomas [who Meatly has claimed is white in the past] based on a vague conversation with Sammy in DCTL they could easily ignore... And Jacob.... A book exclusive character which according to Mike means he is non-canon.

If we don't count Thomas' vague talk with Sammy about disrespect as confirmation he's black [which the devs don't seem to think so] then we have one black character in all of Bendy... And he recently got retconned into non-existence. Great.

Look... The Bendy fanbase has always been full of wonderfully diverse designs for the staff and even more diverse people creating them. Bendy's fandom was built with the work of queer people from all kinds of places.

If the Bendy team continues to show how little they care for anyone who isn't straight or white... I wonder who they are counting on to buy this book or in general financially support their franchise?

I know right now, I am furious, I am hurt and I most certainly don't feel like buying a book that's currently just a massive fuck you to the fans and I hope I've expressed why I feel this way in an easy-to-understand way here...

Either way, I will not be forgetting this anytime soon and I hope the fanbase does the same. Maybe just maybe, if there's enough backlash to this series of horrible decisions they'll learn better.

Right now, it's kinda of our only hope for a better future, and if you know any poc who are into Bendy right now... Maybe consider making sure they're feeling okay.

I know from experience how much this sort of thing hurts, to have the creators of a world you love straight up tell you they don't intend to fix the fact no one in their stories represents your identity or life...

What I'm trying to say is...

This is a really low point for Bendy and its fans... Even more for the poc who have to witness such ignorant and careless attitudes from Mike and Meatly towards their feelings.

Please don't forget them when you discuss these tweets or this situation. That's exactly what Mike and Meatly want right now.

For them to be unrepresented and therefore... Unheard.

[lakesbian]

ok Worm Bigotry Breakdown in more detail for @silverflyingpikachu

tl;dr: author is Cishet White Guy From Canada In 2011. he ostensibly thinks he is progressive. this does not change his proclivity for tossing his Cishet White Guy From Canada Biases into the books and then saying even more bigoted things in defense of those writing decisions on forums. wildbow is just some cunt on the forums with bad opinions on wildbow's writing. the book is 1.7 million words long but i believe in my ability 2 categorize this shit with decent accuracy. everyone who has ever said worm's CWs can't be categorized, including wildbow himself, is a lying ass bitch. this will include some vague spoilers, because i can't really go in-depth without a few examples, but i'll stay away from anything too plot-critical.

racism:

- worm is fundamentally a book abt systems of power and the ways in which they suck. some of the critiques worm issues--e.g, its depiction of how school systems enable bullying, inspired by wildbow's own experiences w/ the school systems as a deaf kid--are viscerally accurate and incredibly compelling. but wildbow fundamentally doesn't understand how certain systems of oppression work--e.g policing--and subsequently, his attempts at depicting them occasionally fall flat onto their face and land in racist territory. this gets particularly nasty when combined w/ the White Guy Author propensity for racist stereotypes--for example, his chosen face of police brutality is a black girl portrayed as predatory & animalistic.

- who is also one of the only black people in the book overall, alongside--for example--an addict portrayed as having less interiority & being less deserving of empathy than A Literal Fucking Nazi. also, the main characters have to team up with the nazis "for the greater good" (defeating the mean asian villains) at one point. it is a mercy to the readers when this part of the story ends. - there are two black characters in the main cast. for the first, wildbow just Straight Up Forgot to include the most compelling aspect of their background + characterization in the text (it was provided via WoG instead, which i provide to all wormreaders like a fuckin' DLC patch when they get to where it's relevant) & entirely forgets they exist towards where the end of their character arc should have been. the second is introduced w/ the most misogynoiristic description on the planet but blessedly has a largely compelling and well-written arc as the book goes on. - depiction of china is just like. fox news level sinophobic "it's all a brainwashed indistinguishable evil cult" shit. not relevant for very long relatively speaking but insufferable to read. asian characters are also like. we got Brutal Yet Honorable Asian Man. we got Fiery Asian Girl With Blue Eyes. it fucking blows it's not good

- oh yeah forgot this one someone mentioned in the tags. #it's an insignificant paragraph and nobody talks about it but the part where it goes #“yeah literally EVERY cape in South America is with a cartel and the heroes are barely distinguishable from the villains” #fuck you #not that the others aren't bad the fatphobia gets really gross but nobody mentions this and that one got me so yeah typical Insufferable Awful Imperial Core Author Understanding Of What Other Countries Are Like - i could make this section one million bulletpoints long but the gist is summarized i think--wildbow's varied racist biases leak fucking everywhere, into character design, into narrative assumptions about who's deserving of interiority/empathy or not, into attempts at Saying Anything About Society, into which characters he prioritizes, into who he offers validity via the narrative, etc etc etc.

homophobia: - theres a girl named amy dallon in it and she is the worst lesbophobic stereotype ever known to man. no other Problematic Lesbian™ you can think of has anything on this girl. the worst part is that she genuinely has a decently compelling character concept and arc, which her being awful is integral to, so you might accidentally find her interesting anyway and then she'll move into your brain - wildbow kept accidentally writing characters that scan as massive dykes and then got really mad about f/f ships for the book being popular in the fandom. he responded by making a deranged forum post involving the phrase "pandering is pandering" insisting everyone (but the bisexual "hedonist") is straight and writing a scene into the book where one of the characters literally turns to the camera and tells the readers "not to get the wrong idea" about her hugging her friend. - over the course of 1.7 million words he finds excuses to loudly inform you that all of the relevant female characters are straight and it's sooo shoehorned in you can always tell when he's doing it - basically worm is like if naruto was about homoerotic teenage girls who do violent terrible things, in terms of levels of unintentional homoeroticism, and the author responds to ppl going "lmao gay" about the unintentional homoeroticism with poorly restrained seething rage

fatphobia: - generic brand of fatphobia you'll see in p much all mainstream media where only side/bg characters are fat and it's obliquely used as a descriptor to indicate that someone has negative personality traits or should be viewed as sort of gross

anti-addict shit: - wildbow generally likes writing about how social circumstances--i.e neglect from society, oppression, failure on behalf of systems--causes crime. he generally likes demonstrating the ways in which the villainous main characters are traumatized teenagers failed by society fumbling to keep existing & holding each other up through The Horrors. unfortunately all of this intelligent writing flies out the nearest window when addicts are involved. there is a gang comprised entirely of addicts, all of whom are portrayed as disgusting, violent, dangerous, and of course often racially stereotyped. it is a mercy to the readers when they're no longer relevant to the story. - on a more subtle level, characters are every so often just like. a little more anti-drug than they would realistically be and you can tell it's wildbow's opinions leaking into their characterization. this is largely what the anti-addict writing is kept to after The Addict Villains leave the story iirc.

if youre wondering wellwhy does anyone read this book then. to that i would say that unfortunately despite it all it'sa fucking excellent book. so we all carry on reading the parts that suck and thinking about how they suck and then reading the parts that fuck and going "ouuugh my god" and rolling down 20 flights of stairs about how hard they fuck.

[kaibutsushidousha]

So does Minase joins Meteo of being a writer that picked a figure from regions that aren’t as used as much in TM with the Trung sisters belonging to him?

This one is just a self-answering yes-no question, so I'll instead use it as a platform for the Minase thoughts I've been having since the wombo-combo of the new mats, the anniversary interview, and the Dubai event. It's probably what the anon wanted out of it anyway.

My inner ramblings start from something Nasu said in last year's interview and made a point to reiterate this year.

Ordeal Calls are meant to be each writer's best and most emblematic piece. Their artistic identity taken to its peak. That's something I believe Sakurai accomplished and Minase didn't. That obviously raises one question: what would a real Minase masterpiece look like?

By the Ordeal Call's premise, it would still need to be something that gave the supplementary information we were missing about the Alterego class, but let's ignore that angle and focus only on the goal of expressing Minase's personality in the best way possible.

What works with Minase and what doesn't? Compare his worst and best pieces. Agartha sucks because it focuses on his opinions about women and those are categorically rancid. Yuga Kshetra succeeds because it focuses on his opinions about ableism, which are far more poignant and agreeable. Minase has enough care about the subject to ensure that the plot is a series of arrangements where the characters triumph not despite their so-called flaws but specifically because of them.

