#just used as a comparison for the main love interests

[clonerightsagenda]

How's Uglies holding up to modern rereading for you? I loved it as a kid, but nowadays I see it as an early entry in the YA dystopia boom that other books took formula notes from and refined down the line, making it feel a fair bit clumsier by comparison. Very fond memories, though, and I appreciate seeing the toxic yuri on my dash now that I'm old enough to appreciate it, lol.

It's holding up pretty well for me! I'll be honest - while I read The Hunger Games and Unwind, I never read Divergent or The Maze Runner, so I'm not entirely versed in the YA dystopia boom. I'm aware of the cultural construction of it though - world's specialest teen girl is the only one who can topple the government and lead a revolution. I'm not even sure how many of the actual series align with that stereotype (imo The Hunger Games is deliberately interrogating it) but anyway, some thoughts re: Uglies' position vis a vis dystopia stereotypes and just in general:

The love triangle is annoying, no arguments there, but it also ends more messily than I think the stereotype typically conveys. She 'chooses' one of them and then he dies as a direct result of her behavior, and she's not with-with the other at the end of the main series (and in the sequel series they've gone their separate ways).

Also, Tally is frequently a pretty unlikable person, which is a bold choice! She is not motivated by any pure intentions at the beginning - she's betraying a friend for her own gain - and throughout the series we see her wrecking that friendship over and over because, as Shay accuses her, she thinks she's the center of the universe. Shay hits every big milestone before Tally - Smoky, Pretty, Special - and it almost feels like prodding the limits of a close third POV, reminding us that there's isn't one single world's specialist teen girl. In the stereotypical version, Shay would be the scrappy rebel hero. Tally always needs pushes, and she's always screwing it up.

While it's obviously written for younger readers, the writing is effective. Like I said, Scott challenges himself to write the same POV three times with different levels of brain damage and pulls it off. He integrates made up slang in a way that doesn't feel too distracting (I really enjoy the way the princess sections in Pretties are written). In classic Scott fashion he brings back key ideas and phrases to hit you hard when it counts (informed consent, a special circumstance), and of course the whole final word of each book forming a circle is a fun little bonus. I'm glad this was written before the modern codifying of YA when it would be in first person.

The moral is obvious yeah but it's MG/YA and also props to Scott for predicting influencers in Extras. You also get the protagonist semi-aligning themselves with the antagonists' ideology at the end which is interesting, even if it again fits into a Western environmentalist assumption that humans can't live in peace with nature.

And finally, despite not being sporty at all, I still want a hoverboard.

[eerna]

On this Bridgeton discussion, can I say I find Eloise kinda sexist? She’s always the first to spout about the condition of women to anyone who will listen… but then literally shit on other women (in the same breath) for talking about embroidery (which is just example tbh).

I know that her main critique here is that women were only conditioned to love these things bc it represents their ‘propriety,’ but if it’s mostly practiced by women and if she’s just insinuating they’re dull and dumb for liking it, I find that she doesn’t really care about them.

On this note, I also have a problem with the show’s portrayal of other women bc they’re always dumbed down and she’s made to seem smarter.

Yeah, she is sexist in a Not Like Other Girls stereotype way :((( I always compare her to Felicity Montague from The Montague Siblings, because Felicity is everything Eloise is supposed to be but isn't due to the gender essentialism and sexism of Bridgerton. Felicity is an 18th century asexual noblewoman dreaming of becoming a doctor, but her family and society at large is forcing her into the role of a wife. Her story covers her fight for education and against societal expectations, but it also addresses her privilege and internalized misogyny and even shades of queerness! In comparison, Eloise's character doesn't have direction. She isn't here to show us an alternate way to live life aside from being a wife, because she will get married. She isn't here to revolutionize women's rights, because the premise of the show hinges on the oppression of women. She isn't educating herself, she isn't striving to change her situation, but that is just because her real journey will begin with her love interest. Ugh. Uuughhhhhh.

[wanderingpages]

Is there a way to describe cardans love for sophie and his love for jude? Because I’m like confused did he love sophie or just rlly care for her and his complicated feelings towards jude that he doesn’t even get himself (or doesn’t want to bestie is in denial LMAO)

In dark au (I’m reading the older version rn)

In both versions Cardan loved Sophie but wasn’t honest with her and in both versions he’s extremely confused about what he feels towards Jude. But in my head his level of obsession/possession with Jude would not exist if Sophie hadn’t died. Idk he kinda just snapped and his personality became extreme where it counts.

Sophie is like what Cardan strived for, some pure love outside of all the evilness meanwhile Jude is at the center of everything and her forced proximity to him has him questioning what he really wants since Sophie’s death. He kinda just shut down and let the chips fall where they may until he’s forced to protect this random girl who seems to be far more connected to him than he anticipated. 😅 sorry for my character study lol

[autistic-katara]

scrolling the open atla tag nd stumbling across the weird takes i was not subjected to when scrolling only the zukka tag

[phantasmicfish]

So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Him aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’d be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to the way her book counterpart was not. The movie Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise

[anneapocalypse]

On Wuk Lamat, and Female Characters in FFXIV

The Thing with Wuk Lamat is you can tell me you think she had too much screentime; you can give me numbers on how many lines she had or how many scenes she's in relative to other characters or other expacs; you can prove to me "objectively" that she gets more focus than other main NPCs; you're simply not going to convince me that this is something I should be unhappy about. And not just because it's silly to think you can use numbers to prove a story is good or bad and make someone else go, "Wow, you're right, let me just throw away all the joy I experienced with this story and revise my opinion because you've scientifically proven to me that I'm wrong."

Because while I love Final Fantasy XIV and I have greatly enjoyed its story in so many ways, fundamentally one of my biggest beefs with this game has been how much female characters have been denied complex character arcs and growth and agency and interiority.

Minfilia gets treated as a sacrificial vessel who lives for everyone but herself and doesn't even get to have feelings about her own death because that entire arc is focused on a male character's angst about it instead. The game tells us in the Heavensward patches that Krile sees Minfilia as her best friend and then just forgets about that later and never follows up on what that loss must have meant to her. Ysayle is basically right about most of what she's fighting for but harboring a bit of self-delusion is apparently such a terrible sin that she has to pay for it with her life, while her male foil is deemed so worthy of salvation that there's a whole plot point about how important it is that we risk our lives and others' lives to save him. Y'shtola is a major character who's been around since the beginning, and the game keeps dropping maddeningly interesting things about her (apprenticed to a cranky old witch in a cave! saved her own life and the lives of her friends with an illegal and dangerous spell and it worked! reserved and undemonstrative yet regularly through her actions reveals herself to be deeply caring! disabled!) and then shows complete disinterest in following up on any of those things with the kind of depth and care shown to male characters with complex arcs like Urianger.

In general there is also a repeated thread of female characters being portrayed as weak or overly emotional: Minfilia is weak because she doesn't fight and needs to be eaten by a god in order to gain "a strength long sought." Krile is portrayed as not being able to pull her weight with the Scions (despite the fact that she actively keeps five of them from dying in Shadowbringers) and the only thing they could think of for her to do in Endwalker was be yet another vessel for Hydaelyn (hmm, that sounds familiar) and it's not until Dawntrail that she gets much actual character development in the main story and even that has to come alongside "Look, she can fight now so that means she's useful." (And I love Picto!Krile, I'm just saying, there's a pattern.) Alisaie, despite having very good reasons for needing to find her own path apart from her brother, is portrayed as having to prove herself when she returns, that she's "not the girl she once was," and "will not be a burden" (while Alphinaud is repeatedly given the benefit of the doubt and reassurance and affirmation from other characters even after he takes on responsibilities he isn't ready for and fucks up big time).

And if you follow me you know I adore Urianger, and I love Alphinaud and Thancred and Estinien too, so please don't misunderstand what I'm saying here! I'm not knocking those characters, or saying we shouldn't also love them. I just use them as a comparison to demonstrate how the female characters have been neglected.

Lyse has some of the stronger character development among the female Scions, and while she's still kind of portrayed as being too emotional and hotheaded in early Stormblood, I think it's actually explored in more depth in a way that I like; Lyse has good reasons for wanting to fight for her nation's freedom, but having been away from Ala Mhigo for several years now, she needs to understand the stakes for the people who've been there fighting for years, what they've lost and still have to lose. She grows as a person and rises to the challenge of leadership, and I'm even okay with the fact that she leaves the Scions afterward because it feels right for her to stay in Ala Mhigo, and at least she doesn't die.

And by all accounts she was, like Wuk Lamat, widely hated when her expansion came out.

Unironically I think the other female Scion with the strongest character arc is Tataru. She tries to take up a combat job, finds that it's not for her, and decides to focus on where her strengths are instead. In doing so, she both holds the Scions together as an organization in the absence of a leader by capably managing their finances, and also comes into her own as a businesswoman and makes international connections that benefit both the Scions and her personally. In contrast to Minfilia, she's not portrayed as weak because she doesn't fight, and is actually allowed to be an important character who's good for more than being sacrificed. Tataru is still distinctly in a supporting role for the player character, however, and her character arc happens as a side story that takes up a relatively small amount of screentime over several expansions, which I think is probably why she doesn't evoke such a negative reaction.

But there is a pattern of the game's writing showing disinterest in the interior lives of female characters generally, and in making their growth the focus of a story.

So yeah, I'm going to be happy about Wuk Lamat! I'm going to enjoy and celebrate every moment of her character arc, of her personal growth, of watching her put the lessons she's learned into action. I'm going to love and treasure every moment when she gets to be silly, embarrassing, emotional, scared, grieving, confused, upset, seasick, impulsive, and still deemed worthy of growing into a hero and a leader. I will love her with all of my soul and you simply will not convince me that it wasn't worth the screentime after such a profound imbalance for basically the entirety of the game. We've never had a major female character get such a strong arc with this much love and attention put into it and that means more to me than I can truly say. The backlash to it is disheartening, as this kind of thing always is, but I'm not going to let it ruin the wonderful experience I had playing it and how much joy it continues to bring me.

And for those of you who don't want any of that for a female character, thank goodness you have Heavensward and Shadowbringers and Endwalker and no one can take those away from you.

(And if you follow me you know that I love Shadowbringers and Endwalker and have very fond memories of Heavensward despite some issues with it, so not only can I not take that from you, I am not trying to!)

Some of us have been real hungry for a character like this with an arc like this, so, I think, y'know, maybe we can have that. As a treat.

