#kids will grow up inspired by this moral tale

[travelingtwentysomething]

You've met corporate greed.

Now meet-

⚖️Corporate Justice⚖️

💪❤️✨Luigi Mangione✨❤️🫶

[rawrsatthetree]

Idk how people can make dedicated content for their tav. I have a new Tav every month that I focus on and make a whole story for and ultimately drop for the next Tav to infect my mind.

Anyways my current Tav of the month is a human oath of devotion Paladin with an urchin background who’s an AU version of my dark urge where they aren’t a Bhaalspawn and got to grow up with their foster family instead.

Ala'onna (An Elven name that means keeper of harmony). 26 years old.

They were adopted by their dads, a 300 year old retired paladin dwarf and a 650 year old retired ranger elf, who run a bakery on the outskirts of Riften. They always dreamed of growing up to be an adventurer like their dads, inspired by their many bedtime tales. They spent their childhood running around the lower city and exploring the sewers getting into trouble while their Vul (dwarf dad) would sell baked goods from his cart. They got mixed up with some ruff kids and learned how to swindle and steal. One day a strange pale girl with even paler eyes joined their little group of would be thieves. Everything was fun and games until this strange girl killed one of their friends, pushing him from one of the high city walls and watching with glee as he splattered on the cobblestone below. They watched in anger as flaming fists just shrugged it off and refused to even acknowledge those most in need of protection. They vowed to work hard to become a real hero that would protect everyone who was in need, even those others deem unworthy of protection.

They were on their way back to the city after an adventure to check on their Vul and Ada when they got snatched up by the mindflayers.

When the party got to Baldur’s Gate they were super excited to introduce all the companions to their fathers however they had both decided come out of retirement and went off to fight the Absolute’s army.

They don’t recognize that the pale girl from their childhood was Orin but they do admit she seems hauntingly familiar. They were a bit too young to run around in the same circle as Karlach and a little too low-class to play with Wyll. They had bumped into Astarion before, on a night they were out far later than they were supposed to be, they were dared to pick pocket him since he looked wealthy and stupid. He frightened them off flashing his fangs and glowing red eyes threatening to drain them dry if they didn’t piss off. They refused to sleep alone for the next month waking up from nightmares of a vampire trying to bite them in their sleep. Astarion doesn't remember, but they do. They don't just recognize he's a vampire that night when he tried to bite them, but specifically the vampire that haunted their nightmares as a child.

They think they tread the line of an oath breaker but, for all their grey morality, they always stand up to evil. Even if their definition of evil is a little more fluid and grey. They try not to judge creatures based on what they are or people based on their background. "Stealing is ok, the real evil is the rich that let you starve"; "maybe goblins wouldn't be like that if people treated them with kindness and respect" that sort of thing. This does make them very naive, they're open mind getting in the way when they really shouldn't trust or give people a chance. They fight with themselves to see the good in the world, for them it's a choice they make, in spite of everything. They tend to shoulder too much, when bad things happen it's their fault. They should have been stronger, they should have been quicker, they should have known better.

They actually have a really low constitution for a paladin, it's only 11. Yes they still always use compel duel, yes they go down every other fight, yes Astarion is loosing his mind over his knight in shining armor with a death wish. They also have laughably low wisdom (8) and intelligence (9).

Growing up everyone thought they were actually half dwarf because they're 5'3" and kind of stocky. They're not really self conscious or anything, they know they're muscular (18 strength) and their chubbiness is just proof of being raised in a loving home with good food and lots of bread (their Vul taught them this).

They're Ada was a little more distant from them than their Vul that dotted on them constantly. Not that he didn't love them as much, but being 660 years old will make you a little distant or so their Vul told them. They wouldn't say they have daddy issues since their Vul is also their dad, more specifically they Elf daddy issues. They are embarrassingly desperate for attention and validation from specifically Elven men. Astarion is blissfully unaware of this, of course they want his approval that's what he's manipulating them for. Halsin however knows.

They're not fluent but they can speak and understand a bit of Elvish and Dwarfish as well as some thieves chant.

Their second highest stat is charisma and they love to sing. They swear they should have been a Bard but the schooling is much more expensive than some starter armor, a sword, and an oath.

[mdhwrites]

Here's a question I'm surprised I haven't put to you before, given how many times I've mulled it over: what do you make of "The Magic Goes Away" trope?

On paper, it's a simple thing: the magic/technology/miracle whatever that enabled fantastical things to happen (granting characters superpowers, interdimensional travel, etc) disappears by the end of the story, leaving the characters to navigate a world without it.

What's given me a lot of thought about the trope recently is the way it's often portrayed/interpreted as a metaphor for growing up. I'm kind of a sucker for metaphorical storytelling, albeit when it's subtle, very well done, or both. So I like it when the "magic" represents something bigger than itself and its departure conveys a lesson true to real life. But some argue the trope can be (unintentionally) needlessly depressing, implying that becoming an adult means you have to cast aside wonder and imagination to live in the "real world."