So an ideal Minase Ordeal would focus on a different subject that Minase recurrently displays passionate, empathetic, and agreeable opinions about. So what can we find in his roster of character? Minase made Servant versions:

Zenobia, whose historical significance is entirely about resisting Roman colonization, although she failed. Minase portrays as someone who literally wears her failure and tries to conduct herself with dignity regardless to prove the point that the Roman conquerors couldn't truly defeat her Palmyra spirit. I think this one is a bust execution-wise, but it's significant that the idea is there.

Lakshmi Bai, whose historical significance is entirely about resisting English colonization. Minase portrays her as someone who can't help but disdain the innocent English civilian Holmes and acknowledges the irrationality of it, but the entire surrounding cast including Holmes himself assure her that she is entitled to her feeling because colonization is that gruesome and traumatic of a process.

The Trung sisters, whose historical significance comes not exactly from resisting colonization, but from leading an independence war, which is similar enough in spirit.

Columbus, whose historical significance comes from being a colonizer. I don't need to tell you how Minase chose to portray him.

With Fate/ drawing its action cast from history books, it's inevitable that we get a decent amount of characters whose bulk of their offscreen backstory was spent conquering, slaughtering, and assimilating other cultures. Some certified colonizers, like Richard and Takeru, are very self-critical about it. On the opposite end of the spectrum, we have Iskandar, who gets flak from Faker and Ptolemy for his stupid decisions toward the Diadochi, but the journey of conquest and domination gets framed as the fun adventure no one is critical of. Either way, none of other characters not written by Minase get irredeemable treatment that Columbus gets.

The franchise's most prominent colonizer is, of course, Arthur(ia) Pendragon. Both versions are defined by the regret that comes with ultimately failing their kingdom, but their failings are never credited to the notion that violently conquering the British tribes and unifying the isles is an inherently bad thing. That's the image of greater good they fought for, and that part remains unchallenged. The closest Nasu got to criticizing Arthuria for being a colonizer is by showing the Round Table's brutal treatment of the Arabs in the Sixth Singularity. I'm mentioned this specially because this is Percival's first reaction to eating a mixed breakfast buffet in the current Minase-written Dubai event:

Minase's Percival is strongly defined by his respectful interest in foreign cultures and, fittingly enough for a knight who opposed the Lion King, he's maybe the first character to directly criticize Arthuria on her disregard for the traditions she trampled in the unification of Britain. That's a thing I'd appreciate more of and can only imagine Minase daring to touch on.

[lemonhemlock]

https://www.tumblr.com/lemonhemlock/763163615828361216/adding-to-your-nuanced-discussion-regarding-sara much of the hatred towards sara hess is gross and openly misogynistic. unfortunately, it also muddies the waters for making valid critiques of her writing overall. i’m only familiar with her work on HOTD, and while i think she does basic level serviceable work (ie- mostly the plot makes sense) i find a lot of it extremely lazy. take both HOTD finales for example; we have two scenes of domestic violence (daemyra and helaena/aemond) being used to communicate the pretty elementary idea that these men are bad, wrong, and power hungry for anticipating war in a struggle for succession. now with both characters, you can argue it makes sense; daemon has been orbiting the throne all season, he sees the greens as the threat they are and, understands war is inevitable. he’s frustrated with rhaenyra’s lack of response and lashes out after finding out viserys didn’t trust him enough to communicate aegon’s dream. meanwhile, aemond has just discovered he is at a great disadvantage in this dragon cold war, has already committed severe violence to become regent in the first place, and is also lashing out because he is insecure in his position and fearful of what might happen.

the problem is instead of exploring these (very sensible) feelings for the characters or developing them through actual scenes and dialogue, we have this shorthand where Men = Violent, because they couldn’t possibly explore these emotions for these characters in another way. i can’t remember if it was olivia or phia who spoke about the aemond/alicent/helaena scene as helaena refusing to feed aemond’s violent male ego… girl you are literally at war! idk if this is about his male ego so much as he doesn’t want to fucking die 😭 not to point the finger at the actors, i am just assuming that idea came from somewhere, and it seems most likely to be the writer or director. and daemon isn’t in the wrong for expecting battle- yet instead of having that be a real conflict between him and rhaenyra, we have this moment of abuse that is quickly brushed aside and moved past. it exists only to show us how aggressive daemon is in the simplest, laziest way possible, and then it’s disposed of when it’s no longer needed. you can say the same for “civilians don’t matter”— it’s just lazy writing! they don’t have to, in that the story can function without an in depth look at the smallfolk’s relationship to dragons and the targ dynasty overall, and why bother to do any of that when you can just decide that for this one scene, none of them matter!

this is very long 😮‍💨 i’m sorry for the essay! i find this topic hard to discuss because too often people come in to just call her a cunt because she wrote a medieval man who didn’t articulate feminism perfectly. there are real issues here!! and it’s not all on her, condal obviously approves everything and they are on the same page here. anyway. thanks for reading as always!

Coming back to this ask after some time, sorry for the delay!

I agree very much with your assessment of her doing serviceable, but ultimately lazy writing. Perhaps that under a more competent showrunner, she could have written something decent. But one of her problems is that she is only superficially familiar with the source material - I'm saying this because she gave an evasive answer when asked if she read the books ("a long time ago"). This matters because she clearly doesn't understand the politics of the universe she is writing for (the scheming is nonsensical in HOTD) or the themes (dragging back the "civilians don't matter", but it's very revelatory to how she approaches the scripts). How can you write ASOIAF media, a series that relies heavily on politicking and dismantling tropes, without a grasp on those two things? D&D misunderstanding the themes of the series is famously one of the reasons for its lackluster show ending.

And that's just not going to rectify itself on its own. If she lacks the initiative to analyse the text properly, then someone should direct her as to what exactly to write. I'm sorry, but that's you can't just have it both ways - not do the work and then shrug your shoulders when you end up creating a divergent version that doesn't fit in the plot you're bound to follow.

take both HOTD finales for example; we have two scenes of domestic violence (daemyra and helaena/aemond) being used to communicate the pretty elementary idea that these men are bad, wrong, and power hungry for anticipating war in a struggle for succession. [...] the problem is instead of exploring these (very sensible) feelings for the characters or developing them through actual scenes and dialogue, we have this shorthand where Men = Violent, because they couldn’t possibly explore these emotions for these characters in another way.

Exactly, and the reason it ends up working for Daemon is because he previously got a ton of screen time and we got to know his personality, whereas Aemond gets little next to nothing in Season 2, in addition to his in-built disadvantage of being much younger and, thus, getting introduced later on. Well, surprise surprise, what worked for Daemon will not work for Aemond in that situation, because if you don't invest in Aemond's characterisation, the parallel will fall flat. Aemond and Daemon had very different upbringings and it's very silly to think that what applies to Daemon will automatically apply to Aemond and, therefore, you don't need to bother to dissect Aemond on screen in any meaningful way.

That's just concentrating on the logistics & not even critiquing the very lazy stereotype of men = violent & women = peacemakers.

i can’t remember if it was olivia or phia who spoke about the aemond/alicent/helaena scene as helaena refusing to feed aemond’s violent male ego… girl you are literally at war! idk if this is about his male ego so much as he doesn’t want to fucking die 😭

This. ^^^ I often find that the writers were trying to make some kind of point that, in other circumstances, could have been relevant, but they have a knack for picking the worst situations as illustrative examples. And, after that, they're surprised their simile felt mismatched.

Aemond having a violent male ego and being critiqued for it within the text is absolutely fine, but is it reasonable to do it when he's trying to ensure his family are not getting killed? And have Helaena be that agent of critique, when she herself has just been subjected to horrific loss and trauma at Daemon's hands?

Conveying that the smallfolk live miserable lives that often lead them to forsake their morals and commit horrific acts in desperation (such as becoming assassins for hire) is another valid point to make. But is it really appropriate to beg for clemency from the audience via a widowed dog (the lowest form of sympathy begging, if you ask me) when we are talking about a cruel child-murderer at the end of the day?

In the same vein, high-borns having more resources at their disposal to recover after trauma is very true. But is it appropriate for that comment to come out of the mouth of a mother who only just recently lost her son to horrific violence? Especially after having her grieve so halfheartedly, it's giving less intersectionality and more her not actually giving much of a shit instead. No one in their right minds would go to a rich lady mourning her dead child and start lecturing her on the privilege of grief. Helaena is just not the appropriate vehicle in that moment for that kind of commentary.