[velnna]

Hey Maf, love your art!! I was wondering if you had any tips to making super long, straight hair like Mialek's visually interesting? I've been trying to figure something out without making the overall shape feel too wavy

My main tips for any kind of hair are to treat it like an object, with weight/density, different parts and an overall shape/silhouette. For certain types of curly/wavy hair, I imagine it working like a set of deformed springs, for instance

Or this type of mop for lighter straight hair with volume/less weight at the tips

For a hair like Mialek's, it's almost like I'm dealing with a dense liquid? Silky and even and heavier at the tips, so the middle section gets stretched out like it's pouring from his head

Of course this isn't a direct comparison and I don't actually use these examples as references, but the bottom line is to just treat hair as a material and think about how physics might affect it. Then play with it

[paper-mario-wiki]

Shangri-La Frontier mid-season review

This is by far the best fake video game I've ever seen written in fiction.

Most MMO-centric isekai stories have trouble with providing accurate and realistic depictions of the complexities and minutia that give MMOs the allure they have. I've seen so much handwavey bullshit tacked onto fake-games that introduce unrealistically overlooked mechanics for reasons like giving the protag immense power just because they're the protag and the story is about them. A good example of this is another MMO Isekai airing this season, "A Playthrough of a Certain Dude's VRMMO Life", wherein the main character becomes extremely rich, powerful, and famous by episode 2 because he stumbled into a stealth archer playstyle, a build which apparently no human in that universe had ever conceived of before, and then making a fortune by selling basic potions to everyone after NPCs stopped selling them (another thing he was uniquely able to do because not a single other player had the forethought to spec into alchemy). These lesser, dime-a-dozen isekai add up to be boring fantasy strories with gaming elements clumsily put in so that the author can demonstrate how powerful the world's inhabitants are by showing their stat allocation screen instead of, say, explaining anything about what they do that's so uniquely powerful and how they figured it out. Ya know, stuff you'd hope to hear about from any competent story.

Shangri-La Frontier is a breath of fresh air for anyone who, like me, is sick of authors ignoring the things that actually make video games compelling in service of creating a stock-standard narratives in fantasy worlds because it allows them to get away with bullshit. I've always found it very convenient that many isekai narratives indulge in things like chattel slavery, because it's societally normal enough for the protag to purchase a beautiful, vulnerable girl to add to his harem (dont worry, she is always inexplicably in love with him no matter what because he's SUCH a kind master). And it never really seems to go anywhere. Because the Video Game Isekai, while an interesting premise in theory, is more often than not used exclusively as a means to simplify the structure of a world's power scaling to abide by an arbitrary set of omnipresent universal rules (e.g. what people who have never cared to look into game development think of video games). This anime, by comparison, is VERY clearly authored by someone who plays a LOT of games.

Every piece of logic used to drive the plot forward, so far, is congruent to a real-world example of video game conventions, and I'm not just talking about levelling up and selling monster parts. Story elements that I've rarely (if ever) seen explored in other isekai are ever-present and genuinely clever and amusingly introduced. My favorite example of this so far has been the way the protagonist has been able to go head to head with so many overlevelled foes in the first 9 episodes. The story of course makes note of how good of a gamer Sanraku (our hero) is, but much like in real life games, being super duper good at dodging attacks doesn't really make up for a 70 level gap in items and learned skills. For that reason, he gets his ass whooped more often than he actually outsmarts others (so far he hasn't beaten a single player in pvp). So how is he getting out of these situations without dying so frequently? Simple: he got access to a later area too early relative to his level (sequence break) and got access to a high level follower NPC that's been carrying him. This is something he acknowledges directly several times, specifically using words like "Emul has been hard-carrying me for a while." This, to me, is extraordinarily meaningful. That's something you can exploit in Skyrim, man. That's REALISTIC CHEESE STRATS. The excitement and wonder I find in this show doesn't come from watching the protag do something unexpected, but by watching him do something that I would think to do.

This knowledge the author has demonstrated regarding modern gaming culture extends further into the actual realistic nature of game design and community. The story exists in a reality where full-dive VRMMOs are the be-all-end-all of gaming, and given the prohibitively expensive nature of developing and designing expansive, immersive worlds, most games are pretty shit. It's been hinted at so far that this is due to a monopolistic megacorp which is one of the only entities rich and powerful enough to make a good game (the game in question being the one that shares the title of the anime), but so far the strife of the characters have been pretty centralized to the happenings of the game world and its politics. By the way, lets talk about the game world's player base politics, which I'm also quite pleased with. It exists in the form of guilds and clans who struggle for power not by participating in seemingly random pvp with other powerful players to see who is the most epic and badass warrior (again, like many contemporary isekai typically opt for), but by gaining actual realistic support from a fictional playerbase with realistic desires and playstyles. Some guilds are interested in lore, some gather for alliance and boss raids, some for things like animal husbandry, and (naturally) at least one is dedicated to trolling and PKing. Each of these factions, through the very little that we've seen of them so far, communicate on forums and only know as much as is reasonable for them to know. The only reason they give a shit about the protagonist at all is because he gained access to a high-level unique scenario quest that they want information on how to access, and the only reason word of that got out in the first place was because someone posted a screenshot of him with a unique NPC onto a forum, asking about it as "where can i find this pet summon, its super cute!" That's real. That's video games, baby.

I like this show a lot so far. I like that it cares about video games, but I also like its writing. I like the main character and how hes less of an ultra badass super cool guy, and more of an earnest challenge-run lets player. Like, a lot of his dialogue straight up sounds strikingly similar to Japanese youtubers. And he's naturally always quick to point out inconsistencies in the game world's logic. I ALSO really like his community of pals from a janky old fighting game, and I ADORE the girl from his school who has a crush on him and also just so happens to be an exceptionally high level player from a top clan, and how she had to spend 9 episodes working up the courage to send him a friend request. I love that so, so much, dude.

I highly recommend this show if you're into a single thing I've mentioned. The animation is great. The world is beautiful. The character design is immaculate. And I'm looking forward to watching it continue.

[fake-married-my-dead-fiance]

I started watching Kdramas this year and I do a lot of literature analysis in my normal life, so I found it really fun to find the tropes that were unique to this genre/culture that were different than what I find in Hollywood TV/movies and novels. I started with Alchemy of Souls and I was kind of amused looking back, because I never thought the SML had a chance with the FL but if I had known how strong the "they met as children and therefore DESTINY" trope is, I probably would have thought they would get together for sure!

Here are some of the unique tropes I've noticed:

-Leads meet as children and therefore DESTINY (What's Wrong with Secretary Kim, 100 Days My Prince, It's Okay to Not be Okay, Castaway Diva, The King's Affection, Sh**ting Stars, Destined with You, subverted in Alchemy of Souls)

-Reincarnation, which happens a ton but of course for the same reason Western media is littered with Chosen One/Saviour plots (played with in Alchemy of Souls and Extraordinary You, straight in Destined with You, Tale of the Nine Tailed, Moon in the Day, My Demon, The Story of Park's Marriage Contract... so many)

-Guy (usually) buys the girl shoes and then puts them on her. They also usually make a joke about her running away. (Tale of the Nine Tailed, 100 Days My Prince, Extraordinary You, Castaway Diva, King the Land, subverted in The King's Affection and The Forbidden Marriage)

-Guy (usually) gives/brings the girl an umbrella to protect her from the rain. I LOVE THIS TROPE, symbolism for protection and shelter gets me (straight in My Lovely Liar, King the Land, Tale of the Nine Tailed, Extraordinary Attorney Woo, subverted/played with in Alchemy of Souls, Business Proposal, Doom at Your Service, Castaway Diva)

-Not sure if this would count as a trope, but unique to the genre because we don't have formal speech in English and especially not in Canada where I live (we've basically started just going first name with everyone) I love it so much when the main characters use informal terms with each other for the first time. The subtitles don't always translate this well, but I know what the honorifics sound like and I'm all, "She didn't use "Mr." that time it's serious now!!!"

Anyway, are there more? I'm probably not catching them all!

Edit: Definitely some sort of trope around characters finding wild ginseng to solve a problem.

(I've only been watching Korean dramas by the way, I'm sure some of these tropes are shared by other dramas from China and Thailand. I just found the comparison with English language TV interesting.)

[thatwritergirlsblog]

10 worst ways to start a book

1. An irrelevant point of view

It's extremely frustrating as a reader to read the opening scene of a novel, get invested in the story and start rooting for the POV character, only to have that character never show up again or show up as an unimportant character.

Your readers will feel betrayed. Why did they get emotionally invested in this character? Why did they care?

One of the most important functions of your first scene or chapter is introducing your main character and getting the reader to root for them.

Don’t waste that crucial moment on an unimportant POV.

2. Too many characters

Starting to read a new book is usually a bit confusing. You have to get to know new characters, a new world, a new writing style etc.

Don’t add to that confusion by introducing two dozen characters in the opening scene. Readers won’t remember their names or care about them; they’ll just feel overwhelmed and confused.

Additionally, readers will also struggle to root for the main character, because there are too many other people crowding the scene.

3. Telling

My name is Lisa. I’m a short, feisty brunette who loves horse riding. I have two best friends called Anna and Daniel, and we carpool to college every day. I have a crush on Josh, one of my tutors, but he’s twenty-seven and isn’t interested in me.

Telling is boring. It has its place, but the start of your novel is not it. The above paragraph could have been an interesting scene in which you showed the reader all the information via action and dialogue.

Unless you’re using subversion to surprise the reader, e.g., My name is Lisa and I’m a class-three demon, don’t start with telling. 

Immerse the reader in the story through action, dialogue and the senses. Show us who the main character is, don’t just tell us.

4. Description

Please don’t start your book with a page-long description of the setting. In fact, I would recommend not starting with description at all. 

Yes, a few lines of description later in the opening scene is fine. But the reader needs to care first. 

No matter how beautiful your writing is, readers won’t be sucked in by a five-paragraph description of a field.

5. Worldbuilding info dump

Please don’t start your book with an explanation of your world’s climate, politics, history, magic system etc. 

Once again, the reader needs to care first. 

There needs to be action and conflict and a compelling plot. The world exists as a backdrop for the story and the characters – it’s not the protagonist and it shouldn’t take up the opening scene.

6. The dream sequence

The main reason that this is a bad way to start your book is that it’s been done way too many times.

But that’s not the only reason.

It also feels like a betrayal to the reader, because they got invested in the story and the character and the events, and then you tell them it was never real.

And oftentimes the storyline and world of the dream is much more interesting than the actual story, which makes the latter look very boring in comparison.

7. Looking in a mirror

Once again, it’s just been done too much: A character looking in a mirror and describing their physical appearance to the reader. 

Firstly, no one describes their appearance in detail when they look in the mirror.

Secondly, the reader doesn’t even know who this person is. We don’t know if we’re interested in the character yet. We don’t know why we should care. So, we don’t want a detailed description of the character’s appearance right off the bat.