Any thoughts?

So the problem with the argument people make of having to abandon whimsy is that it implies an all or nothing mentality with this trope when the point is more often more nuanced than that. Because yes, the trope does say that you need to come back to reality eventually. That for as grand and whimsical as the fantasy is, the world you need to be prepared for is, you know, real.

But that doesn't mean those lessons or the impact of the magic is gone, does it?

For me, stories like this are analogous to cartoons and fairy tales in reality. Those stories which shape us, that help the world feel so big and special, and that teach us lessons that for many eventually feel quaint or too small or not close enough to the reality which we live in. After all, a kid needs dragons to understand the hugeness of reality. All an adult needs is one quick look at the trending topics on Twitter. It can be hard as an adult for many of us to look at these simple resolutions or the promise that magic can fix all of our problems when you are constantly worn down by the endless grind that is adulting.

However... Who are the common villains in stories like these? They're usually the most adult character in the room. Not the most mature, the most adult. The one who sees the world as cruel, evil and crushing all that is good. They may literally be someone who is hunting the magic, thus forcing it to leave so that it may be safe instead of exploited. These people have no morals, no ethics no consideration for others. They have no lessons to teach except those taught to them by the cruelty of the adult world...

Because they forgot the lessons they learned as a child. Because rather than inspired to be better, having been forged in pixie dust to whether the storm of life, they broke and had to pick themselves back up to face a harsh reality. Honestly, a lot of these characters have pretty sympathetic backstories for this reason. Meet the Robinsons isn't technically in this genre of fiction but the villain is. They were someone who rejected the kindness and compassion of the world and sank deeper and deeper into their misery and contempt for others. This even manifests, as it does for villains of this story who are hunting a past no longer theirs, as a need for those nostalgic elements. He lives in his old orphanage, he wears his old clothes. He has not grown up because while having become cruel, he has not recognized the actual complexity of the world. He treats adult life with the same simplicity a child does.

The kid in these stories contrasts this by not being selfish. Not being desperate for the warm blanket of better times and simple answers. They instead take what they have learned and stride forward, ready to face the world and the magic of its complexity thanks to the strength and lessons that the fantasy taught them. They do not cling to the fantasy or wish to destroy/exploit it.

This can easily be applied to Amphibia's ending. Instead of the girls breaking from losing their access to these people who changed and shaped them, those memories still exist and instead EMPOWER them. It led Anne to a career that she'd never have considered, especially since at the beginning of the series she didn't have any career aspirations. A frog that looks like Sprig doesn't make her cry, it makes her smile. It warms her heart because you don't have to discard the world entirely just because it's not there anymore. It still is, because it's in your heart, like most magic. Like that which touches us deepest and shapes who we are.

So hold on loosely, but don't let go. See you next tale.

======+++++======

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[earth-1218designate]

Planet of The Apes: Visionaires #CVReview

Never liked Planet of The Apes. Always slept through every single one of the films : from Heston joints my momz put me on as a kid through VHS, to the Tim Burton joint that was always on FOX during the Pagan holiday season, all the way to today when I used my cinema subscription earlier this summer season to charge my phone while the latest "Apes" movie was running in the background, sounding a lot like another shitty FOX franchise in "Avatar".

Growing up in the 2000's, Rod Serling was a household name since my mom was a fucking Boomer. I know "Twilight Zone" plots like the back of my hand, but prefer "The Night Gallery".

I read "20th Century Fox Uncovered" 's "Alien" a few years ago so once I saw that on the banner and Serling's name, I made the effort to finally get through a "Planet of The Apes" story.

This page-turner was worth my time. Serling's script was inspired by the fear of nuclear annihilation, palpable when living in humanity post Hiroshima to today. Xenophobia is discussed, prejudice, subjugation all with lines about propsed barbarity that could be paraphrased by Bobby "The Brain" Heenan back when he was running a stable.

I read that Helena Bonham Carter was in the Burton joint after checking out an anniversary edit of "Coraline" yesterday -

that was definitely an inspiration to pick up this read.

Now after checking out Gould's adpatation of Serling's work, I can put to bed what "Planet of The Apes" is about - without suffering through some "epic" three hour film from the lens of director after director through the decades who do not understand how to simplify this story to the degree that Serling did that could fill up a hundred plus pages or a thirty minute T.V. slot.

*Also after seeing Chad Lewis' art, monkey bars should definitely be used in place of crosswalks worldwide !

**

Plus that last scene with the Statue of Liberty. As a person who's become so disillsuioned with my European country of origin that I have purchased a ticket to get out of State(side) by the winter season of this year, I can empathize with the protagonist of the notion of having "nowhere to go".