Neither are the smallfolk of King's Landing in a position to mourn the dragon Meleys mere days after it butchered so many of their fellow townies. So many times I can sense this disconnect between what a believe, humane response would look like and half-baked attempts at social commentary.

and daemon isn’t in the wrong for expecting battle- yet instead of having that be a real conflict between him and rhaenyra, we have this moment of abuse that is quickly brushed aside and moved past. it exists only to show us how aggressive daemon is in the simplest, laziest way possible, and then it’s disposed of when it’s no longer needed.

Yes, in some ways, Daemon is the writers' opportunity to eat their cake and have it, too. They make a lot of noise about how much of a problematic bad boy he is, but, when it comes down to it, nothing he does has any kind of real consequence. The only consequence he ever faced was Viserys banishing him and that was way back before any kind of time jump (and it got overturned in the end, anyway).* Alys doesn't do anything to him except hold his hand and gently nudge him in the "right" direction. Rhaenyra takes him back with nary a snide comment.

Even back in season 1, he can kill Rhea Royce with no fallout: the Royces don't do anything and Lady Jeyne is still Rhaenyra's lackey with no explanation given. He can spread the rumour of killing Laenor with the intent of sowing fear and decapitate Vaemond in front of the greens. Yet the greens are not worried about him and scrambling to prevent Rhaenyra from seizing the throne. Oh no. Crowning Aegon is just misunderstanding Viserys' dying words. 🤦‍♀️ Daemon can even kill Jaehaerys and still Helaena decides to help him instead of her own brother.

*honestly, that's one of the reasons I think the first 5 episodes of season 1 are the show's strongest. It's like back then you did stuff and it had consequences. Incredible achievement.

you can say the same for “civilians don’t matter”— it’s just lazy writing! they don’t have to, in that the story can function without an in depth look at the smallfolk’s relationship to dragons and the targ dynasty overall, and why bother to do any of that when you can just decide that for this one scene, none of them matter!

You know, I would actually like to take this opportunity to point out that I get this conundrum as a showrunner. You don't really want to make a story about smallfolk suffering, because it would be a massive downer and it would not sell as much or be as popular. Not many people are interested in Les Miserables but with dragons and that's understandable! But there is a way to simultaneously not delve into the intricacies of oppression in your escapist nobility fantasy, but not be downright insulting about it.

They don't need a ton of screen time to set up the basic theme of "it's always the innocents who suffer when you high lords play your game of thrones". They just don't and I'm tired of pretending otherwise. They can very well illustrate the point of smallfolk suffering without resorting to insane suspension of disbelief like King's Landing starving after two weeks of blockade. And, if they can't, then they shouldn't be in the writers' room for productions that have the audacity to submit episodes to prestigious award shows.

[israaverse]

This is probably a result of diminishing expectations but it's wild how Civil War was the last movie to give Bucky a decent look, because every appearance since then seems intent on making him uglier and hideouser— okay wait I just realized I'm kinda exaggerating his look on the Falcon show wasn't bad I'm just letting my hate for that shows writing & the it's exemplification of nearly all the ways Marvel used the Cap brand to push propaganda cloud my perception of the visuals..... but everything else! jail. (can you tell I just discovered what he looks like in the quote "degenerate villain" squad movie?)

NGL they did Steve bad but at least they killed him off. Seeing how they made a decent Cap2 with blatant cliffhanger-setup for a sequel continuing that storyline just to... not continue it & instead cast Bucky as The Bad Guy of the Group because of multiple directors+writers (explicitly admitted in interviews) hate for Bucky... is still wild. They practically dropped his entire character development arc after only hinting at it in an end credit scene. And it's a large part of why Steve's character circled the drain too before getting killed off because the core part of Steve's character arc was dependent on Bucky's story arc actually being continued instead of randomly dropped for multiple back to back crossover events.

Marvel managing to make one decent movie out of CapAm is more of a curse than anything. It'd have been better if expectations never got lifted off the ground and just kept the characters rah rah 🇺🇲 PatriotMonologueBotd all the way through like in the comics, which aren't very good.... at all. If you thought the propaganda is gonna be bad in the upcoming Cap4 movie, the DNC-style patriotism of the Captain America brand becomes is even worse in the comics, and it gets worse to stomach with IRL events making it seem more and more out of touch. Treating the USA flag (and its representatives) as a literary symbol of moral virtue gets more and more ridiculous with each new run of books (like, did you know that a recent run decided to flashback to WW2 just to include a revisionist-fake-history speech about how the Zlonlsts were a large force fighting against the Nazis, whereas IRL the opposite happened). How a single decent adaptation was managed to be pulled out of the source material is still kinda shocking. But now Marvel seems to have remembered that the CapAm brand is meant for their white writers to pull out atrocious political takes via superheroes. Back to tradition!

the fact that writers n directors hate him baffles me bc Winter Soldier is such a good setup but they just let him FLOAT AROUND? A SET PIECE? AN OBJECT OF THE PLOT????? like you MADE HIM THAT WAY!!!!!!!!!!!!!!

im convinced that the US military propaganda contracts completely neutered his MCU character bc if u think about it for more than 5 seconds you start coming to Conclusions (didnt WS point out that the US govt hired a bunch of nazi scientists, framed him as JFK's assassin, etc etc etc.....) and they made the decision to just nuke him as a result. Oooh he was just a bad guyyy all alooong SHUT UPPPP hes morally grey even an antihero for a bit but hes not EVIL he is literally the poster boy of being manipulated into doing atrocities for the interests of a greater power and they just. dropped it. on its ass. esp with the stupid Sabra and Zionism bullshit its like ohhh i see we are gearing up for a media push for fascist nationalistic narratives for a draft or more wars and the presence of moral grayness isnt conducive to that so its just cut. got it.

like the Falcon show was........ so clearly cut to erase that moral grayness it made me ill. so ill i even sought out WS' presence in the comics and like you said its just not cutting it even slightly. they flattened him which SUCKS but also they made him UGLY WHICH IM WAY MADDER ABOUT. IF I CANT HAVE HIS MORAL COMPLEXITY WHY DID YOU UNSEXIFY HIMMM

IT DOESNT EVEN MAKE FINANCIAL SENSE BC I WAS ONLINE WHEN PEOPLE WERE FROTHING AT THE MOUTH OVER HIM SO WHYYYYYYYYY DO THEY HIT HIM WITH THE MOST ATROCIOUS WIGS TO EVER BE SEEN IN AN MCU MOVIE IM ILLLLLL

FIRING SQUAD, ELECTRIC CHAIR, THE GALLOWS!!!!!!!!!!!!!!!!! MULTIBILLION DOLLAR MOVIE AND THEY ONLY GOT HIM SYNTHETIC IM SO SICK!!!!!!!!!!!!

LOOK AT WHAT THEY TOOK FROM US!!!!!!!!!! SNIPPED LIKE A GODDAMN BARBIE , THE AURA!!!! IM SO MAD

i remember being SO excited when civil war came out bc the kind of political thriller feeling of winter soldier was so enrapturing!!!!! it captured me in a way the other MCU films lacked, so to see him stagnate like he has is just mortifying. especially visually. if they wanted to commit to the whole "hair holds memories"/buzz cut to visually separate himself from what he's done then DO IT!!!! dont linger at the threshold then go back to cash in on his old look but done BADLY. i almost wish he got killed off in civil war or shortly after because hes so clearly become a Plot Device instead of a Character and its so disappointing.

sorry for the super long un-art related post but oh my god this gets me so wound up, Bucky/WS was my first brainrot from back in my forum days (had an RP partner who based their character off him).

[rhaenyra-first-of-her-name]

This is kind of a long rant against HotD and not structured at all so you might want to avoid it if you like TG or Alicent. Or even Daemon, sorry, I don't like him much either.

I was always skeptical of HotD even before it started but I had never expected that it would be so much worse than the source material which is, mind it, a very pro greens, biased, misogynistic spiral by some dead maester.

I don't enjoy F&B as a book and the Dance wasn't remotely my favorite part of it. Like the whole Dance of Dragons reads like a misogynistic spiral sometimes but HotD just took a biased source and dialled it to a 100.