Show us interesting aspects of your main character’s personality, hobbies and life. Weave in physical description as it becomes relevant. It’s not important enough for the very first paragraph.

8. Starting way too early

Yes, most books don’t start with the inciting incident (although I recommend that they do), but the start of your book shouldn’t be too far away from your inciting incident.

So, don’t start with a long scene describing the main character’s everyday life. The readers want the thing to happen.

Providing context and introducing the main character is fine, but don’t leave the reader hanging for too long before you get to the good stuff.

9. Trying too hard

“Your first line has to be amazing and hook the reader. It needs to be something no one has ever read before.”

I bet you’ve heard that piece of advice hundreds of times. It’s not bad advice, but taken to the extreme, it creates an opening that is disjointed, conflated and confusing.

Your first scene should introduce your character, story and voice. So, don’t write a single line of profound purple prose that has very little to do with your actual story as a first line.

Focus on writing a good story. Introduce the reader to the book and make the main character intriguing. You don’t need a mind-blowing first line.

10. The lesson

Most books have a theme or something the author wants to say. Oftentimes, that takes the form of a life lesson.

This is good, but the lesson needs to be subtly woven into the story.

It should not be forced down the reader’s throat in the very first scene.

Don’t tell me what I’m going to learn, show me the lesson through the story.

If you’d like to read a Fantasy Adventure novel that does not have any of these opening mistakes, check out my debut To Wear A Crown.

Reblog if you found this post useful. Comment with your own tips for writing a good opening scene. Follow for similar content.

[thewriteblrlibrary]

A Step-by-Step Marketing Guide so we can spite traditional publishers (and make people cry).

~ This is a guide specific for fiction/writeblr. All of this is for free and there is little social media posting/ads involved (unless you want to venture into that). ~

Within the writeblr spheres, there's this underlying hope that our stories will find their audience. Perhaps we'll have a fandom full of fanart and video essays, or maybe we'll be an instant classic and sit on collectors' beloved bookshelves. Our stories could sit within the deepest corners of someone's heart and maybe they never tell a soul about what's so special to them. Maybe our stories become those 'underrated masterpieces'.

Or we just want to see people ugly cry over our writing.

Whatever your hope may be, marketing is an important path to venture on (especially because traditional publishers are rejecting diverse books in favor of ones that are already famous + the whole sub-par machine thing they seem obsessed with.)

And thus, my childhood marketing obsession will hopefully be of use to you. This is all for free (unless you want to spend money) and you don't need to figure out social media platforms (unless you want to, and this guide works if you decide to take that route too.)

Step One: Characters

Marketing spheres will define these fictious people as 'avatars' or 'the target audience'. You could also call them characters. Because that's what they are: fictional people.

For this step, you shall create characters that would love your story.

And here's some great news: You've already done this.

Perhaps you wrote your story to comfort a prior version of yourself. Perhaps each character in your story holds an aspect of your personality. Perhaps you were ridiculously self-indulgent and made the story you would've loved to read. These are all possible characters you can reuse for marketing.

Write down 2-4 quick archetypes for these characters. You'll chose an aspect of your story (characters, themes, or the younger-self that you wrote it for) and write a thumbnail sketch. (Main issue, fears, wants, personality traits if they relate to the main issue.)

I'll do it for my story (the Land of the Fallen Fairies) down below:

Anuli-like (my MC): Overthinking and aloof. Wants a happy ending but thinks their current personality/character isn't good enough for one. The present stales in comparison to the past/the childhood they lost. The 'gifted theater kids'. Kamari-like (side character): Postpones happiness in favor of creating a perfect schedule/getting accomplishments. Heavy masking. Creative but doesn't create anymore. Promises themself they'll enjoy themselves later, when they've earned it. Workaholics. My younger self: Wanting a fantasy escapism to embody the traits they wish they had in real life. Dissatisfied and worried about reality. Perfectionists. Self-indulgent: People who love plants and forests and fantasy worlds far away from reality/humanity.

Great! Now it's time to find these characters.

Step Two: Setting.

(Let's assume you're using the internet for your marketing. But a similar method works for real life too.)

Where do the characters live?

In order to figure that out, we need to discover the characters' interests, what they watch to solve their problems, and who they find #relatable.

(You can do this for each character or for all the characters at once.)

For example:

Anuli-like -

interests: Stories. Analysis videos. Fantasy escapism. Things that remind them of their childhood. (so nature, warmth, comfort, play, imagination and the times they would actually enjoy learning.)

Places to look: Nature quotes, ambience videos, children's shows and fairytales (comfort shows). Fandom culture - fanfic video essays, fan art.

Solving problems (the problem being wanting a 'happy ending' but feeling that their personality/lifestyle/characteristics aren't right for one): Mindfulness things. Self-healing. Quotes and meditations and candles galore. Slow living. Nature vlogs. Self care. All that 'live in the moment' culture.

Places to look: Slow living. Nature vlogs. The 'softer self-help' (spirituality stuff. Magic/ overnight answers). Witchcraft. 'aesthetic nature' places. Guided meditations.

#relatable: Burnt out gifted kids. People who think so much that their life passes them by. Storytellers and creative who create to make sense of the world. People who like dark, gory things in spite of who they want to be. People who don't like reality.

Places to look: Those 'learn better and remember everything' places. (The 'burnt-out gifted kid' recovery places.) Stop overthinking spots. Those quotes on Pinterest from poetic people who think too much /aff. Storyteller places. Dark academia. Classical music. One off quotes/ poetry.

Okie dokie. Once you have this, find channels, social media accounts, blogs, songs, books, etc. that fit with the categories you wrote down. (They should appeal to the characters) You can search up some of the terms you listed into searches and see who pops up. Bonus points if you find people that overlap with multiple sections.

I know I didn't include booktube or booktok in here. You can if you want too. But those can be a bit... 'consume these 500 books'. You also want to find other places where people who would like you story live, even if they don't follow booktube or booktok.

Congrats! Now you know where your characters live!

Step Three: the scary part

Take everyone you found on your search for the settings and write them down a list. Make sure you get an email/contact info. (they usually list them somewhere under 'for business inquires') Also feel free to watch their content and get to know what attributes these settings have.

And now... we talk to them. about our stories. You can do it. I believe in you.

This called 'pitching your product' in marketing spheres. But you can be informal about it.

I know it can be difficult to talk about your work, so here's a tone to have:

'I made this thing I like and I think you'll like it too'.

What you'll do is send an email (or dm) that goes like this (inspired by Creative Hive on youtube):

Hi [name],

[Genuine compliment]

[Quick sentence or two about your story. Include the themes and who it appeals to. If you have a logline/sentence summary, include that. But I find that the underlying themes and 'who's it's for' is more engaging.

For my story, I might say something like.

I've written a story you might enjoy, since you like [interest]. It's called the Land of the Fallen Fairies. It's a nature-themed commentary on the pursuit of happiness and fixing yourself to deserve that happiness, told by an overthinking, unreliable, houseplant narrator. It was supposed to comfort me when I got frustrated with myself and my happiness chasing, and I hope it can comfort others too.

(That's probably a bit long and I can trim it down a bit.)

You can phrase it like a gift if you want too.]

[Call to action.

'If you like it, I'd appreciate a mention on your [platform].

I know this part may be difficult to mention (imposter syndrome is not fun.) But I promise that if they do like it, they'll be happy to mention it.]

If they don't respond within... four-ish days? (A week at most). then you can include a follow up. For this you can include a template with info about your story. This way it's easy for them to talk about your story.

The template:

title

genre

blurb

Author

where to find the book

Bonus points if you have an additional, physical thing to send them.

Congrats! Now do this pitching process a few times until you've covered most of your bases. (Pitch to as many people as you can. It will get more comfortable as you do it. Play your favorite song and don't let yourself think too hard about it.)

----------

The benefits of this process are that you find people that are already interested in the themes and vibes of your story (in comparison to to ads, which get shoved in everyone's faces.). Someone your audience already trusts will talk about it, which means you don't need to do all this trial and error to find your audience and make content for them.

It's basically a bunch of people talking about something they like!

AND you diversify your audience across niches, but with an underlying theme/interests. Booktok/booktube must appeal to everyone, so it's a hit or miss for recommendations. (Unless there is someone that specifically does one genre/type of story.)

From here you can do fun little things to build up hype and make the book launch feel like this fun event. (I love it when that happens so here's my thoughts about trying to create an event with your story... although that may require another post entirely.)

preorder goals

charity goals

Arg's and puzzles

fund with side plushies and trinkets

Book blog tour

book boxes

as many memes as you can make

rewards (like bookmarks or posters or smth) that people can get for supporting

Talk about the process of creating your story. I know this one channel called 'Dead Sound' that creates 'making of' videos for his short films and they are some of the best videos on youtube.

Okay dear storyteller! Now go forth and share your story with the world!

Additional resources:

Creative Hive <-- a youtube channel that goes through the pitching process.

This video is also very good <-- Haven't watched the rest of the channel but I assume it's also good.

One of the best marketing channels on the internet (the videos are actually entertianing to watch.

Seth Goldin <-- I read his book and took the parts I liked and modified for storytelling marketing.

Dead Sound <-- propaganda to watch the short film series he has (he did the whole 2-d 3-d style wayyyy before spiderverse did... and he's one person making these. One person. It's amazing.

Glitch <--- If someone can figure out how The Amazing Digital Circus was marketed then I will pay you money. It seems to be a lot of memes and funny things.

[writerofjourneys]

The Regent King of Hell

A/N: Just an interesting idea I thought to try. Not sure I want to make this a part of my fandom list as it’s not my cup of tea to write but I wanted to give this a shot regardless.

Fandom(s): Hazbin Hotel

Charlie Magne/Morningstar & (Twin)Fem Reader

Lucifer Magne/Morningstar & (Daughter)Reader

Summary: As the 2nd Princess of Hell, you were given the reigns of ruling over the Ring of Wrath as a King of Sin, then eventually Pride as regent for your parents in their crumbling marriage, soon breakup and your father’s inactive state. You became one of the most, if not above all the most feared ruler out of the Rings of Hell, leaving you to be quite a contrast to your sheltered optimistic older sister, but you loved each other all the same.

Headcanon

Content: Fluff, family, Reader is nicknamed Satan, sister relationship, father-daughter relationship, platonic relationships, demons & angels, morality, afterlife, based on how Satan isn’t introduced yet and the circumstances of Lucifer’s role after physically stepping down from ruling aside from his title as King of Hell.

Warnings: None.