A man out of time: It seems as if with the generation I was raised in (2000s) with parents who were born in the 1960's, I can empathize with the feeling of waking up after cryogenic sleep as I stumble around the 2020's. My morals and taste's definitely differ from other Zennials.

A man out of land: To see that Statue of Liberty, what it now represents - a safe haven to illegal migrants and other ethnic cultures not of my own to be strategetically placed ahead of me in my native country of origin, I can understand the need to throw in the towel as the protagonist does at the end of Sterling's tale.

[straightfacedstrangeness]

Ideas for a less #Problematic Charlie & The Chocolate Factory

Inspired by thoughts about the differences between the book and two movies (dunno anything about the stage plays) and the current scandal about a publisher heavily revising Dahl's books.

Disclaimer that my feelings are mixed on the topic of revision without an author's consent and I won't go into that here. These are ideas that would apply to a hypothetical adaptation rather than changing the text of the original book. Mostly just having a bit of fun.

Oompa-Loompas: Once the thought occurred to me I was stunned that this hasn't come up in any of the adaptations (that I know of), but since they're already described as being improbably small, sing songs, and delight in the misfortune of others, they should probably just explicitly be Fey Folk rather than indigenous foreign humans smuggled to England in boxes. They come to Wonka asking for jobs rather than vice-versa, and they provide the practical know-how and/or magic to make Wonka's fantastical ideas real. Bonus meta-joke points if "Oompa-Loompa" isn't the name of their people but the acronym of their labor union.

The Kids: The story is structured as a moral tale where naughty children are punished, but as has been often criticized or joked about, a lot of the punishments seem disproportionate to their crime. So this section will take a lot of cues from the Tim Burton movie where the kids are more despicable and the parents' treatment of them is highlighted. For full moral tale impact, the kids learn a lesson and change from their experience, and Wonka as their judgmental god (or Charlie as Wonka's successor) rewards them for changing.

Augustus Gloop: Focus on his unhealthy diet rather than his size. His parents are too busy or lazy to cook and only feed him junk food and takeout. When they're leaving the factory, his parent insists that they go back and demand the lifetime supply of candy they were promised, but Augustus groans that he never wants to taste chocolate again. He's so traumatized by half-drowning in chocolate that he can't stand the taste of sugar and therefore can't eat anything his parents used to serve him. They're forced to take up cooking and find that they enjoy it since Augustus is such an appreciative audience. He grows up to be a cook himself and partners with Wonka to make a line of ultra-healthy candies.

Violet Beauregarde: Like the 2005 version, she's ultra-competitive with parents who push her to win at everything she does, reveling in the fame she gets. She insists on being the first into the factory, and she has the line (rather than her parent) about being the first person to eat a chewing-gum meal. When they leave the factory after her juicing, her parent is frustrated but remarks that at least she'll still have time to make it to one of her dozens of lessons/practices/rehearsals. Violet refuses, saying she feels "drained" and just wants to go home to take a nap. As Violet remains blue, the whole family finds they hate the unrelenting 24/7 attention from paparazzi and passersby taunting the blueberry girl who got kicked out of Wonka's factory. They stop seeking the spotlight and instead go into hiding. When Wonka develops a cure, he gives it to them along with the resources they need to live incognito far away, where they find they quite enjoy the quiet lifestyle of an unremarkable, ordinary family.

Veruca Salt: As in every version, a selfish entitled girl whose rich parents give her everything she wants. When they leave the factory covered in garbage Veruca berates her parent for letting her go after the squirrel, "if you REALLY loved me you'd have STOPPED me." Her shame and garbage chute trauma lead into a tantrum when she gets home where she can't stand the sight of any of the things she'd demanded from her parents and starts throwing them all away. Someone sees her do it, asks for something, and Veruca pushes it on them in disgust, but their gratitude makes Veruca realize she prefers being liked over being feared, and she grows to be incredibly generous. (She also convinces her parents to pay a settlement rather than fight the charges when they get into trouble for diverting their entire workforce to unwrapping candy bars for their daughter.) Wonka helps her set up a charity to provide for the less fortunate.

Mike Teavee: Emphasize that he's obsessed with TV to the exclusion of everything else. His parents neglect him, just plopping him in front of the TV instead of playing or talking with him, so he's completely sedentary and has no social skills. He rushes into Wonkavision not to experience teleportation, but to be inside his beloved TV. After the taffy-puller overstretches him to a ridiculous height, play off the book line about how basketball teams will want him and he gets recruited to one. This gets him out of the house and exercising and socializing, and taking him to games makes his parents more involved in his life. He appears in TV ads for Wonka taffy encouraging kids to go outside and play.