You would think they would try to do the opposite bcoz the source is acknowledged to be biased but nope, they just had to make it worst. The Greens get to be whitewashed, they can literally not commit to any actions (Alicent committed treason by mistake, Aemond murdered a child by mistake, like wtf? Wtf are these fucking uwu passive characters and writing. Fucking commit to treason if you are gonna do it. Who half asses treason? Book Greens would gobble up Show Greens for breakfast. The Lannisters would have a laugh.) The Blacks are villainized and all the Velaryons are sidelined (which is worst with the show changing their race intentionally and then doing this).

Like the Greens have no redeeming qualities, just the narrative framing them as the good guys on their sides and I always hate how the narrative is trying to shove it down my throat. I can't stand it.

Like I don't even like Daemon but the show is stripping all the depth from him. I seriously don't like him but it's like the show can't stand anyone on the TB to have anything good or significant.

They literally showed Aegon to be a rapist onscreen and want me to root for him? Wtf are they smoking? The amount of cognitive dissonance you need to like TG is too high. Ik the show doesn't expect much from its viewers but it's like they expect the viewer to be stupid.

Show Alicent is so passive, they make me prefer the book Alicent and I hate the Evil Stepmother trope. The show acts as if Rhaenyra wasn't supposed to be the Good Mother and Good Stepmother counterpart to Alicent.

And F&B and George isn't subtle about who won the Dance. It's the Blacks. Rhaenyra might have died but her fraction won the war, her sons and descendants sat on the throne. Daenerys is her direct descendant and she brought the dragons back from death (especially given that the Dance was the main reason for their downfall and even the Targaryens' powers thanks to TG).

TG has the same fate as all the usurpers in the series- Maegor, Larys Strong, Robert Baratheon - the end of their line. Alicent 's line all dies before her eyes. The current Higtowers have nothing to do with Alicent and her line, they're not even worthy of remembrance and mention in the main series so far. Margaery is a half Hightower and despite the Tyrells' obvious efforts to make her queen and have one of their own on the throne, no one remotely mentions the only Hightower Queen ever. Imagine how embarrassing is that. You know if Alicent was a decent queen in any right, it would have been mentioned by now, the Tyrells aren't one to not use every advantage they have given that their Bannerman have more royal blood than them, which was again mentioned in the series.

Anyway, Alicent 's line dying and going to oblivion for all purposes is their ultimate defeat. I can't stand the TG stand trying to make it anything else.

And yes Rhaenicent is just queerbaiting and terribly at that. As a queer woman, I don't want them as any sort of a representation. An evil step mother aged down for a pairing where she plots treason and murder for Nyra and her sons? No, God, Daemon is a better option than that and I can't believe they made me say it.

Also, Laena was right there if they wanted to have a sapphic pairing.

When I said I wanted more morally gray female characters, I didn't mean totally irredeemable ones. There is a fine line in what characters, or crimes, you can redeem, starting a civil war out of personal greed and misogyny is not one of them. And yes, TG are all misogyny even if Alicent plays the uwu victim of patriarchy all the time. And funny how she never does anything to help any woman, not even her daughter Helena; does nothing against the man who actually harmed her and actively wants to put her rapist son on the throne instead of the rightful heir but her stans act as they or she is some kind of feminist when Alicent is no woman's friend.

And canonically, which are the books btw, not the badly written fanfictions (I am so sorry, this is an insult to fanfiction tbh) of the producers: GoT and HotD, Nyra had her mother's sigil on her flag, not Aegon the Rapist+Usurper.

(Can't believe the show tried to make some kind of gotcha moment with Alicent in that green dress. Idk why the characters even stood up. They only do that for the ruling monarch, not the consort and Alicent literally did nothing to deserve that kind of reaction. She just wore a green dress so what? Once again, the show is giving TG credit for doing nothing.)

On the last notes:

Cole is an incel.

I can't believe people ship Aemond and Luke. The former is his murderer and a war criminal while Luke was just a child. Leave my baby boi alone.

Otto is a cunt. Idk why Alicent stans don't crucify the man who arranged her marriage (and the bane of her existence) more.

Daemon is somehow better than all the men in TG which is an accomplishment especially since I dislike his character.

Once again, Aegon is a drunkard rapist.

Helena deserves better than her family.

I never liked Jaehaerys I and this is all kinda his fault. For the best king ever, he singlehandedly roped his daughters and all the Targaryen women of all their rights. Rhaena I should really have been the queen.

Viserys I, you tried but you should have done better. Aemma would have been so disappointed.

[rallamajoop]

I have too many feelings about Deus Ex: Mankind Divided (2/3)

So we've covered gameplay and worldbuilding. The stuff on character has been deemed too long and will be split out into yet another post. For now, let's talk plot.

Plot

God, where do I even start with this mess?

Plotwise, I'd call Deus Ex: Human Revolution fine, but unremarkable. It had many problems and a notoriously weak ending, but it still delivered a decently-paced adventure with rising stakes and tension, and major reveals at appropriate intervals. The bar for video game writing at large is so low that I’d honestly rate it well above average [insert obligatory grumbling about The Witcher 3, RE4R etc here].

The scope for sequels to that story were always going to be somewhat hamstrung by that usual prequel-problem where we can’t actually beat the Illuminati, because we know they’re still around in the future. But there’s plenty that could have been done with Jensen’s story. In particular, HR’s DLC chapter has Jensen catching the interest of an anti-Illuminati hacktavist network called the Juggernaut Collective, led by the mysterious Janus (real identity unknown). Jensen’s backstory as a genetic test subject was presumably meant to be expanded upon in future too. And canon tells us that Jensen was declared legally dead after the Panchea incident at the end of the previous game, only to wake up in a facility in Alaska with no memory of how he survived. Surely that’s the perfect start point for the sequel – it even gives you the perfect excuse to reset all his augs again for gameplay reasons!

But MD does not take that perfect sequel idea. Instead, the ‘story’ of Jensen’s survival is relayed to us via Black Light, a tie-in novel that I read months ago and have so many conflicted feelings about. On the one hand the author, James Swallow, is refreshingly interested in so much aug-related worldbuilding that the games utterly ignore, and writes some genuinely great Jensen/Pritchard banter. On the other, the main ‘conflict’ of the book revolves around retrieving a smuggled shipment of leftover Sarif Industries cyborg parts, which is pretty lame even by the usual weak MacGuffin standards. With stakes like these, it's just very hard to care whether the heros succeed or fail.

Meanwhile, having set up the great mystery of the holes in Jensen's memory and how he really survived, the book delivers no answers whatsoever (and nor, I'm sorry to say, does Mankind Divided itself). Tasked also with setting up Jensen’s new double-life working for both the Juggernaut Collective and Interpol, well, the book tells us the collective comes to see Jensen and asks him to work for them, and Jensen thinks about it and then says ‘yes’. The story of how he came to work for Interpol is similarly underwhelming.

But perhaps worst of all is the title, which refers indirectly to the mysterious ‘Project Black Light’ – something which a villain significantly reads a report on in this one scene. We do not see the content of the report. ‘Project Black Light’ presumably has something to do with Jensen ‒ either the genetic experiment that created him or whatever created that hole in his memory ‒ but that’s literally all Deus Ex canon has ever told us about it. It’s embarrassing just how little meat this thing has on its bones.

Unfortunately, Mankind Divided itself would prove to be a lot like Black Light – just without the interesting worldbuilding or the good banter to spice it up.

The usual big complaint levied at this game is that it’s too short, and the story feels unfinished – presumably cut short by time and budget constraints. That first point surprised me, as I’m sure it took me as long to finish as HR did – but I’m a terrible completionist and MD does have roughly a gazillion different side quests to waste your time. As the player, I’ll do almost anything for EXP, but rationalising why a guy as busy as Jensen would waste time on this crap is dissonance city. All these distractions do nothing to keep you invested in the main plot either (which is hard enough to care about to begin with).

I’d also debate that the story feels unfinished. To me, it feels unstarted.

(Yes, that is a loading screen detailing the history of a construction firm. This is absolutely the level of excitement you can look forward to here.)

The story of MD is so uninvolving it’s an effort even to remember much of it. The augmented populace who survived the 'aug incident' are now the new world-wide pariahs, and there’s an upcoming UN vote that will ban them from living anywhere worthwhile, and some terrorists have bombed a train station for some allegedly-related reason. Jensen is sent to apprehend the leader of a pro-augmented rights group leader as a suspect, a staunch pacifist whose name I've forgotten. On the way in, though, he meets a man with a sinister accent called Viktor Marchenko, the mother of all big-ugly-heavies, so it will amaze you all to learn that this guy is secretly the real terrorist mastermind, and will later be the final boss. The Illuminati have stakes in this somehow, and are probably pulling his strings or something. Look, I’m all for stories about twisted political shenanigans, but some of that has to happen on screen to work. This is a story where you’ll hear about all that shit third hand if you’re lucky.