Main List

As children growing up, you and Charlie were always joined at the hip. It was rare for anyone to find one of the Morningstar Twins without the other.

You had very fond memories of your family together, spending moments like any other happy human ones. Having your father display his angelic powers in beautiful imagery to you and your sister’s delight. And your mother singing you songs and lullabies.

Your father would take you on trips to his Lu Lu World theme park. He also wasn’t hesitant to show his bitterness to Loo Loo Land. He forbade you and Charlie to ever go there, and that hasn’t changed even now. But you have been to Hellsney, you heard the human world had something similar to the name.

Ironically, you don’t actually like apples. By themselves they’re okay, but even though it’s your family’s main symbol, you find it tolerable. You hate apple themed food, though.

Though it became apparent that you and Charlie began to take different personalities and views as you got older. Whereas she was optimistic, naive, vibrant, and mild; you were stern, calm, intimidating, and calculating. The denizens of Hell sometimes pondered over the differences between you.

You seemed to take more after your mother and Charlie your father, you still loved them both, but when their relationship began to fall apart you mostly chose to stay by your father’s side. Taking up the duties of learning to govern over Hell more than ever.

But even before that, you took to your responsibilities as an heir more highly compared to your twin, who wasn’t all that interested, instead pursuing a different path.

As you grew up, you even took to taking on a more demonic form, like leaving your curled horns rest on your head, sharp fangs, and having similar wings to Lucifer you inherited that you left out. Though the rest of your features did match with Charlie’s. But you have the ability to shapeshift and change to a number of things, even a more monstrous form.

You displayed more powers in comparison to her, though, having even used them to ‘discipline’ anyone who tried to step out of line, thinking you’d be as dismissive as your sister.

For your capabilities, your parents had given you the opportunity of ruling over the Ring of Wrath, making you a member of one of the Seven Deadly Sins, leading to the demons to then give you the nickname famously known as Satan. Which, funnily enough, had humans and sinners tending to mistake you for your dad, Lucifer.

You found amusement in others speaking your stage name in forms of expression.

You became the embodiment of Wrath for your power and dangerous influence, finally filling the missing spot for the Seven Deadly Sins.

And like your dad, you also detested sinners. You knew many of humanity’s history and their continuous behaviours throughout the centuries. Humans are as cruel as they are loving. They could be even more monstrous than hellborn demons, for all their fragility and short lifespans.

Naturally, you took to them also being something of ants or specks of dust. Though you do get experiences being on earth and getting involved with humans. For being what they are, they did fascinate you for their unpredictability.

You even carried an exception with a level of respect for the intelligent and influential mortals.

When Charlie and Lucifer grew apart at the time of your parents separation, having the misunderstanding of how one didn’t want to see the other, you continued staying close to him. Spending time with him, listening to him talk about his hyper-fixation projects, flying together, and then visiting him among your time ruling over the two rings.

You were pretty much emancipated with your parents’ separation being a Sin.

When Lilith left, stepping down from her royal duties, you and Charlie both didn’t have any contact with her for the past 7 years to now.

You had grown apart from your mom just before that. You weren’t the fondest of her at the moment.

You didn’t know how long Lucifer would remain inactive from ruling the Pride Ring, so you continued acting as regent.

While Charlie had her cat Keekee, and goat-toys-brought-to-life, Razzle and Dazzle, you had your hellhounds, actual terrifying beasts who intelligently understood your orders, but different than the other sentient hellhounds in Hell.

As King of Wrath and now Pride, you were usually busy. Jumping between the two realms and overseeing the majority of Hell in your father’s stead. Sometimes meeting with the other Kings of the Seven Deadly Sins.

Out of all of Hell’s hierarchy, you have the most experience with humans and earth.

Shapeshifting is an ability you inherited from Lucifer. Meaning animals.

You turned into a duckling and a snake for him when you were little. He couldn’t stop fawning how cute you were. He was pretty proud.

Being the embodiment of wrath meant some cause for destruction. You’ve had a hand in a some earthly/hellish disasters.

It also made you the most warlike and combative.

Lucifer had had his worries of how fast you’ve grown. Being mature and doing your own thing ruling a ring of Hell.

Having been sheltered from the lives of humans on earth, Charlie carried the benefit of the doubt for the sinners. Which honestly exasperated you.

You didn’t have any animosity towards your twin, you cared for her, but you wished she carried more of a backbone. Having only the title as the 1st Princess of Hell to go off on and hardly using her powers, the denizens could never take her seriously.

So when she presented her ideas of redemption to you, as family and ruler, you considered it hilariously absurd, though not to her face. You had agreed that while there are sinners who didn’t deserve eternal damnation for their particular situations, not all of them deserved peace.

Humans already had their chances of change and different livelihoods, what was the point of doing it now when they already passed death? They had made their choices and harmed others in the process, to redeem now when their lives were already over felt pointless.

So you were rather indifferent to Extermination Day. You didn’t really know if Lucifer was actually in agreement to it anyways, even for his own distaste in sinners, but your father wouldn’t have had a choice in it regardless. Heaven was the one to force him to be the King of Hell after all, it isn’t a surprise that they could exterminate without his permission. And the Exorcists who were once mortal came down tended to have personal vengeance over the sinners who made their lives hell in the first place.

You weren’t interested in getting involved with Heaven if you could help it.

Seeing how passionate and serious Charlie was, you agreed to support her, regardless of how farfetched her goal looked. But you made to note that while Charlie shouldn’t focus on the inhumane sinners in particular, you advised that her future patrons should at least be remorseful to try and reach Heaven. That was the biggest point of redemption after all.

You did know her girlfriend, Vaggie, the three of you occasionally hanging out for things like lunch. She did tend to be nervous in your presence. All you cared about was her having a good relationship with your sister.

Charlie’s ex, Seviathan and his sister, Helsa, would’ve had their heads torn off of their bodies by you if your twin hadn’t convinced you otherwise. You detested that family.

You rarely did get to see Charlie as she created her ‘Happy Hotel’, but you did drop by to visit when you had time. And upon hearing the Radio Demon’s involvement as her co-owner, changing the name to ‘Hazbin Hotel’, you were obviously suspicious, since you were acquainted and familiar with the Overlords, but since he hadn’t done anything yet and Charlie saying she could take of herself, you left her to it.

While you weren’t sure how these events would fold, you hoped things would work out for your family and getting the time to be together again like you used to be.

So, how was this..?

[bonefall]

Clear Sky Killed Bumble; Gray Wing's Desperate Defense

The "analysis" I've seen out there is beyond bananas. We are out there on state-of-the-art exploratory vessels, sailing the 7 seas into brand new lands, discovering new kinds of fruits to compare to the absolute lack of sanity people are displaying.

Clear Sky definitively killed Bumble. Gray Wing does not want to believe reality.

While some try to argue this death down to "negligent homicide," that Clear Sky essentially beat her unconscious and left her in an unsafe area where she got killed, that's so unlikely I'm confident in saying it's wrong. The evidence shows that Clear Sky tormented her to death with a ferocious, sadistic beating which caused her to bleed out, which is second degree murder, and used the smell of a fox and Gray Wing's blind adoration to lie his way out of consequences.

There's not a lot of ambiguity in the evidence that is presented. There is fox scent but no fox bites, and the preceding chapter provides a comparison between the wounds on Misty vs the wounds on Bumble. Clear Sky's story is so convoluted that not a single part of it makes any sense. Quite frankly it's only been topped recently by the "I can confirm this woman is evil because she snored her evil plans in their sleep" fib of ASC.

In either case, Gray Wing believes neither. He does not believe this is Clear Sky's kill in any way.

This moment is an excellent example of how Gray Wing continuously prevents anyone from taking any action against his dear brother's violence until it is too late. By convincing the moor cats to all calm down when they're rightfully furious, and treating the lives and perspectives of native cats as lesser, Gray Wing becomes complicit in some of the harm this tyrant manages to carry out.

To shield a person from the consequences of their own actions is enabling, regardless of if it's direct or indirect, wittingly or unwittingly.

We are going to go over the whole of the 26th chapter of DOTC Book 2: Thunder Rising, from Bumble's death scene to Gray Wing's downplay of it. A meticulous, step-by-step analysis.

Leading-up context

The Scene

The Immediate Response

Incredible suggestions that have been made that I had to read with my own eyes

Leading-up Context

Let's start from square one by introducing the cast, with the assumption you have not read DOTC or are just vaguely aware of it due to its reputation.

Bumble is a kittypet who regularly visits the woods without issue. She is a small supporting character in the first book, The Sun Trail, whose purpose is mostly to be a friend to Turtle Tail, who is the future wife of the main POV character, Gray Wing.

As the two girls become closer friends, Gray Wing becomes more controlling of Turtle Tail and more hostile towards Bumble. This culminates in Turtle Tail leaving "The Settlers" to live with her friend over the winter. All is idyllic until the humans adopt a third cat, known to the fandom as Tom the Wifebeater because of what happens next in Book 2; Thunder Rising.

Turtle Tail becomes pregnant, but notices that her roommates are keeping some kind of secret. She begs Bumble until she reveals that humans tend to take kittens away when they're old enough to be weaned. Turtle Tail leaves to return to the wild, and Tom the Wifebeater begins methodically torturing Bumble over the next month as punishment, leaving scratches, bruises, and "dried blood" all over her when the humans are not looking.

When Bumble tries to seek help from the moor cats, Gray Wing is frustrated that the battered woman has interrupted his walk with his new wife. It is stressed that Gray Wing hates her for taking his love interest away, and he believes she is too fat and clumsy to live in the wild. The leader of the moor cat settlers, Tall Shadow, has a hard time throwing Bumble out, until two outsiders, Wind and Gorse, who are trying to get accepted into this group themselves, take the initiative and drag Bumble back to her domestic abuser.

Gray Wing is biased against Bumble. This is a fact. He explicitly does not like her.

Shortly afterwards, the forest cat settlers, led by Gray Wing's brother Clear Sky, experience a fire and begin to expand their borders. They are already known as a violent group, their leader is a manipulative liar, and Gray Wing himself was once viciously mauled as Clear Sky sat by and watched.

Yes, Gray Wing is aware that Clear Sky sat there and watched, too. He called out to him and Clear Sky did nothing as Fox, a man who knew full well that this cat was his leader's brother, was shredding him.

Gray Wing doesn't want to believe his brother is a bad person. This is also a fact. He explicitly feels guilty when he has thoughts otherwise.

On-screen, through the POV of Gray Wing's nephew Thunder, we see a native woman named Misty slaughtered by Clear Sky for her land. Her children are taken, and her body lays unburied and rotting for two days before Wind Runner and Gorse Fur (sporting new names at the request of the moor cats) find her.