Etc: This part is more of a ramble than a pitch, haha. No particular thoughts on Wonka, Charlie, or the other Buckets since I find all interpretations interesting and valid:

Book Wonka as a grown-up kid looking for a kid who understands him (though the morality tale aspect emphasizes a "well-behaved" kid who won't get into trouble, and indicates an "obedient" kid who will follow Wonka's methods without questioning or altering them);

1970s Wonka as a lying trickster who's been betrayed and is looking for someone honest that he can trust, and who will trust him (Charlie taking the Wonkavision bar when asked VS Mike refusing to try since he's sure it's impossible);

2005 Wonka as an antisocial loner who learns to care about others through Charlie's love and empathy (aside from the obvious scenes of Charlie valuing his family, he's constantly asking Wonka questions about himself, caring about Wonka as a person rather than focusing on the factory like everyone else).

Apparently some stage versions have Wonka living in disguise as the candy man at Charlie's local shop, and deliberately slipping Charlie the Golden Ticket, which is interesting but definitely makes him more conniving and less whimsical VS the other versions leaving his search for an heir completely up to chance. Then again it's pretty conniving to announce the Golden Ticket competition and send your sales skyrocketing as the whole world searches for em, haha.

The 1970s version eliminating Charlie's father to put the pressure on Mom and Charlie to take care of the whole family, and to present Wonka as a replacement father figure, is dramatic and fun, and I also love the 2005 version's arc of Mr. Bucket being replaced by a robot at the toothpaste factory (toothpaste sales skyrocketing along with Wonka candy sales) only to be hired back to repair said robot, getting the family out of trouble without needing Wonka's help.

TL;DR I'm thinking too hard about Chocolate Factory and my only solid conclusions are that the kids could better deserve and be changed by their fates, and all Wonkas are valid

[canmom]

Animation Night 138: Del Toro’s Pinocchio

Happy almost-new Gregorian year everyone!

No huge introduction tonight since it is late and I imagine Guillermo del Toro needs little introduction in these parts, and for biography, I would be paraphrasing Wikipedia’s quite thorough article. I also have seen fewer films of his than I’d like, so I could give you only broad strokes: he has a deep and very genuine enthusiasm for gothic horror monsters and comics, he likes to tell metaphorical stories about fascism framed through fairy tales, he’s really big on body horror.

Here’s the really condensed version. del Toro got his start on horror movies, made his name on comic book movies Blade II and Hellboy 1 and 2, helping to revive the genre, and through that he got enough clout to increasingly do original films like El laberinto del fauno (Pan’s Labyrinth) and The Shape of Water which fit the del Toro ‘sympathetic or alien monsters contrasted against fascism’ template, Pan’s Labyrinth especially being the iconic del Toro movie; two gothic horror type movies Crimson Peak and Nightmare Alley; and odd duck Pacific Rim, a gleefully silly spin on mech anime. And I’m a little embarassed to say that I’ve only seen Pan and Rim. I’d rather wait to say more until I’ve filled in the rest.

But I will briefly talk about animation, since it’s Animation Night! Although he began as an eight-year-old with a Super 8 camera, Del Toro was interested in using animation from very early on, originally planning to create his first feature film Cronos as a stop motion film until his studio was robbed. He worked for a long time in special effects makeup, and most of his films have had an animation component, often blended with practical effects. With Hellboy, del Toro deep inspiration from Ray Harryhausen’s stop-motion, and asked Tippett Studio (the studio founded by Phil Tippett of Mad God) to make the miniatures and puppets, but I’m not sure if he used stop motion there. Pan���s Labyrinth using elaborate animatronics, The Shape of Water touching up a suit with CGI. Pacific Rim mostly shot its action scenes in CG at ILM, with Del Toro asking them to use a saturated colour and draw inspiration from Hokusai(!) in the wave effects.

Oddly enough, Pinocchio is not the first time del Toro has made a fully animated something. That is actually a series of CG TV shows animated by Dreamworks, the Tales of Arcadia series. It begins with the urban fantasy Trollhunters (not to be confused with the Norwegian fantasy mockumentary), followed by the sci-fi fish-out-of-water 3Below and time-travel Arthurian isekai Wizards (not to be confused with the Bakshi film).

Del Toro is credited as the ‘creator’ on all three series, which turns out to mean he originally planned it as a live-action TV show, which he turned into a book - a book which got picked up for a film by Dreamworks, and then finally evolved into a TV series. I’ll admit, I haven’t really looked into this much more than that, but it’s apparently scooped up a lot of praise and many awards.