Possibly, the idea was to open MD on a similar note to HR, at least in that Jensen is some months into his new job when a terrorist attack leaves him and his augs back at Factory 0. He then spends most of the rest of the game trying to track down those responsible. The key difference is that in HR, the attack was a targeted assault on Jensen’s workplace, resulting in his robocop upgrades and the abduction of his ex-girlfriend. Yes, it’s cheesy, yes, it’s cliched, but it gives us personal stakes. And as the story chugged along, we’d learn that Jensen’s own DNA was behind the discoveries that led to Sarif Industries being targeted, used without his consent. Love it or hate it, it’s very much Jensen’s story.

MD, by comparison, is just a story which Jensen happens to be in. He’s only at ground 0 for MD’s terrorist attack by unlucky accident, and is barely injured. He investigates because he works for Interpol, so this shit is literally his day job. Stopping bad people from doing bad things shouldn't need justification, but in what way is this Jensen’s story? His contacts with the Juggernaut Collective help with the investigation, but the conflict between his day job and his own secret affiliations never comes to a head, or even really escalates. It's the kind of experience that makes you long for the sort of generic genre cliches you thought you were tired of.

Some token attempt is made to link Megan’s research on Jensen's DNA to a new poison being used by the terrorists – and two almost complete games in, Jensen’s personal superpowers have finally mattered by making him immune to that poison – but why on earth would they need a new poison at all? Any quick-acting poison would’ve done the same job. (A cynical answer is that the plague from the original Deus Ex was supposed to have been accidentally created during human augmentation experiments, and fans want this to be more like the original Deus Ex, right? So let's do that again! Just, you know, even worse.)

None of the other dangling plot points go anywhere either; this is a story devoid of exciting reveals. We never meet the real Janus. We learn nothing new about Jensen’s background, his amnesia, or the Illuminati’s plans for him. Various members of Interpol are either revealed or subtly hinted to be working for the Illuminati, but Jensen himself doesn't get to react to those reveals. We learn that the Illuminati hopes Jensen will uncover Janus' true identity for them, which is to say that they mention it in passing in the very final cutscene. I as the player would really like that to happen too, if only so something would happen, but as an explanation for the Illuminati's interest in Jensen (escaped research test subject with DNA apparently vital to augmentation technology) that's pretty freaking underwhelming. The grand 'villain' of Mankind Divided isn't the Illuminati but ordinary human prejudice, and no actual progress is made in defeating that either.

We do get some intriguing hints in optional side quests that the Jensen we’re playing as may be a clone of the Jensen from HR (heck, maybe the real Jensen really did die when Panchea sank, and the Illuminati decided they still had a use for him), but hints are as far as it goes. The whole universe feels like it’s treading water, desperately trying to squeeze out another installment without having to answer any real questions or advance the real plot one iota forward. The whole game feels like a filler episode.

There are good moments scattered through nonetheless. Having to decide between doing the urgent mission Interpol wants and the equally-urgent mission the Collective wants at one key moment is wonderfully tense (though the actual consequences of that choice are typically minor). Wandering around Interpol HQ talking to people who are busily trying to track down the Juggernaut Collective without a clue that Jensen's an actual Collective agent is effective too. But the pacing suffers badly from the huge number of side-quests it encourages you to waste time on, and the core cast really isn’t holding up their end.

A few side-quests actually deliver some of the game’s other best moments. There’s a cult leader living in the sewers with hypnotic powers somehow strong enough to scramble Jensen’s CASIE aug, producing a terrific sequence when some of our favourite tools suddenly turn against us. Elsewhere, Eliza’s side-quest features by far the single best moment of twisted, trust-no-one paranoia in this whole franchise, where you have the chance to spot the fact that an "ordinary" shopkeeper is actually a plant trying to bait Jensen into a trap. That reveal worked all the better for me because I missed it completely on my first run through that dialogue tree, and stumbled onto it only by accident after reloading a save for unrelated reasons. You’ll get the odd glimpse of what this game could have been with a stronger vision behind it, but such material remains few and far between.

And burying the best stuff in optional content does the game no favours. I’d been spoiled for the fact you can find what seems to be a cloned copy of Jensen’s body (or maybe even the real Jensen?) in the Versalife vault, and had naively assumed that meant it was an actual plot point. I'd never have guessed the body isn’t even visible unless you let off an EMP grenade while standing right on top of it (which you have no reason to do because there are no enemies in this room). There’s no way to get a really good look at it without using freecam mods. And so the biggest single clue to any of the mysteries still surrounding Jensen is a detail so minor I can’t help wonder whether it’s anything more than an asset leftover from cut content, shipped in the finished game by mistake.

Maybe this game really was finished in a hurry with half its intended plot incomplete. But for my money, what it really needed wasn't an extra year in development, it was the direction to tell an actual story from the start. Seriously, Jensen discovering that he died in Panchea, that he's a clone re-created by his worst enemies as a sleeper agent against his new allies? Gold. If that was even the real intent. But no-one wanted an entire game about a UN resolution to make cyborgs more oppressed ‒ and if they did, the game they delivered was not it.

A bad plot alone isn't necessarily a death-knell from my side of fandom, of course. Some of the most beloved franchises out there are pretty objectively a load of hot garbage with a few compelling characters at the fore. Some of my own most beloved series are that exactly. So I wish I could tell you that Deus Ex: Mankind Divided was at least saved by its stellar characters and cast. But my thoughts on that front have yet again been deemed too long to squeeze into this post.

[heart2beom]

Hellooo I’ve said this as an anon before but I absolutely love your writing! Unrelated, but I was wondering if you have any Beomgyu fic recommendations? I read everything I could in the long post containing fic recs on your previous 4beomy account and I loved every single one of them, but now I can’t find anything left so I’m just rereading my faves LOL Thank you! (And also, thank you for writing! Again, your fics make me so happy)

You’re sooo sweet, thank you for complimenting me not once but TWICE 😭😭?? In terms of recs, I honestly have no idea if I’ve read anything much lately so I had to quickly cruise through my likes both on here and my old blog 😭

I present to you the list of beomgyu fics I’ve decently enjoyed (hopefully no repeats from my other list):

-> Message in a Bottle by @delacyrose224

very cute stuff, best friends to lovers...everyone knows at this point, but i'll forever express my love for this basic ass trope (i literally have a full list of books for b2l. the best romance books come from this trope!!!). one thing i loved about this fic is the portrayal of beomgyu-- just a genuinely good guy. the way he was discreet about his jealousy instead of making a whole deal about it, like fuck i love a mature, healthy dynamic, its so freaking cute

-> Night In by @tqmies

a dark fic, but its so good. i especially liked the fantasy element/twist on a common trope. everything about this is well written but the ending will give you some heebie jeebies (cant believe i just used that) its some fucked up shit 😭 um but b2l beomgyu!! (shoot me in the head)

-> A Recipe for Love by @tinietaehyun

who doesnt love a good old b2l beomgyu roommate fluff!?!?! it's soooo freaking cute i swear i never giggled so much 😭 this writer in general is very good with words and imagery, it's incredibly vivid.

-> how could you not know? by @angelbythewindow

have you noticed the pattern? yeah, it's another b2l. i LOVED the use of flashbacks here and the cute usage of the childhood "beanpole" nickname like shut up do you want me to die? the emotions here were OVERPOWERING. i felt everything beomgyu felt, felt everything mc felt, it was just sosososososo well written.

-> Why We (Don't) Work by @cafeseoulmate

haha. definitely not another b2l!!! i never included this on my other blog's rec list (bcs i dont think it was out at the time) but it is my most recent reblog on 4beomy so i'm fairly sure you've seen it. but regardless, for anyone else who's looking for beomgyu fics, please please please READ THIS. i wouldn't say it's a plot sort of story, it builds off of a lot of flashbacks and whatnot, but that's what makes it so great. like you get a feel for their relationship, why both characters just wouldn't work out (hence the title) but then the more you read the more you're like...alright... YOU KNOW?? like fuck, i almost teared up by the end it was such a cute love confession. a must read for all the bamtoris.