They describe the wounds they found on the corpse in detail and make an accusation,

Now, before this point, Wind Runner and Gorse Fur have been doing everything in their power to endear themselves to this group. Gray Wing himself trusted them, because they've taught him methods for living here, caught and shared food, and even saved the life of his other brother, Jagged Peak, when a burrow collapsed on him.

But now his xenophobia towards them is coming back-- because they're calling for action against his brother. He's only ever uneasy about them when they seem to have an ounce of influence over his group.

Turtle Tail's conclusion is completely sound, and if it hadn't been for someone else, would be correct. Clear Sky DID move to kill the children-- he was stopped by his underling, Petal. Turts was able to understand what Clear Sky was going to do without seeing it firsthand.

The crowd is shocked and furious, for logical reason. They ARE in danger. Clear Sky IS escalating his violence and expanding his territory. It's starting with the native population, and the moor cats are able to understand and predict what will happen next.

Except Gray Wing.

The Scene

While investigating ONE confirmed murder, as there is no reason to doubt Wind Runner and Gorse Fur except for conveniently xenophobic ones, and TWO suspected murders of children, the patrol hears the sudden shriek of a cat in pain.

Bumble is found bleeding to death on a previously unclaimed patch of land, at the very center of a circle of trampled grass. There is the reeking smell of fox, and under that, there is the scent of Clear Sky.

Her wounds are described in great detail,

Completely consistent with the way that the wounds were described on Misty. Nearly word-for-word.

The only evidence of fox is the smell. No one heard it bark, there is no note of it bounding off, there are no bites or wounds consistent with those of a canid. They were described exactly the same as Misty's.

Slits are cat claw wounds. Not fox bite wounds. She was not being bitten, she was cut all over her body, prominently down her belly and sides.

Unless this fox shapeshifted into a cat and then meticulously created wounds consistent with the ones left on Misty, Clear Sky did this.

Where did the fox go? Probably came to investigate, maybe licked at the bloody cuts expecting a meal, and then was scared off by Bumble suddenly waking up and screaming. It's possible, but unlikely that the patrol's clamor scared it off, considering they didn't see or hear any fox noises.

There are also signs of a struggle-- and Bumble was not able to fight in the condition she is currently in. It's most likely it was the struggle from when she was being tormented and trying to get away, unless there was a fight with a fox while Bumble was still unconscious and she was dragged to the middle of it, for some reason.

However, a fight with a fox is still unlikely, as the patrol was able to hear the whimpering of a cat in pain as they approached but not the furious sounds of a battle with a large predator. If there was this whole epic brawl with a fox that trampled the grass around Bumble, why was there only a single shriek?

Gray Wing, expert on the smell of Clear Sky's armpit, confirms it's his brother. His whole world spins when he realizes his Dear Brother is involved in this, feeling horror and disbelief.

(Also note that Gray Wing implies Clear Sky's involvement is the prophetic bad thing his adopted son mentioned in the previous chapter, not the shredded woman dying in front of him lol)

The rest of the group is able to acknowledge reality, coming to the obvious conclusion. Clear Sky is expanding his territory, including the very patch they're standing on. He has been violent in the past, even against other settlers. Misty was slaughtered in a way consistent with the victim dying in front of them, so he is killing cats who stand in his way. Gray Wing's immediate, literally DESPERATE response is first to jump to Clear Sky's defense.

Gray Wing asks Bumble directly if it was a fox, and she is too weak to answer... until she finds the strength, as a domestic abuse victim, to blame herself for the way a cat beat her bloody. She thinks it's her fault for hunting here, because she was hungry, not thinking straight, and stupid.

I have seen this described as Bumble "making a defense of Clear Sky." I will leave it up to you, the reader, to determine if this sounds like Bumble is trying to say he's not guilty of hurting her or if it's the sort of infamous self-blame that domestic violence victims lapse into after a furious thrashing.

When Clear Sky returns to the scene of the crime, he cuts her off while admitting he did assault Bumble, then glares at everyone to challenge a fight.

Gray Wing swoons over him like he always does.

I have heard it said, without examples, that this is normal because this happens all the time in Warrior Cats. That it's a normal thing to be standing next to a domestic abuse victim who is bleeding out and watch her murderer daring all of your friends to do something about it, and admire how brave he is. That, again, without any examples, this is just something that every character does when the Villain of the Week exists in front of them, so it's not even special that it was Gray Wing's first response.

If you believe that, I have a bridge in London to sell you.

Desperation is under all of Gray Wing's feelings which immediately follow. His voice "cracks" when he has to ask if his darling brother did this. He wants to scream when he takes his sweet time answering. He shrinks under Clear Sky's gaze, because he reads that he's "accusing him of betrayal."

But somehow, that FIRST response for him to fawn over his brother is not part of that, because in unquoted books of other arcs a hero has admired a villain?? Context doesn't exist because in some other book the same emotion was described maybe. Incredible.

No mention of how casually he brushes off this sight that makes his eyes show "guilt and horror," either. No talk of how he made a little ""joke"" about how no one greeted him nicely at a tortured woman's deathbed. Almost like he was caught red-handed and the wounds don't actually unsettle him as much as the crowd's reaction.

Even the glare-- Clear Sky is trying to get Gray Wing to do his bidding. He wants him to protect him, be his flying monkey, and control his furious people.

So at the next opportunity, Gray Wing jumps to his defense again. Second time in this exchange.

FIRST he was described as "desperate." Now he takes a deep breath and BRAVELY licks that boot.

Turtle Tail steps forward and posits the obvious truth. Clear Sky is going mad with power, doesn't care who he hurts, and is completely capable of doing something like this to Bumble. This was already done to Misty, and even earlier, Clear Sky stood by and watched as one of his minions savaged Gray Wing in a similar way.

The whoooole crowd can see this. It is Gray Wing, and Gray Wing alone, who prevents there from being any consequences for Clear Sky's actions.

He hypocritically believes that attacking Clear Sky for the murder of Bumble would make them all "no better than he is" when he had no qualms about coming to blows over the exile of Jagged Peak much earlier. "Attacking Clear Sky for Murder" is morally equivalent to "Actually Doing Murder."

This is only for Bumble though, a "foreign" woman he does not like. He did not believe this for Jagged Peak, and he will not believe it later when he watches Clear Sky strangle Rainswept Flower to death. They are worth physical consequences.

He even physically shields him.

"he stepped between Clear Sky and his own cats, not sure which of them he was trying to protect." It's Clear Sky. Bumble's life means nothing to Gray Wing, so he is trying to protect Clear Sky from the fury of the angry mob he has earned by killing her and Misty.

He CANNOT let there be any doubt. Not even from himself. His brother must be protected at all costs. To that end, he is trying to make some kind of opportunity for Clear Sky to escape accountability.

If you are "neutral" in the conflict between victims and their abuser, you have taken the side of the abuser. If you provide opportunities for a perpetrator to escape accountability, you are an enabler. If you allow a suspect to escape the scene of a crime, since every cat in these books seems to be a lawyer the minute anyone wants to react to violence, you could be charged with accessory fleeing and eluding-- a felony.

Before you try to say this is all in the noble pursuit of peace, let's not be dense.

DOTC is not committed to non-violence for any other tyrannical leader. Especially not One Eye, even believing that an underhanded ambush that breaks the terms of a duel Clear Sky set is the good and righteous thing to do. Killing him was the correct action, as it was with Slash in Riverstar's Home. Outside of DOTC this logic is casually applied to Brokenstar, Tigerstar, Scourge, Hawkfrost, Darktail, and Ashfur-- with only Leopardstar and Blackstar being "exempt" for following an evil ringleader.

Gray Wing himself has no moral dilemma about One Eye or Slash, either. Nonviolence is not his goal.

It is Clear Sky, and Clear Sky alone, who the narrative of DOTC will conclude "deserved" a million second chances. That torturing Bumble to death, slaughtering Misty for her land, and countless offscreen cases of attacking natives didn't push him past the "fundamentally evil" threshold into an irredeemable monster, as is the case with Slash and One Eye later in this arc.

The difference between Clear Sky and DOTC's other two tyrants, to me, is obvious. Clear Sky is the POV's brother and a member of the in-group of The Settlers. The lives of his victims, as mostly "foreigners" and entirely women, are worth very little to the notoriously xenophobic and misogynist writing team.

If the moor cats had shredded Clear Sky right here and now, dozens of lives would have been saved. The First Battle wouldn't have happened. Justice would have been served for Bumble, regardless of if the cause of death was 2nd degree murder or negligent homicide. He wouldn't have smacked and beaten any of his other victims.

Gray Wing prevents this, giving Clear Sky an opportunity to tell a lie.

(He even whines about the idea of Wind Runner challenging Clear Sky about boundaries, the whole thing that started this incident in the first place. This is the perfect time to start arguing about boundaries, actually, when he's in the middle of establishing new ones.)

In the past, I'd been too charitable to this exchange. This lie is obscene and anyone who believes it is ignorant. No frills, no bells, you either can't think critically or just didn't want to so Clear Sky can be innocent or Gray Wing can seem "reasonable."

Clear Sky's visibly eager to start his story, "glad of the chance" now that he's had time to concoct a story. He could have explained earlier but didn't, sizing the group up and glaring at his brother to crack a whip, asking if they believed he was capable of it, so he could gauge what he can get away with.

"New part of my territory" = Freshly annexed land he has violently conquered, confirming the patrol's fears of expansion.

"I wanted to give her a warning, just a little cuff" = No one leaves his territory gently. Confirmation he thrashed her, downplay of how severe.

"How was I to know she would faint?" = Bumble is visibly emaciated, and he's blaming her for not being able to stay conscious through the whole beating.

"I could see her paws twitching, and I knew she would come around" = He would not care, Misty's body was unburied for two days.

"So I left" = Leaving Count: 1

Pauses, wincing, because this is another act. Every time he's putting on a little show for other cats, he takes dramatic pauses and plays up his pain and regret. Seen earlier in this book.

"But heard a fox bark" = no barking was heard by the patrol, only a cat's shriek.

"And ran back" = Was apparently so close that he could hear barking the patrol didn't, but so far away that a fox had time to cut her to ribbons, AND this was so long ago the patrol wasn't close enough to hear the fight? Returning Count: 2

"But I was too late" = Wounds inconsistent with fox attack. Leaving Count: 2

"I was going to get help" = There is no medic in proto-SkyClan. When Jagged Peak broke his leg, they had to borrow Dappled Pelt. What help? Who?? Even as he says this, Frost's wound is going completely untreated. If Clear Sky was going to get help, why wasn't he telling Cloud Spots to do something when he got back?