OK, so, enough preamble, Pinocchio then. It’s a famous novel from 1883 by Italian writer Carlo Collodi. I suspect you know how it goes, at least in the broad strokes: puppetmaker Gepetto creates a living puppet, but he wants to be a real human boy; he becomes a serious troublemaker, and gets cursed for it, famously with a nose that grows whenever he tells a lie. Like most novels of the time, The Adventures of Pinocchio was first serialised in a weekly magazine, before getting compiled into a massive volume compiling all of Pinocchio’s many misadventures. (I think it’s interesting how serial fiction is making a big comeback lately, but more on that elsewhere.) In the first part of the serialisation, it ends with... Pinocchio getting executed by hanging, I’m not even kidding, it was supposed to be a ‘be moral’ tragedy. However, if I’m reading the summaries right, Collodi decided to retcon this and serialise it into something longer.

There’s a lot of Pinocchio-related things coming out right now. Disney are continuing their pattern of tedious expensive CGI remakes of their early traditionally animated movies, there’s an upcoming Souls-like game Lies of P, and there’s even a Russian animated film Pinocchio: The True Story. I couldn’t begin to tell you what kicked off this Pinocchio fever, since the book has been in the US public domain since 1940 - not coincidentally when Disney’s first adaptation came out. I was a little tempted, not gonna lie, to do a night where we watch all of them, but I don’t think I could sit through that lmao.

I showed Disney’s original Pinocchio on Animation Night before. By virtue of its position in history, and the ludicrously complex animation, it has positioned itself as the definitive filmed Pinocchio - the one that all subsequent adaptations must in some way respond to. For more on that, read Animation Night 84: The Walter Dismey.

Funnily enough I actually I fell asleep during that one (I was very tired that day and in a very cosy place...), so I’m actually going to watch it again. It is relevant, because that Disney film was part of del Toro’s inspiration. He set out to make his Pinocchio as far back as 2008, describing it as a lifelong passion project, and that he appreciated what he called horror-movie like aspects of the original as well as the traditional animation. Wanting to set his one apart, del Toro stumbled on the designs of illustrator Gris Grimley, and hired him. Along with Grimley, he found a co-director in Mark Gustafson, a stop motion animator who’d worked with Wes Anderson on Fantastic Mister Fox and evidently had some experience with working with normally live-action directors. Later cam art director Curt Enderle from Laika and usual collaborator del Toro Guy Davis to design characters; the models were built over here by a specialist company called Mackinnon & Saunders. For more see here.

One of the things that interests me reading about it is that the animation is described as being very naturalistic, with a lot of attention paid to blinking, shifts of gaze, and that kind of thing. That sounds like a fascinating angle to bring to stop motion, and I hope I’ll have the energy to write about it after the film. Narratively, I’ve avoided learning too many spoilers, but I know it involves an ‘Italian youth training camp’ so I think I can guess how that’s going to play given del Toro’s usual themes. But we’ll see! I’m told there might even be songs.

I think that’s all I want to write tonight. So here’s the plan! We’ll take another, more wakeful go around OG Disney Pinocchio (1940), and then dive into the exciting new flavour of anti-fascist stop motion Pinocchio (2022).

Animation Night will go live now at twitch.tv/canmom, we’ll begin the movies in about half an hour at 20:40 or local equivalent. Would love to see you there!!

[kidzncrew]

The Magic of Kidz Hindi Story: Enriching Young Minds

Children's literature has the power to shape young minds and cultivate a love for reading that lasts a lifetime. Among the many genres, Kidz Hindi Story holds a unique place, weaving rich narratives that are deeply rooted in Indian culture and values.

These stories captivate children with their vibrant characters and timeless lessons, making them an integral part of growing up.

For parents and educators looking to introduce children to the world of engaging and meaningful stories, Hindi Stories for Kids provide a wonderful resource. They are crafted to entertain, educate, and inspire children, offering a blend of traditional wisdom and modern storytelling.

The Significance of Kidz Hindi Story

Kidz Hindi Story is more than just a form of entertainment; it plays a pivotal role in a child’s development. These stories introduce children to the rich tapestry of Indian culture, tradition, and values, fostering a deep sense of identity and belonging. They are designed to capture the imagination of young minds, often featuring colorful characters, engaging plots, and moral lessons that resonate deeply.

Traditional and Modern Kidz Hindi Story

The world of Kidz Hindi Story is vast and diverse, spanning ancient folklore, classic literature, and contemporary tales. From the timeless wisdom of the "Panchatantra" and the witty tales of "Akbar and Birbal" to modern adaptations that address contemporary themes, these stories have evolved to stay relevant and appealing to today's children.

Themes and Characters in Kidz Hindi Story

The themes explored in Kidz Hindi Story are universal, ranging from bravery and friendship to honesty and perseverance. Characters like the clever Tenali Raman, the wise Birbal, and mythical figures such as Hanuman and Krishna are adored by children for their courage, intelligence, and moral integrity. These characters not only entertain but also serve as role models, imparting valuable life lessons in an engaging manner.