-> slam dunk, lover boy by @qqtxt

just absolutely cute stuff. check out everything from this blog, just binge, you're guaranteed fluffy cuteness. nothing really happens between the two here, but its still really cute and ykw i wanted some change here, so this is a sprinkle of e2l beomgyu

-> Stood Up by @imaginidol

okay, it's angst, i'll be straight up. but idk it was an enjoyable read, even though a little sad at the end 😭

-> Moonflower by @sleeping-sirens

really sweet short stuff, i love beomgyu i swear

-> somniferous confessions by @gyu-xiao

i don't usually read bulleted fics (this is the only one i've read actually 😭) but this is worth the read. i genuinely squealed a few times, giggled like tons, it was so adorable i loved it.

-> be my date by @blossom-hwa

honestly a little bit of a blur, i read this ages ago, but it's good because blossom hwa wrote it like trust me.

-> i know i love you by @universecorp

tried really hard to not include smut but this is definitely a little more plot driven than it is smut, it's sweet. a little angsty but i love it. smut at the end is definitely skippale, just concluding it as the fact that they made love is cute enough too 😭

-> check yes, juliet by @fairyofthestar

-> Yours Truly by @boba-beom

so so freaking cute. we're back with the b2ls but who cares, we all know it fits him so well!!!

-> old friend by @hueningshaped

a little bit of a spin on the fake dating trope and i love it. exes pretending to be lovers? hello? i'm so happy the ending wasn't hard hitting 😭

Fics I'm looking forward to read:

-> The Case by @tinietaehyun

not beomgyu centered but idk i love everything this person has written so far so i'm going to tackle this series. give it a read, i'm sure this'll give someone a good mindfuck since it is a detective series 😭

-> Ashen by @writingmochi

i think i might read this tonight actually, but yeah definitely check this one out. i can sniff out a great writer when i see one!!!!

-> Newsflash! by @ijhyo

teaser has me hooked, like everything about the secret identity...yeah, will wait on it.

-> This Love by @delacyrose224

ive always thought a beomgyu and taehyun love triangle would be a recipe for a perfect fic like… it just makes so much sense because theyre so different in personalities and that clash is just a perfect storm for a love triangle. so i will be reading 🙏 plus, it’s decently long! does it get any better?

Hopefully I got you covered for a couple of days anon 😭 I'll go back to reblogging recommended fics again once I get my shit together at uni, too many good writers out here 💔

[checkoutmybookshelf]

It's Not A Fairy Tale Anymore

Ok, I will admit to two things: First, this book was leaps and bounds better than ACOTAR in terms of pacing. I was not bored and I wasn't begging the book to HAVE SOMETHING HAPPEN. Second, I think I hated the last six chapters. Like a lot. For some objective and some deeply subjective reasons. And bonus third admission: My reading buddy for this series and I officially have Stockholm syndrome from these books, so we're going on to ACOWAR. But that's getting a bit ahead of myself, so let's talk A Court of Mist and Fury.

Yeah, hi again. This is your SPOILER WARNING. I am going to SPOIL THE END of this book, as well as the beginning and the middle. Consider yourselves warned.

CONTENT WARNING: Some mention and brief discussion of sexual assault and consent.

Ok, so first and foremost: this book understood pacing and it understood plot and I thoroughly enjoyed like 98% of it. I also appreciated that we managed to expand the world a bit, because ACOTAR felt very, very small geographically and politically. Getting to see Velaris, the Summer Court, and getting a wider sense of the politics and intrigue went a long way toward making me feel like there were stakes and point to this book.

Another thing I absolutely adored was the Shadow Fam. I said that Rhys doesn't have found family, he has trauma pack bonds, and I stand by that assessment. That said, I really genuinely LIKED Az, Cass, Mor, and Amren. Yeah, they all have varying flavors of tragic backstory and trauma to facilitate the trauma pack bond, but after an entire book of just Feyre, Tamlin, and Rhys, I was desperate for more characters, and I will say that at the very least, I wasn't mixing up the Shadow Fam in my head. They had distinct personalities, and frankly I'd read the hell out of a novella that really digs into Mor's backstory in particular, mostly because SJM is developing a worrying habit of denoting bad characters by making them rapists (See: Amarantha, Ianthe, Mor's entire goddamn family, a worrying number of non-Shadow Fam Illyrians, etc.) and I want to see how complex this world's conception of consent is. Because Mor's entire situation was coerced, which means that the only non-fucky consent thing is her deciding NOT to sleep with Az. Because no matter what she told Cass, she was having sex with him in a situation where she very well might not have if she wasn't under the duress of a forced marriage. Literally she either didn't tell him anything and just went "Let's do the sex at each other" and he said "sure," or she went "hey, help me get out of this forced marriage by taking my virginity so other dude won't want me" (excuse me while I vomit at the pedestaling of virginity) and he said "sure." While knowing (I'm pretty sure) that Az has the world's biggest crush on Mor.

Literally nothing about this isn't messy AF, and I would a) like to see how we handle the consent stuff and b) eat this up with a SPOON.

But even in the here and now of the book, the whole Shadow Fam have individual relationships with Rhys and Feyre, and I thought that was decently well done. To be clear: its not Tolkien. It's nowhere near the same level. But for popular fun books, I have absolutely seen worse, and there was enough here for me to hang onto and enjoy. If they leaned a little into archetypes and stereotypes, well, it wasn't too egregious.

I think this is where I get to talk about Rhys a little bit too. So I have only read ACOTAR AND ACOMAF as of writing this, but I'm in a lot of book and fandom spaces, so I've heard everything from "Rhys is the embodiment of toxic masculinity and an anti-choice piece of shit" to "Rhys is the pinnacle of a male partner, can do no wrong, and I would let him rail me in a cabin on a mountain top." I'm not going to stand here and say that masculinity in these books is wholly unproblematic, but again: I have seen worse. My biggest problem with Rhys at this point, frankly, is that SJM keeps trying to have it both ways with him. But the "he's half mysterious, slightly evil Shadow daddy and half trauma puppy with a dreamers heart" was super not working for me, not even in a context where it maybe should have. Like, yeah, evil Shadow daddy as a role to protect Velaris makes sense, but then literally everything else we get is a cross between a traumatized dudebro with his buddies and trauma puppy making eyes at Feyre. The gap between the two sides of Rhysand just hit a point where my credulity stretched and broke. That's not to say I didn't enjoy both halves of Rhysand, but they didn't sit comfortably in one fae high lord lord me.

I just also want to briefly address the man pain, because after the Dresden Files, my patience for angsty man pain is THIN. I literally rolled my eyes and went "what the actual fuck" when Cassian provoked Rhys into beating on him for an hour after Feyre accepts the mate bond. Dumbass "if you can't fuck, fight" nonsense has never been my thing, and on principle I don't like it, but given that Feyre is alive and well and grabbing a snack with Mor, I can't argue too much. Battle Ground really set a new low bar for me, so I wasn't even grouchy about Rhys's POV man pain chapter right at the end of the book, because again, Feyre is alive and well and made a choice. I will allow it, but its getting some light side eye. Finally, the other major man pain scene is when Rhys is...I'm gonna call it groveling because I'm not feeling generous, but he's basically giving us a chapter-length recap of the previous book from his perspective. It's tearful, it's earnest, it's all kinds of angsty...And like...I was kinda not here for it. It was not the worst, your mileage may vary. I'm mostly just grateful it was one chapter and not an entire POV-swapped book.

I also want to just real quick tall about tokenism and some...potentially problematic things with the Illyrians. They have some savage warrior stereotypes attached to them that them being Fantasy Scots in the Fantasy UK makes sketchy, given the highland clearances and the generalized othering the England did to basically everyone. Then we get their cultural treatment of women, and the whole thing feels...deeply uncomfortable. I can't even make an oomaks joke about Illyrian wings (despite the fact that Illyrian wings have all the issue that Ferengi ears do multiplied by a factor of ten because THEY'RE WINGS) because I cannot banish the fact that they clip women's wings, which has some deeply uncomfortable resonance with female genital mutilation in the real world. Literally not even the Ferengi did that. And then we get Rhys, who is only half Illyrian, and the token "good" or "progressive" Illyrians, Az and Cass. They're trying to facilitate gender equality and banned wing clipping, but like...its made deeply clear that it's not working super well. So the general message is that of primitive, sexist Illyrians...except for the three good ones. And y'all...I kinda hate that. I'm not complaining that we have Rhys, Az, and Cass, but the Illyrians are deeply uncomfortable in a lot of ways that the version of me that did a PhD is screaming about.