"But then I heard you all arrive" = He left to get help but was still close enough to hear running? Just abandoning his noble quest to get that "help" he apparently has? Returning Count: 3

Not a single part of his story adds up. EVERY aspect of it has a problem, in that it's either deceptively worded to downplay his abuse, doesn't line up with who he is, or just doesn't make logistical sense.

It's not JUST a lie, it's a BAD one.

Even worse, Clear Sky is a known liar at this point. He does this when the truth would not benefit him, like earlier in this book when he fibbed to Thunder about why he abandoned him right in front of Gray Wing's face. The story doesn't make sense and there's not even any reason to give him benefit of the doubt, because he is known to be dishonest.

He's offended when Turtle Tail calls him on being full of baloney, and once again shoots a sharp look over to his flying monkey, expecting Gray Wing to dance on command and defend his honor like always.

But Gray Wing seems to be perfectly capable of being "wise" when it would directly benefit Clear Sky.

I have seen the question begged, "if he's such a bootlicker then why he no verbally bootlick a third time in a single exchange?" and I would tell that person to read the text because it says why. Right there. Here, I've underlined it. So you don't miss it again.

If Gray Wing licks that boot again, THIRD TIME, in front of an angry mob who wants to skin Clear Sky alive, they will lose patience and make the clearing look like Bruce's Eating Dome. So he shuts the fuck up and gives his ungrateful brother the chance to indignantly slip away, even though he desperately wants to cry out and tell him how shiny and lickable those boots are.

"What can I say?" Nothing. "I'll only make things worse" Correct. "If I don't let him leave now there will be a fight" im literally just quoting the text verbatim

He is NOT doing this because he does not believe him, NOR because he doesn't want to defend him. It's because this the best way to protect his brother from consequence.

And then Bumble uses her dying breath to apologize for ever hurting her friend, showing Bumble is still just blaming herself for everything, with Turtle Tail still repeating the same malicious excuses that were used to deny her asylum from domestic abuse.

"I wish you could have found happiness, even though I was unwilling to help you. It sucked to learn that our shared wifebeater started wifebeating you, but we didn't want you in our camp so really this was unavoidable."

I've voiced my ire before, gone on long rants about how angry this exchange makes me and even campaigned for more recognition of the misogyny in this subplot. The fact that the last words Bumble hears are just more excuses from a person who could have done something disgust me, and I think I'm right to feel that it's vile that this sits unexamined in a book for young readers. But it doesn't change what happened.

She senselessly died in intense pain and despair, for the crime of existing. All that's left to say is that I wish Bumble could have found a better friend.

But ultimately, Turtle Tail is another woman in the notoriously misogynistic arc of DOTC. She's just a supporting character for Gray Wing's conflict, and he's got some opinions about what, exactly, is making this so sad.

He doesn't give a fuck that this woman he hates has been murdered after slowly starving to death, for months, since he watched her be dragged back to a domestic abuser. She "stole" his romantic interest for a few months, after all.

It's stressed he "never especially liked Bumble" at her deathbed. It's not JUST "the death of a kittypet," a group of people he is bigoted against. It's about his piece of shit brother.

It's about how HIS REPUTATION HAS BEEN TARNISHED.

"It changes the way my cats think of Clear Sky," THAT HE IS NOW A KNOWN MURDERER, "and that changes everything" IT'S GOING TO BE A LOT HARDER TO DEFEND HIM NOW

This is completely consistent with Gray Wing's behavior into the rest of the chapter, and even the books beyond.

The Immediate Response

Gray Wing explains what happened to the other moor cats. He has to hide his actual belief that Clear Sky didn't actually do anything wrong so that the moor cats don't dismiss him for the biased, brother-obsessed little minion he is. He admits how he really feels about Bumble's death to Turtle Tail at the very end of the chapter-- so what he says here is a lie.

Not a delusion. A lie. He withheld the full truth of his bias when questioned. If he's honest about his conflict of interest, this group will trust his judgement less. He has a goal; to prevent his cats from retaliating.

Wind Runner is, again, the one who is rallying the other cats into action. She's seeing that Clear Sky is murdering innocent cats, possibly even her friend considering how much she knew about Misty, and that this will only escalate. Gray Wing doesn't like that.

So when Tall Shadow starts suggesting the things he agrees with, like how Bumble's life was less valuable anyway so this is no reason to start a fight with his Dear Sweet Brother, and they should all just sit on their butts until no one's angry anymore, he decides she "deserves" his support.

It's a political move.

"After all, she was only a kittypet... omg why are you so mad?? I didnt mean it like that, all im saying is that we should just calm down ugh dont be so sensitive" -Tall Shadow, channeling your racist aunt

If Gray Wing can get the other cats to waste their time on useless half-measures, like more patrols or perhaps writing a strongly-worded letter, he can make them feel like they're doing something when they're actually doing jack shit. Wittingly or unwittingly, this is a measure to stall the inevitable, making them miss their chance to strike while the iron is hot.

He's either an idiot or he's subconsciously acting from a place of loyalty to his brother. Bias resembles the former but is born of the latter, and either way the result is the same.

After this, there's a brief conversation where Tall Shadow makes it clear that there is absolutely no reason to be mistrusting Wind Runner. They both agree "when this is all over" she's a good cat to have around-- they just don't seem want to listen to her now, when she wants something done about the sadistic lunatic next door.

Gray Wing's talk of "working together" is laughable. His idea of "working together" includes the cat who just slaughtered two people for existing on his newly annexed land, who long ago stopped listening to reason. Tall Shadow herself starts preening and announces that her response to all this is that Clear Sky must absolutely be stopped by some cat.......................... so she'll think abt it.

tomorrow maybe. we'll put a pin in it. set a little reminder on her phone or something.

(the genius plan she comes up with in the end is a nonsequitor babble about how rocks don't exist to be sat on, so clear sky should just stop conquering all the land or something. he listens intently and then throws her into a tank of piranhas.)

But anyway, it's time to smooth things over with Turtle Tail, who had been struggling with that uncomfortable truth that the moor cats, and Gray Wing specifically, were also culpable in some way for the slow, painful death of Bumble.

He'll fix that with a big display of affection.

"Don't be mad at me it's nobody's fault :) She wouldn't have been able to cope so it's inevitable she wound up dead :) I'm sorry you're hurting bc i like you, not that i give a damn that your friend was shoved into a blender and shredded alive after starving for months :) Thanks to you I am now ready to lead this clan directly off the side of a cliff." -very endearing conversation i assure you

It works because Turtle Tail is not allowed to maintain her own opinions as a girl in DOTC. Obviously. Her husband licks her ears and tells her that he likes her and that's the end of any examination that they have any responsibility here. god forbid she re-examine her feelings towards the writers' favorite in light of how much of an ass he made of himself at her friend's deathbed.

Just in case it slipped your mind though, once again it is made clear that Gray Wing is reacting with leisure because he does not believe (or care) that Clear Sky killed Bumble. No, not even in the negligent homicide sense, that Clear Sky's actions allowed Bumble to die through beating her unconscious and leaving her alone in an unsafe location. He does not think this was something to blame Clear Sky for.

He believes that the fox did it-- he was lying earlier when he said he "didn't know what to believe." He does. He didn't reveal his bias when he was being questioned, because he wants to prevent the moor cats from fighting Clear Sky over Bumble's death.

Also note the sneaky little turn of language Gray Wing makes there. In denial of Turt's claim that "innocent cats are being slaughtered," Gray's counter is Bumble alone before the pivot. The patrol was originally about Misty's murder and her missing kittens as Clear Sky expanded his borders-- but Misty's apparently not an "innocent cat" who's been slaughtered. She's absent from that category, implied to be part of Clear Sky's hypothetical "good reason" for expansion that Gray Wing needs to get to the bottom of.

Bumble's murder is denied. Misty's is implied to just be collateral damage for the unknown plan. He's unbothered about the death of either one.

Gray Wing: "No one else can get to the bottom of this! theres only ME! I AM THE ONLY ONE WHO CAN STOP CLEAR SKY"

Also Gray Wing: (leaps in front of an angry crowd to defend his brother. cries that he doesn't believe hes capable of such terrible violence. actively prevents anyone else from doing anything about him)

Anyone with a vague awareness of DOTC knows how this ends. Gray Wing is going to lead them astray with his bad judgement, so purposefully delusional about his brother that they will have to dig a mass grave at Fourtrees. Gray Wing thinks he's a *~special boy~* who is the only one who can truly get through to his brother, and maybe he is, but not before dozens of people have to suffer and die for it.

This is enabling. To enable is to directly or indirectly support another's harmful actions, such as addiction or abuse. He did it here, both during and after Bumble's death, giving Clear Sky the cover to escape consequences for his actions and halting any attempts to do anything concrete. Because of him, Clear Sky never pays for what he did to her.

In the book 3, Clear Sky denies all wrongdoing, and in Bumble's last mention in book 4, her torture is described in passive voice. A terrible "happening" which seemingly couldn't have been avoided. No one is held accountable. Not the moor cats for turning her away, not Clear Sky for her killing, and even Tom the Wifebeater is redeemed after being given a chance to live in a clan for not being "soft" like his female victim.

All so sweet, beloved little Gray Wing never has to confront that he let a killer get off scot-free because the uncomplicated childhood memory of his brother as a lovely good boy was wrong. That he was so consumed by spite that he smugly watched Bumble get dragged away from the only people who could have helped her. That he was complicit twice.

Incredible suggestions that I have had to read with my own eyes

fucking ✨Bonus Round✨

"If clear sky fought bumble, why bumble leave no scratches?" I'll let you sit there and think about why the DOMESTIC ABUSE VICTIM did not fight back against a large, violent man who was beating her. I'll give you a minute. I'll play some jeopardy music.

"he's quote 'horrified and guilty' at the wounds which means he didn't make them himself" Clear Sky has a repeated habit of "blacking out" when he butchers women (Rainswept Flower, Willow Tail). He's also a liar and an actor, even according to his own account he'd seen these same wounds before when he came back a second time. Most importantly, what fucking part of "horrified and guilty" implies he didn't make those himself, does a toddler not look "horrified and guilty" when it spills chocolate milk on a couch and its parent sees it? Does that mean the toddler didn't do it? If you wouldn't accept this logic for a toddler why the fuck will you accept it for a suspected murderer?