Finding and Enjoying Kidz Hindi Story

For those seeking to delve into Kidz Hindi Story, there are a plethora of resources available. Websites like KidzNCrew.com curate some of the finest tales, making them easily accessible and enjoyable for young readers. These stories are available in various formats, including printed books, audio stories, and animated videos, catering to different learning styles and preferences.

Akbar and Birbal Stories: Wisdom and Humor Combined

No collection of Kidz Hindi Story is complete without the inclusion of the tales of Akbar and Birbal. These stories, deeply embedded in Mughal history, highlight the cleverness and humor of Birbal, the trusted advisor of Emperor Akbar. Their adventures are not only entertaining but also rich in wit and wisdom. Akbar and Birbal Stories continue to be a favorite among both children and adults, offering timeless lessons through engaging storytelling.

Conclusion

In essence, Kidz Hindi Story is a treasure trove of cultural heritage and moral teachings, presented through captivating narratives that children adore. These stories not only provide entertainment but also play a crucial role in a child's cognitive and emotional development. Whether rooted in ancient folklore or adapted for contemporary audiences, Kidz Hindi Story remains a vital tool for nurturing young minds and fostering a lifelong love for literature and learning.

[indomoraltales123]

Exploring Under the Sea: Ocean Facts for Kids - Indo Moral Tales

Diving into the vast depths of the ocean is like entering a whole new world filled with wonder and mystery. From colorful coral reefs to the creatures that call the ocean home, there's so much to explore beneath the waves. So, grab your snorkel and let's dive into some fascinating ocean facts that will spark the curiosity of young minds!

The Blue Whale: The Ocean Giant: Did you know that the blue whale is the largest animal on the planet? These magnificent creatures can grow up to 100 feet long and weigh as much as 200 tons! That's equivalent to about 33 elephants!

The Great Barrier Reef: Nature's Masterpiece: The Great Barrier Reef, the world's largest coral reef system, stretches more than 1,400 miles along Australia's coast. It's so massive that views of it from space are possible! Thousands of different species of fish, turtles, and other marine animals can be found in this underwater paradise.

The Mysterious Anglerfish: Imagine a fish with a built-in fishing rod! The anglerfish, found in the deepest parts of the ocean, has a bioluminescent lure that dangles in front of its mouth to attract prey. Talk about a clever hunter!

The Sunlit Zone: Where Life Thrives: The top layer of the ocean, known as the sunlit zone, is where most marine life resides. Here, sunlight penetrates the water, allowing colorful coral reefs to flourish and providing energy for photosynthesis to occur.

The Ocean's Heartbeat: Currents: Just like our circulatory system, the ocean has its own "heartbeat" in the form of currents. These powerful flows of water help regulate Earth's climate and transport nutrients and heat around the globe.

The Mighty Octopus: Master of Disguise: Octopuses are not only incredibly intelligent creatures but also masters of disguise. With the ability to change both their color and texture, they can blend seamlessly into their surroundings, making them skilled hunters and expert escape artists!

The Deep Sea: Earth's Final Frontier: Much of the ocean remains unexplored, especially the deep sea, which extends thousands of meters below the surface. Who knows what enigmatic beings might be hiding in the abyss's shadows?

The Importance of Ocean Conservation: As fascinating as the ocean may be, it's also incredibly fragile. The marine environments and the animals that depend on them are under threat from pollution, overfishing, and climate change. It is our responsibility to safeguard the health of our oceans for upcoming generations.

The Wonders of Bioluminescence: Have you ever seen the ocean glow at night? That's because bioluminescent creatures—like jellyfish and plankton—manufacture light by means of a chemical reaction. It's nature's very own light show!

The Power of Exploration: The ocean is a vast playground waiting to be discovered. By learning about its wonders and mysteries, we can inspire future generations to explore, protect, and appreciate the beauty of our blue planet.

So, pause to appreciate the astounding diversity and beauty of the ocean, whether you're snorkeling in a tropical paradise or just staring at a fish tank. Who knows what amazing discoveries lie beneath the waves? Let your imagination soar as you embark on your own underwater adventure!

[pakkiyick]

Charlie and the Chocolate Factory

Crowned as one of the greatest storytellers for kids of the 20th century, Roald Dahl was a world-renowned British author of novels on children's literature. Reading the masterpieces of Dahl is like experiencing a fairytale-like adventure. By the end of the adventurous journey, readers would learn a treasurable moral lesson from this insightful novelist.Among all the masterworks ofthis talented writer, Charlie and the Chocolate Factoryis undeniably the magnum opus of his entire collection.

Born in a poverty-stricken family, an eleven-year-old boy named Charlie Bucket was struggling in a rotten shack with his parents as well as his paternal and maternal grandparents. Charlie’s father was the only breadwinner of the family, but his small paycheck was only barely enough to make both ends meet. The whole family were all freezing under a cold weather without adequate food to eat except a limited amount of soup with cabbages. Just like any other youngers in the city, the little Charlie was indulged in eating confectionery. Poor as he was, Charlie was fortunate enough to have a tiny bar of chocolate once a year on his birthday.