And now we come to Rhys and Feyre. Rhys and Feyre, who spend 89% of this book flirting like dumbass teenagers before Feyre falls right back into the pattern she established with Tamlin where she decides she is going to give her literal all for a people, and I guess we just have to hope she has a partner who won't let her and then smother her to death. Because she is in the EXACT SAME POSITION, the only difference is Rhys. At this point, Feyre going all in is a feature, not a bug, which just makes her assertion that she belongs to herself first feel a wee bit hollow...

But I will say that Rhys and Feyre understanding that they can leverage their bond and Tamlin being just...the biggest dipshit in creation...to actually get an upper hand in this war, and I actually think that now that we've got the teen flirting out of the way, Feyre and Rhys might be a good team. I hope. Please God let them be a good team. I know we won't get Evey and Rick in The Mummy Returns, but I would take even a pale, bat-winged reflection of that relationship.

I guess we have finally arrived at Tamlin. I'm with Feyre that he's not good for her, but uh...the MASSIVE CHARACTER ASSASSINATION at the beginning of this book felt wildly gratuitous. Like, Feyre is wasting away. She's not emotionally ok. She isn't dealing with her trauma, and Tamlin isn't helping. WE GOT THAT. But that was only like, the first ten-odd chapters. So it was a speedrun character assassination, but I thought we were done at that point.

Holy shit, I was wrong.

So, there is a writing school of thought in which every villain needs to feel like they're the hero of their own story. I don't even think this is a bad tack to take. It can help motivate villains or make them sympathetic. And when Tamlin swaggers into the castle room in Hyburn after the king has captured Feyre and the Shadow Fam, you can bet your ass that he feels like he's the rescuing hero swooping in to save his true love from the shadowy douchecanoe who put a mind whammy on her to take her from him. (Which I actually think we might have Lucien to blame for that angle? Since he had to have reported back that Feyre fought him? But the timeline on that isn't clear, so IDK for sure.)

Unfortunately for Timtam, his ENTIRE PLAN makes him look too stupid to live. He KNEW what Amarantha was like. He KNEW that the King of Hyburn was a factor of ten worse than Amarantha. And he STILL made the deal to let Hyburn invade through his kingdom and somehow thought he would HAVE CONTROL OVER THE SITUATION???? And yes, I stand by this, because he keeps trying to tell the king to stop doing shit or do shit differently, and is ABSOLUTELY FLOORED when the king quite rightly laughs in his face. Talk about not thinking a plan through. Literally, I'm pretty sure Timtam was thinking, "I will win her back and be super heroic" and that thought eclipsed all other thoughts, his common sense, and his critical thinking. Which just take the character assassination of Tamlin and skyrockets it. I get that he's not the one, SJM. I got it six different dick moves ago.

Since we're talking about the last six chapters, I also want to just touch on the faeification of Elain and Nesta. Literally all I could think when they dunked our girls was one fantastic chapter title from the fantastic How to Read Literature Like a Professor: "If She Comes Up, It's Baptism." That metaphor doesn't really map perfectly over this situation, but it also isn't really a stretch. It also harkens back to the really old cauldron mythologies, which tracks for fae mythology. Mostly though, if Nesta doesn't murder the King of Hyburn after that foreshadowing (which had all the subtlety of a two-by-four to the skull), I will riot.

Hoo boy, this was a long one, but I think it's time to wrap it up. The TLDR is that this book was really fun as long as I wasn't thinking too hard about any of it. When I do think about it, I can shred it to little tiny peices, but honestly that stops being fun really fast, so I choose fun.

Also my reading buddy and I have Stockholm Syndrome with this series, so stay tuned for my eventual ACOWAR review!F

[wildshadowtamer]

it's fascinating being semi-aware of other fandoms that your not in, maybe through a mutual or someone you follow entering a new fandom, maybe just through pop-cultural osmosis. Becuase at a certain point you realise your mental concept of that fandom is wildly off from the actual thing.

like, for instance, i know the rough plot of mario, i think. if it has one. like, italian plumber brothers who may or may not be from new york have to go save the mushroom princess and stop the sort-of-tyrannical leader of a different group of mushrooms. the leader also has like 9 different kids, and ghosts and time travel have gotten involved at least once.

but, anything past that, i only know from the people i follow. of which is that luigi and bowser are gay, mario and peach have twin girls and are probably in a qpr, and that the mario movie was decent. oh and daisy exists but i have no clue what game she exists in or what her plot importance is.

and its so funny being an outsider in this way, because a mario fan could tell me literally anything about it and id have to just accept it because i dont know this shit. you could tell me hes the long lost son of bob the builder because an official book released in 1996 only in japan said so. like yeah sure man, ok. the fandom equivelant of "i'll incorpate that into my belief system"

[adarkrainbow]

Fairytale fantasy: The Wine of the Gods

... This is not actually this book's title. This is the title of the novel in French, "Le vin des dieux" - and thus the title under which I read it.

Its actual English title is "One for the Morning Glory", written by John Barnes and published in 1996:

This novel is... it is quite an unusual fantasy novel. I probably would have been better warned if I had known before that in French, before being released by Pocket Fantasy (above), it was published in a large format by "Rivages/Fantasy" (below), and the Rivages fantasy collection is known to publish these unusual, weird, bizarre or overlooked fantasy novels that form the "cult classics" of the genre:

If I am talking about this novel today, it is because it is sold as a "fairytale fantasy" - more precisely, this novel takes place in a fantasy world where fairytales are regular occurences, and the main characters themselves either try to live a fairytale, either end up in a fairytale by accident. With the main problem being that, while they are aware of fairytale tropes and cliches and structures and try to invoke and use them, they are actually not certain of which type of fairytale they are in, or what role they are supposed to play...

A very promising basis isn't it? Except that, if you are a fairytale fan, you will be... a tad bit disappointed. Because John Barnes' definition of a fairytale isn't the same as everybody. Despite the word "fairytale" being used again and again, there are actually none of the classics fairytales involve - no Grimm, no Perrault, no Andersen, none of the sort. You have some elements and vague reminiscence of some British and Russian fairytales, but no explicit references, and they do not form the bulk of the book, merely background details. What John Barnes actually means by "fairytale" in this book is a mix of European folklore and legends ; archetypal and cliche fantasy stories ; and "typical" mythology (Greek, Norse, etc...).

Mind you, the beginning and the ending of the book (the book is organized in four parts, I am speaking of the first and fourth ones) DO work as a "fairytale fantasy" by using structures, elements and a tone fitting the genre. But the second and third parts of the story do NOT read at all like fairytales, as they mix various inspirations from medieval legends to swashbuckling stories passing by Gothic novels. As a result, if you ask me, I would NOT call this "fairytale fantasy" - but given this book was sold as and apparently intended to be a "fairytale fantasy" I'll include it in this series of reviews.

The main plot: In this fantasy world, there is an exceptional and very rare wine that is only kept for the most important occasions, and that can only be found in the castles of kings and queens - the "wine of the god". This wine is typically forbidden when it comes to children, and an old saying goes that a child who drinks this wine will only be "half of their self". Nobody takes this warning in a literal way... until young prince Amatus drinks the wine of the gods and half of his body disappears, leaving him cut-in-half but still very alive and functionning. The king quickly punishes with death the four person deemed responsible for this accident: the king's alchemist, the witch of the court, the head of the army and the prince's nurse. But one year and one day later, four mysterious strangers arrive at the court to replace the four deceased. Four strange companions (whose actual past will never be explained throughout the novel) that shape and model the prince and help him through his various adventures as he fights goblins, mysterious diseases, shadow-soldiers and wicked usurpers, while making alliances with bandits, disguised princesses and riddling-beasts...

Is it a good fantasy novel? If you ask me... it is decent and enjoyable, but it is not my favorite and I would never call it "great" or "excellent". Is it a bad novel, though? No. It is unbalanced, a bit dragging, a bit rough, but not "bad". It is more of a middle-ground. It is original and has enough effort to stand out on its own and deserve a mention... but it doesn't shine at all and kind of falls short. "Unbalanced" truly is the word because the tone is all over the place, as we keep switching between humor and tragedy, parody and seriousness, the same way we switch between the tones (fairytale, fantasy story, gothic horror, dreary political intrigue...).