"Maybe Clear Sky fought the fox off?" He doesn't actually say that, it's just implied during his lie when he says he showed up too late, but it's hypothetically possible. Even if he did fight this fox off, he must have still mauled Bumble because she is covered in claw wounds, even if he doesn't remember it because he "blacked out." There's also still the problems of Bumble being in the middle of the trampled grass, the patrol not hearing the sound of battle, his framing that he just tapped her and she passed out, and him apparently running to get help he does not have. Occam's Razor still suggests the solution is that this fox was scared off when Bumble screamed, with Clear Sky just using the convenient smell to lie his way out of consequences

"How'd Clear Sky get fox scent on him?" Probably from showing up to the crime scene that absolutely reeks and prowling around like an axe murderer, which we saw him do. Bumble had no fox bites and no one heard a fight. did you know that if you stand in a sewer you smell like shit

"Gray Wing just doesn't want to think his dear sweet brother could ever do such a thing :("

"What if the Erins are just so incompetent that they created a crime scene completely inconsistent with the very true and real story that Clear Sky told, it just happens to look like a lie on accident, they unwittingly made him a liar earlier in this book because they forgot the events they previously wrote, and don't know anything about a type of predator that appears in nearly every entry of warrior cats and happens to be one of the most popular animals of all time" what if i tripped and fell and a shawarma with extra tahini sauce fell into my mouth, followed by an apple slice, and 3 litres of water. should i continue my fast or has Allah fed me.

All of this is why I am adamant on saying that Clear Sky killed Bumble by beating her to death. In order for this to have been the cause of a fox, you'd have to take a liar at face value and ignore every other detail. That's what Gray Wing does, described on the page as "desperate to believe in his brother's innocence."

Unfortunately, this will also not be the only time that Gray Wing's obsession with his brother and shockingly horrific judgement will put other cats in danger or get them killed. It's just the most deliberate example, and thus imo the most upsetting.

[hypnoneghoul]

absolution live 2017/2023

here I am with my over 1,5k word autistic ramble about the differences between absolution live from 2017 and 2023. at the end there is an audio file of both versions put together, if anyone would be interested in that. it sound very cool heh

also tags for people who showed interest in this: @forest-rot @ghuleh-recs @counting-eyerolls @ngnt-writes @ghnosis @rain-ghoul-appreciator @sister-rosemary-marie

anyway, under the cut

I will start with an analysis of instruments and players separately, one by one, and then I’ll talk about the whole thing a little bit. Also I’m using only ghoul names in there, but when I’m talking about styles and skills I obviously mean the unmasked folks.

Both in 2017 and 2023 we have Mountain on drums, which gives us a very fun comparison opportunity. In 2017 he goes heavy on the cymbals—according to the original version of the song—but it makes the whole thing a bit too crashy and too clogged. The drums are very widely mixed and set—slightly focused on the left side following the stage layout from then—but I think the cymbals could be a bit quieter in comparison to the actual drums, especially the floor tom. In general we can hear how smaller Mountain’s kit was in 2017. In 2023 the entire drum part is sharper and deeper, more bassy and it’s focused more in the middle. The way it feels to me, in 2017 the drums are the background and in 2023 they are the core. Mountain has better fills in 2023, he obviously got more comfortable just jamming in there and having fun over the years.

Dewdrop on bass in 2017; we can hear (or at least I can) that he is not a bassist. He scrapes his pick on the strings a lot which is connected to him being primarily a guitarist—it’s about the picking hand placement and angle. The bass is pretty quiet and it has overdrive on it. It helps conceal his buzzing a little bit, because it happens a fair amount for Dewdrop. Again—bass is not his main instrument. We can also hear exactly when he slams it, like we know he loves doing. In general sometimes he’s quieter and sometimes he’s louder and it’s mostly caused by his picking; how he angles his hand in certain moments and how much strength he puts into it. At the end he goes absolutely feral. Not surprising.

Rain in 2023 is amazing. He’s very skilled, and it’s a huge shame Ghost doesn’t have any songs that could really allow him to show off. He hit his cue a bit too fast at one point, but it might as well be intentional. He’s so much clearer and cleaner, both due to his skills and the settings. Rain has more drop, he most likely has his bass on a different pickup setup than Dewdrop, plus they used different basses—Rain’s with additional mods. One of those mods is a very heavy bridge—Badass Bass—and I bet we can thank that piece for the sustain and note definition in Rain’s playing. In general it flows more, fits into the whole image better. His changes in volume are controlled, not accidental like it happens for Dewdrop. Rain puts more slides, tiny additions and note changes into his live playing, it makes it a bit more lively to me. He’s put perfectly in the middle, nicely blended with the drums.

Unfortunately there isn’t much I can say about Ifrit, Dewdrop, Aether and Phantom mainly because “Absolution” isn’t really a guitar focused song and so it isn't the best song to compare guitar skills, either. The most interesting part—guitar wise—is the solo and little fills on the rhythm now and then.

Ifrit is very precise, I couldn’t hear any mistakes from him, but also the lead is surprisingly quiet in general. His palm muting is on spot, pull-offs and hammer-ons both in the chorus and the solo are very clean and he is simply a pro, he’s got super skills and I wish we could’ve gotten more (</3). He makes the whole song as lively as his stage personality, it sounds flowy but packed with emotions and still so precise it hurts.

Dewdrop’s sound is way better, though he and Ifrit are close skill wise. The difference between Hagstrom Fantomen and Fender Stratocaster is a big one, the main aspect that we can hear is the sharpness of the former and more grounded sound of the latter. Those two guitars also have a very different pickup arrangements—Dew’s strat has SSS (3x single-coils) pickups and he uses the bridge one (which is a Seymour Duncan Hot Rail), and the Fantomen’s has HH (two humbuckers that can be slip, but as far as I’m aware no ghoul used that feature), also with the bridge one used more frequently. In “Absolution” Dewdrop doesn’t add very much—as he does to some other songs—so it’s pretty much the same as the original version. There are small differences that inherently come with his style and that is what makes his version differ from both Ifrit’s and the album's, but it’s all very slight. Dew also makes a very good use of his pedals, mainly wah—especially at the end.

Aether is a bit off tempo in some parts. He plays well, mostly clean, but we can pick out some slight mistakes—mostly sounds that aren’t supposed to be there. His palm muting is a bit too light. He goes heavy on the pick which makes his part of the solo a bit sharp (especially that he’s playing the higher harmony) and square-ish. The sharpness is, again, something we can partially blame on the Fantomen. Only partially because both Ifrit and Phantom prove that it’s manageable. 

Phantom is very clean, he adds a lot of slides which is a feature of his personal style. Said style of his is very lively and fun, to me it sounds and feels like a slinky (don’t laugh at me it’s the autism). He’s more fluid both in the solo and the rest of the song than Aether, but makes one—barely noticeable—mistake in the solo where he misses a note.

Also Phantom and Dewdrop in 2023 are more in sync than Aether and Ifrit in 2017. For whatever reason.

Now keyboard; Zephyr goes absolutely ham on the keys, but it is a piano song so that’s not only understandable, but also desirable, I would say. Key’s are in the right ear with slight migration to the middle when it matters, again according to the stage layout. Their precision and speed and overall skill is insane, the ending when they go wild is the most impressive part, because the song itself doesn’t give many opportunities. If you haven’t seen a video of Zephyr playing that ending you gotta do it now because it really is insane (RIP to that Nord Stage 2 though). The synth fill before the solo in 2017 is played back, in 2023 it’s played live by Cirrus.

In 2023 Cirrus plays the main chorus keyboard part, it can be heard easily on the left side (so once again stage layout accordingly). It’s clean and precise, she’s also very skilled, but unfortunately doesn’t really show off at the end like Zephyr does. Cumulus plays some chords before the solo while Cirrus plays the synth fill.

Vocals are not my thing so I’m only going to say what most of us can hear; Terzo is very nasal, but cleaner, and sings a bit higher. Clear pronunciation, good flow. It’s closest to Tobias’ normal singing voice. Copia is even more nasal, more growly and raspy. They’re both, obviously, in the middle in case of mixing.

Backing vocals in 2017 are all play-back for obvious reasons—pretty simple, taken straight off of the album recording. It’s put on the left, but it could be more favorable in the middle. 2023 is way more spectacular thanks to—mainly—the backing vocals. They are 90% Aurora and Cumulus, with lower levels of Cirrus and barely anything of Swiss. He’s louder by the end. I’m still conflicted about the growls—if it is Swiss or Papa’s play-back—but it’s a great addition that was very mild in 2017’s play-back. The backing vocals are on the sides, accordingly to the stage layout. It all just adds more spice, I adore them.

Sound engineering and mixing is so much better in 2023. We can easily tie it to the budget (though I’d like to “blame” it on Hayden’s part in the engineering, he’s a mastermind, too). The sound is much clearer and fluid than in 2017, it highlights all the instruments perfectly at the same time. Mixing in 2017 is more blunt, it’s a bit duller and some changes in volumes and placements of instruments could—or even should—be made. It doesn’t mean 2017 sucks—far from it—it’s just a technical difference which actually warms my heart if we look at how far has Ghost come. So, once again, considering the budget in 2017 vs. 2023 it���s all understandable. Also the crowd sound control in 2023 is very fun; it makes a great use of all the yelling causing the whole song to sound warmer and fuller.

Both 2017 and 2023 are on the exact same tempo, they can be put over each other perfectly (which I did). They slide apart at the end and the break before the outro is longer in 2023. The 2023 outro itself is pretty boring in comparison to 2017, most likely because in 2023 it’s not a closing song. Below there’s both “Absolutions” over each other; 2023 in the left and 2017 in the right headphone.

[plantsjustwannahavefun]

I used to think that the reason I wasn't satisfied with Izzy's death was because I was too attached to his perspective as a character and couldn't focus on the big picture of the season and the main Gentlebeard relationship enough. I mean, I was still convinced that his death and the way it was carried out was a shit writing decision, but everyone else outside the Izzy Canyon circles seemed fine with it, so I was starting to think that maybe they were right.

So I looked back on the rest of the season and rewatched the finale... And realised something that I'd been trying to ignore because it was too painful to admit. A huge part of why Izzy's death hit so hard (in a bad way, not that delicious masochistic pain of having a beloved character die a good, narratively satisfying death) was because throughout this season he was the only character who actually had a satisfying arc and development. Practically no one else did. I didn't actually care for Gentlebeard this season, not the way I cared in S1. From episode 1 to 8 and a half, Izzy's arc was crafted with more care, kindness, subtlety and narrative weight than the main Gentlebeard arc which, in comparison, felt like a string of choppy beads badly tied together in an approximate shape of an arc, but collapsed as soon as you looked at it too closely.