As a legendary chocolate manufacturer and triumphant entrepreneur, the elusive Willy Wonka owned the largest chocolate factory in history. In order to select a successor for his business, he published an advertisement in the newspaper declaring that if anyone could find one of the five Golden Tickets embedded in random chocolate bars, they would be allowed to take a mystical tour of the awe-inspiring candy factory and earn a lifetime supply of sweets. Charlie propitiously found the last Golden Ticket of the five. Alongside the other four spoiled kids from different parts of the world, Charlie was granted an access to the far-famed chocolate factory with his frail grandfather.

During their tour, all the children were mesmerized by all kinds of wonders and unconventional inventions, including a compelling chocolate waterfall, a three-course bubblegum, a workforce of nut-testing squirrels as well as a state-of-the-art teleportation device. Except for Charlie, the other four brats gave into their impetuous impulses and continuously ignored Mr. Wonka’s kindly advice, resulting in irreversible punishments for the rest of their lives. In contrast to the other urchins, Charlie conducted himself with obedience and respect throughout the visit, deeply impressing the factory owner. Finally, Wonka entrusted the kind-hearted Charlie to be the heir of his enterprise and invited all his family to live in the chocolate factory.

Growing up as an underprivileged kid, Charlie lost at the starting line from birth. But in the end, his kindness and selfless let him win the ownership of the flamboyant factory and take his family out of poverty. The young Charlie was a role model of what a good child should be. Although Charlie was widely regarded as the protagonist of the tale, Willy Wonka was the true leading character of the story.

Wonka was a whimsical chocolate maker who owned a colossal chocolate factory in the city. Described as a quirky businessman with peculiar personalities, Wonka was a sagacious capitalist with vision and passion. He was intelligent enough to invent a variety range of confectionery products which were sold like hot cakes in the market. Also, he was brave enough to explore an unknown frontier, Loompa Land, and hired the mysterious dwarfs named Oompa Loompas to help him run the business. Most importantly, Wonka orchestrated an outlandish tour to help him find the most qualified inheritor to inherit his legacy of creating enchanting candies.

Though written sixty years ago, Charlie and the Chocolate Factory is still unquestionably one of the most influential adolescent fiction books in history. The story has been adapted into movies several times over the years, and now it has got a prequel film delving into the origins of the eccentric chocolatier Willy Wonka and his bizarre chocolate factory. The movie “Wonka” has been released in Hong Kong on December 7th, 2023. May everyone enjoy the fantastic timeless tale of Willy Wonka during this Christmas.

[kiddiechills]

Shrarti Bachu aur Jin Ki Kahani | शरारती बच्चों और जिन्न की कहानी | Hindi Kahaniya | Horror Stories

In the kaleidoscopic world of childhood, where innocence dances hand in hand with imagination, kids' stories serve as the vibrant brushstrokes that paint the canvas of early memories. From the worn pages of well-loved picture books to the digital landscapes of animated tales, children's stories hold an enduring charm that transcends generations. Join us on a journey into the heart of this magical realm, exploring why kids' stories are not just narratives but the very fabric of a child's formative years.

1. The Gateway to Imagination:

Children's stories are the keys to unlock the doors of imagination. Through the pages of a book or the pixels of a screen, young minds are transported to worlds where pigs build houses of straw, cats wear boots, and giants live atop beanstalks. These tales are the architects of dreams, inviting children to envision the extraordinary, encouraging creativity, and nurturing the boundless landscapes of their imagination.

2. Lessons Wrapped in Wonder:

Beyond the whimsy, kids' stories often carry nuggets of wisdom tucked within their narratives. Fairy tales like "Cinderella" and "Little Red Riding Hood" are not merely stories of castles and wolves; they are parables teaching resilience, caution, and the triumph of good over evil. In a world woven with morals, children learn values that become guiding stars as they navigate the complexities of growing up.

3. Emotional Intelligence Unveiled:

Children's stories are emotional tapestries that help weave the intricate threads of emotional intelligence. As characters grapple with joy, fear, friendship, and triumph, young readers learn to identify and understand a spectrum of emotions. The empathetic connection formed with characters fosters emotional literacy, a skill set that equips children with the tools to navigate their feelings and relate to the experiences of others.

4. Language Blossoms:

The rhythmic cadence of rhymes, the playful banter of characters, and the vivid descriptions within kids' stories make them fertile grounds for linguistic growth. From the first encounters with the alphabet in picture books to the more complex structures of chapter books, children's stories are linguistic playgrounds where language blossoms. Reading aloud or being read to not only builds vocabulary but also ignites a lifelong love affair with the written word.