Which is sad because it has a very promising basis, interesting characters, an efficient plot... But most of your expectations are not met, sometimes for good (efficient subversion) sometimes for bad (it feels like the author forgot to finish a plot, or was in a rush to complete the novel). You are presented a world running on the logic of folktales and fairytales... and the author doesn't do anything with it beyond vague plot-excuses. Some key characters are introduced in the breath of one or two lines in the middle of the plot ; the mysterious part of the four companions who are an integral part of the story is ever explained ; in fact the great mystery hinted at throughout the entire story is never revealed... Some of the anti-climactic nature of the book is perfect, such as the demise/last battle against the big bad in the end, which serves as a great subversion to fantasy villains AND an homage to traditional fairytales... But the rest feels not so much anti-climactic as just "The author was lazy and so stopped there".

So overall: promising, imaginative, with some very memorable and fascinating moments ; but clearly needed more work, feels unfinished, and isn't very "fairytale" like despite its premise - but that could be the summary of this book "Makes a lot of promises it ultimately doesn't hold up to the end".

EDIT: After some thinking, I believe there was an attempt in this book at emulating the style of for example Lord Dunsany's more "fairytale like" fantasies, such as "The King of Elfland's Daughter"... But I still think there is something missing or unbalanced within this book.

[goblins-riddles-or-frocks]

I hate SJM and the Rhysand writing but Feyre was pretty decent overall. What were the very dumb incidents?

Basically she makes a lot of poor choices that I might forgive in isolation for plot convenience, but they compound on each other. A lot of it is just bad character writing, her motivations often don’t line up with her actions or feel particularly grounded in anything, so it ends up reading like she’s just dumb.

The very premise of the first book hinges on her recognizing the wolf she kills in the beginning as fae (and even being warned about it beforehand!) but doing it anyway and thinking there will be no consequences. This is the main one I could roll with but my girl literally never thinks of consequences.

The driving conflict of the first book, until the Under the Mountain one woman Hunger Games segment, is basically just trying to come up with the most lukewarm reasons for her to escape Tamlin’s court possible— but without skirting into anything that would demand real emotional urgency bc… that would actually be interesting and keep some tension going, and we hate good pacing in this series.

Feyre has a deepseated need to take care of her shitty family, not out of any actual emotional attachment, but because of a promise she made to her dead mother— who she doesn’t seem to care about very much at all??? She’s technically fulfilling this promise by sticking around the fairytale castle, because it’s been well established that as long as she stays Tamlin will ensure they’re cared for. But she… has to go watch over them herself, I guess?

Her wanting to a) escape captivity and b) be allowed to see her damn family is very understandable! I would not begrudge her this! However the book really goes out of its way to make it absolutely clear she doesn’t feel any particular attachment to her cruel family— and it actually draws a connection between the fae belittling her and how Nesta treats her. It seems like she would be happy never to see them again, if not for the promise that… is already being fulfilled? Meanwhile, the fact that she is, in fact, a fucking prisoner is just not really given much weight. Past the initial scene where this is laid out she has no real, emotional qualms with captivity, to the point where that itself feels like a bizarre naivety. So… what is driving her? Unclear!

However she’ll just keep trying to run away, recklessly, and never with any real planning, but also not in a panic. Meanwhile, she gets warned multiple times to be careful of dangerous fae on the grounds but keeps walking into trouble anyway. There’s the entire fucking Calanmai sequence where she’s warned multiple times that going out would be particularly dangerous for her… and then she does it anyway. twice lmao. The second time is even more egregious because she already got caught once and had to be rescued!! But no, she needs to casually wander the halls, so sex pollen-ed Tamlin can pin her up against a wall and we can get a weird charged scene between them.

I do really want to stress that my problem isn’t that she didn’t like sit down and shut up and do everything the male characters told her to do. But she’s never doing anything to a fucking purpose or even from a set of consistent values or emotional state. She just does whatever!

I’ll give her a free pass for most of the rest of the first book, but things only get fucking worse from ACOMAF on. SJM’s idea of character growth seems to be rash decision making with no thought behind it. Feyre’s often stubborn for like… no reason? 70% of that entire fucking book is “I hate Rhysand but I like Rhysand. I wonder why he’s being nice to me 🤔🤔” Like can you please rub two brain cells together and come to a goddamn conclusion!

(Meanwhile he is not nice to her! He’s actively being awful but I guess he invented feminism! But that’s just insane SJM bias so I won’t put that at Feyre’s feet lol)

Also every single politicking scene with her made me viscerally cringe because the choices were all so dumb. That bit where they’re trying to win over all the High Lords to band together against Hybern or whatever his name was, and she decides to go completely off script and iirc undermine their original talking points? And it’s like go girl give us nothing! Woo girlboss moment!

I think I reread the first book back in 2019? But I haven’t reread any of the others literally since ACOWAR came out, so my memory is admittedly fuzzy. But I remember finding her endlessly frustrating as a protagonist. A lot of it was just writer limitation but it does end up reflecting on her too.

I still laugh remembering the ACOMAF cliffhanger, as if she’s going to go in and do so much spying but her idea of sowing discord in Tamlin’s court is… mildly negging Ianthe? Please 😭😭😭

[danjaley]

Jo's school, the war, those Germans and how to write a good character purely by accident.

A literary essay that came to my mind yesterday, through the conversation with @nocturnalazure

Originally I wanted to include this in the favourite characters tag, but it required so much background information: It's easy to find good characters in well-written books. One of my favourite characters in a badly written book is Frieda Mensch from the Chalet school series (the blonde girl, in the back on both images)

I discovered the Chalet School series at a jumble sale a few years ago, and I enjoy reading it because I like to imagine what could have been done with some good plotting skills. Also it's full of motifs that only made sense in the mid 20th century (the chain-smoking lung specialist) and the German spoken by the characters is simply hilarious. (Onkel Reise - a very tall man.)

Interestingly, the series is heavily inspired by Little Women and its sequels, especially Jo's school. It's about the English sisters Josephine (Joey) and Madge (not Meg!) Bettany who set up an international school in Austria around 1930. There's also an unrelated little Amy around.

Frieda Mensch is an Austrian girl who goes to that school and becomes a friend of Joey's. So far that's nothing special, the series is literally about Joey being everyone's supportive friend. In volume two the sisters spend Christmas with Frieda's family in Innsbruck, which makes her stand out a little. Then, because her first name means "peace" and her surname means "human", the author assigned her the role of the peacemaker in her class. She's portrayed as a serious, law-abiding girl, but of course schoolgirls must also be good sports and know when to break the rules. Even if it's possibly an accidental contradiction, this gives her an implicit conflict. Gradually she becomes the main loyal friend who supports Joey if needs be (like on nightly ice-skating-rescue-missions ^).

When the girls in the books are around 19 and just left school, in real life the annexation of Austria by Nazi Germany hit. By the time the school could be fictionally evacuated, war had begun too. Suddenly this Austrian girl whose name means "peace" and "human" becomes hugely symbolic. Frieda has to flee to England, one of her friends' father is tortured to death, her fiancée is also shortly imprisoned and suddenly she's a girl with a fate. She also helps Joey, who is married by then and has recently given birth, to cross the Channel. At the end of that volume Frieda gives a speech to what's left of the school, about peace and acting humanely despite political conflicts. Wars change many lives and reveal unknown strength in some people - sometimes this is even true for fictional characters.

(If I were set the task to write a novel in which an international school defies the Nazis, my first thought would be that they might have some Jewish students they must protect. Interestingly, this thought never crossed the author's mind. The Nazis turn their full force on this English school because the girls privately vowed to always keep up their girl guide ideals, even the Germans and Austrians from whom they're about to be separated. While violence against Jews is mentioned in the story, it shows how little the threat to them was taken seriously abroad. It also shows the hope that the decent-minded Germans might get the upper hand again after a while. It's strongly biased in its own way, but it's a perspective one doesn't find in books that were written with the whole history in mind. That's why I enjoy historic fiction so much.)

If I ever get so far with the McCarrics, I'm going to steal a lot from Highland Twins go to Chalet School. In fact I've already named Shiena after a character from that book.