Yes, we all know this season suffered for being 2 episodes too short, but I don't think that's all there is to it. This is starting to feel like GoT season 8 all over again. Would it have been better if it wasn't so rushed? Maybe. Or maybe it would have been even worse because this season just didn't seem to know what to do with itself or the characters. The themes and symbolism are all over the place and completely inconsistent. Ed and Stede's characters are practically back at the same place they left in S1. All they did was bounce off the walls back and forth with no real growth. As soon as they took a step towards fixing their relationship or growing as people, they either tool three steps back or it just got dropped. Stede letting fame get to his head? Interesting and realistic development. And how was it resolved? It wasn't. Stede and Ed being whim prone? I'm glad they brought it up. And then they just fell for another whim and it was presented as a satisfying ending.

Ed went from the Kraken, to taking the first steps towards being Ed, then suddenly all the way to being Ed by way of a Night of Magical Healing Sex that he he didn't actually want to happen because he wasn't ready. And then all of a sudden he pivoted to abandoning Stede and piracy and becoming a fisherman... for 5 min. And then back to Blackbeard again because two fishermen were mean to him for 5 minutes. And then abandoning it again to open an inn. How was any of this even remotely coherent or satisfying? They didn't even have a single conversation about any of it. Ed had more proper closure and communication with Izzy during his dying scene than with Stede and the rest of the crew put together. Izzy's arc got sacrificed to do the heavy lifting for Ed's arc and became nothing more than a shortcut to speed run his character growth. Except it didn't even lead anywhere. "Ed, they're your family, they love you" no they don't, he didn't even have a single positive conversation with any of them except Fang. Of course this could have been the point, and Ed could have seen Izzy's death, his own discovery of found family and his dying words as a pretext to repair his relationship with the crew. But he just left them and stayed with Stede instead.

Sure, you could say this was only the second act of the story, and S3 will resolve everything. But the second act is still meant to move the story and the characters forward in some way. Yes, of course if we get S3, I imagine Stede and Ed's life as innkeepers won't exactly be idyllic. But the problem is that the conflicts they'd have will only be a rehash and repeat of the same conflicts they've already have, or were supposed to have, this season. Multiple times, even. We already know that Ed is simply unable to live with himself no matter what life he chooses. The title of S1 was literally "wherever you go, there you are". We already know Stede's love isn't enough to fix him. We already know their goals in life are completely opposite. Maybe they could have shown Stede realising, after his humiliating in S7, that piracy wasn't all it was cracked up to be or he isn't suited for it, and that's why he chose to leave it behind and open an inn, but that's not the explanation we were given. It was just another whim. They literally didn't learn anything this season. They had two baby conversations in E4 and E5 and didn't take anything from it, just kept doing the complete opposite of anything. "We're both prone to whims, let's take things slow" became "let's take things extremely fast by moving in together permanently and becoming entrepreneurs". They never talked about the actual, deepseated, longstanding trauma issues they needed to resolve before they could even begin to have a proper relationship. They literally got a heavy-handed glimpse in what their life would become if they just stuck together without addressing their own personal issues, and chose to do that very thing. It that's what S3 is going to address, then why were Anne and Mary part of this season instead of the next one?

I remember everyone saying they wanted Ed and Stede to reunite as quickly as possible in S2, and I get why. They have great chemistry together. The season is about them. But for it to work, spending more time apart is exactly what they needed. They needed to learn how to live with themselves and others, first. Romantic love alone can't fix you as a person. You have to fix yourself first. Community can help (as with Izzy's case), but you still have to put in the work. In retrospect, I'm glad that Izzy didn't get a love interest this season - because he wasn't ready yet, and had to learn how to have normal relationships and friendships with other people before attempting an intimate romantic relationship, lest he ended up falling head first unit another toxic mutually dependent relationship. That's what Stede and Ed should have tried too. Instead the show just ended up using Izzy's death as a quick surgical fix, robbing Ed of his agency and having to do the hard work repairing himself and his relationships with other people. There's a sad irony in getting exactly one character's arc just this, and then using it as a sacrificial lamb to patch over the main character's arc.

[avariantflaire]

Why Levi and Petra?

Of course, upon general viewing of SNK and its characters, it's clear that they have established Erwin, Levi, and Hange as the leading trio of the Survey Corps. They represent this faction of the military and in interesting ways, mirror the main protagonists of the series.

While there is a lot to be said and appreciated about Levi's relationships with Erwin and Hange, I have come to find that the character who humanizes him is the lovely (albeit forgettable) Petra Ral.

Early in the series, we are introduced to Levi as Humanity's Strongest Soldier. Erwin makes use of his abilities in this sense, and Hange often relies on his strength in combat as well. That is not to say this is the extent of their relationships: we have Levi's iconic "Give up on your dreams and die" scene with Erwin (S3 E16) and the infamous "Maybe we should just live here [away from my responsibilities] together" request from Hange (S4.2 E8). However, something to note with both scenes is that while they give depth to Levi's relationship with both characters, he essentially serves to highlight others. In the former, Levi's response directly challenges Erwin's dream, and allows this commander a defining moment of growth. Similarly in the latter, Levi is used as a means for Hange to express and eventually overcome their fears and insecurities about the deal they've been dealt as the new Commander of the Survey Corps (which at the time was rapidly disbanding under the Jaegerist movement).

In other words, Levi is the "subplot character" to Erwin's and Hange's individual arcs. (According to John Truby, 'The subplot character… provides another opportunity to define the hero through comparison and advance the plot.')

Which begs the question… at what point in the series, if any, is Levi defined as a character in and of himself?

Two prominent scenes from season 1 come to mind, which are namely: 1) The dying soldier scene (S1 E9), and 2) Petra's conversation with Eren in headquarters (S1 E15).

In the first, Levi comforts a dying soldier and vows to carry on their will and exterminate all Titans. When the soldier passes before he can reply to Levi's words, Levi turns to his fellow soldier Petra and asks her if he was heard. Petra provides confirmation, emphasizing the peaceful expression on the soldier's face.

In the second, Petra confronts a gloomy-looking Eren, who has been tasked to clean headquarters along with the rest of the Special Operations Squad (aka the Levi Squad). She specifically points out how Levi is 'not the hero he's expected to be' in the sense that he has a terrible personality, though she does so while smiling almost fondly, as though it doesn't matter what his personality is because they can always put faith in him as their Captain. It seems she wants Eren to understand this - or a notion similar.

It is in both moments that we are able to clearly see Levi beyond being a powerful soldier. Always, he is a threat. When he enters the scene we expect the shift in the dynamic of the battle - we expect him to win. He's a trump card. Erwin's last words to him are an order (S3 E16), and Hange's last words about him is "he's [Armin's] underling now, so really put him to work" (S4.3.1). Levi acknowledges Erwin's and Hange's humanity, bolsters it even, with the conviction of "dedicating your heart". In SNK he is the symbolism, the embodiment, of a soldier. That's all he really ever gets to be. Even his softest moments with - heck, anyone in the series - are meant to deeply reflect on the guilt, the burden, the purpose of getting the job done. ("So… you're telling me… I've spent all this time and energy running around killing people?" (S2 E12) / "Just think, if your hands were still clean... Jean wouldn't be here right now." (S3 E2) / "If we just run away and keep on hiding, what will we have left?" (S4.2 E8))

But for those singular moments in season one, he's more than just the threat. We see him as a human not only with (personality) flaws, but also with dreams and convictions, tied so seamlessly with his comrades' cause that we are reminded painfully, at the end of the series, that it was Levi who carried them all to the end. Throughout the story we see Levi lament fallen soldiers; we are exposed to how much he empathizes with his comrades and their deaths, to the point where it can be said that no one keeps us more aware of the lives that have been lost throughout the show more than Levi himself.

In this manner, Petra was the subplot character to Levi's hero. She gave the audience a (subconscious) glimpse of the Humanity within "Humanity's Strongest" and built the bridge that would lead us to compelling and important revelations about Levi's thoughts and actions as the show progressed. It's Petra whom he finds tending to a dying soldier; Petra whom he asks for confirmation that the soldier heard; Petra who, against all expectation, asks Eren to see past the station, the status, the soldier, to the person himself.

"He's not quite the great, perfect hero society makes him out to be, huh? The real Captain Levi is shorter than you'd expect, temperamental, crude, and unsociable. (…) You thought that because he's skilled, he doesn’t have to follow the rules like everyone else?" (S1 E15)

It's even Petra who, despite her rank, asks Levi to step aside when Eren becomes a half-baked Titan. Here, Levi's robust intuition and split-second decision making skills are shown even away from the battlefield. It's Petra who leads the Special Operations Squad in their apology to Eren (S1E19 "Bite"), who first instills in us (narratively) the notion of trusting your fellow comrades. More specifically, she is who convinces Eren to place his life in their hands. It's this notion that Levi carries with him even until the final arc - "I've saved Eren countless times over - each time, more comrades dying. All because I believed he was the hope of humanity." (S4.1 E13) In the manga (Ch112), it's Petra we see at the forefront of this belief.

"Do you, Eren? Do you find it that hard to trust us?" It's Petra who dies, her words the final say in convincing Eren: "I believe my squad will be victorious." (S1 E21)

"It's like some awful joke," Levi reflects later on, as his comrades' dying hopes and dreams flash by in the canopy of the forest. "What the hell was the hope that we saw? Such bullshit. It's not even funny." (S4.1 E13) "We" here could definitely mean the soldiers who've given their hearts, but the metaphorical representative of this heart is Petra herself... "Eren! Trust us." (S1 E19)

And in the end, it's Petra in the forefront alongside Erwin and Hange, representative of her fellow soldiers, the one (experienced/veteran) Scout we've seen and interacted with in the entire series to have professed the values of hope, of trust, of belief, which is henceforth carried on by Levi himself, his own convictions, his own dreams. They are, in the entire series, the glimpse we get into the Scout Regiment beyond the series' titular character and his comrades in the 104th, and a thorough dive into what makes Levi Humanity's, not simply its strongest.

Her character song, "The Light of Dual Wings", can literally be taken as an allegory of the dreams the Scouts have entrusted to Levi. That's how prominent she is as a Scout; how coded her devotion to Levi is, whether interpreted platonically, romantically, or narratively, as the dedication of hearts.

So, yes, I love them together. I love their scenes, the implications of them narratively, the values Petra professes so effortlessly in the air, washed away by the higher tides of the Female Titan arc. I love that it's still Petra at the forefront, in all of Levi's reflections moving forward, because she is our first glimpse into Levi's character, the real him.

In the end this is just a ship post struggling to keep from delving too much into the symbolism of Levi and the Scouts (how Levi is the face of the Scouts more so than Erwin himself, really), the truest depiction of humanity's collective fight for freedom in this entire series. In his early days, Eren wanted to be a Scout, after all. It is Levi and Petra who push him forward into 'that hell' - for better and worse, respectively.