5. Bonding Through Narratives:

The shared act of storytelling is more than a journey through plots and characters; it's a bridge between generations and a bond that withstands time. Bedtime stories whispered by parents, animated tales shared by teachers, or the excitement of a first solo read — these moments become not just chapters in a book but cherished memories that form the foundation of family bonds and societal connections.

Conclusion:

In the enchanting world of kids' stories, the magic isn't confined to the realms of fiction; it permeates the very essence of childhood. These narratives are not just tales; they are companions in the journey of growing up, guiding, comforting, and inspiring. As we celebrate the enduring charm of kids' stories, let us acknowledge their role as the custodians of imagination, wisdom, and the precious moments that shape the tapestry of a child's early years. After all, every child's story begins with the words, "Once upon a time..." and within those tales, the magic of childhood unfolds.

[reelrevelations]

Unveiling the Depths of God's Love: A Journey Through The Chronicles of Narnia

In a world often filled with chaos and uncertainty, there is a profound need for love, compassion, and hope and in my search for my passion, I have been continuously led back to the word LOVE. I feel his hand guiding me toward being a vessel of His love, reaching out to uplift, encourage, and bring healing to the lives of others. Guided by this timeless biblical verse, I am compelled to share the transformative power of God's love with the world. "A new command I give you: Love one another. As I have loved you, so you must love one another." - John 13:34 (NIV). As a person who loves writing and feels a connection to fictional worlds and characters, I am often led to make comparisons of my faith to those fictional worlds and characters. This has been a skill I’ve really developed and used when working with kids because they often view the world through a comparison.

In the realm of literature, there are few narratives that I believe capture the essence of divine love as powerfully as C.S. Lewis' renowned series, The Chronicles of Narnia. Growing up, these books were my bedtime stories and birthday party themes. I distinctly remember going to see the third movie in theaters and how excited I was that the mall had made their greeting Santa area Narnia themed. 

C.S. Lewis is widely regarded as one of the most influential Christian writers of the 20th century. His journey with Christianity is a captivating narrative of intellectual exploration, deep introspection, and profound spiritual transformation. From his initial skepticism to his eventual conversion, Lewis's path to embracing Christianity illuminates the power of reason, imagination, and the pursuit of truth. While I could write a full breakdown of his journey to finding God, that’s not the goal of today’s blog entry.

Drawing inspiration from the Christian faith, Lewis weaves together a tapestry of fantastical adventures, moral dilemmas, and the undeniable presence of a divine being. As we delve into the enchanting world of Narnia, we discover echoes of God's boundless love for humanity, leading us to ponder the profound question: What can we learn about God's love through The Chronicles of Narnia?

The Chronicles of Narnia, with its vivid imagery and allegorical nature, reveals the multifaceted aspects of God's love, reminding us of the sacrificial nature of divine affection. Just as Aslan, the majestic lion and central character in the series, willingly lays down his life to save others, God's love is exemplified through the ultimate sacrifice of Jesus Christ. The parallel is undeniable, and it invites us to reflect on the depth of love that God has for humanity.

Throughout the series, we witness instances where characters in Narnia make mistakes, betray one another, or fall into despair. However, Aslan's unwavering love persists, offering redemption and the opportunity for transformation. In a similar way, God's love surpasses our shortcomings, our failures, and our sins. No matter how far we may have strayed, His love reaches out to embrace us, offering forgiveness, healing, and restoration.

The Chronicles of Narnia resonates with readers on a personal level, allowing us to perceive God's love in a tangible and relatable manner. As we immerse ourselves in the enchanting tale, we may uncover valuable lessons and applications for our own lives.

One significant personal application that I have drawn from this exploration is the call to extend God's love to others. Aslan's love for the characters in Narnia transcends boundaries and differences, emphasizing the importance of loving one another unconditionally. Similarly, we are called to mirror this divine love in our relationships, reaching out to those who are hurting, marginalized, or in need of compassion. The Chronicles of Narnia serves as a poignant reminder that through acts of kindness, empathy, and forgiveness, we can manifest God's love and transform lives.

The Chronicles of Narnia acts as a captivating portal through which we can glimpse the profound depths of God's love. C.S. Lewis masterfully intertwines elements of fantasy and spirituality, inviting readers to embark on a journey that reveals divine truths. From the sacrificial love demonstrated by Aslan to the transformative power of forgiveness, this literary masterpiece presents a vivid tapestry of God's love in action.

As we close the book on our journey through Narnia, many people have resonated with the relatable characteristics of the characters brought to life by Lewis. Whether you feel seen by the writings of Peter’s pride, Susan’s unwavering need for things to be logical, Edmund’s jealousy of his siblings' seemingly unwavering faith, or Lucy’s feelings of being unseen or unheard, we can carry the lessons we learn from these characters and embrace God's unwavering love in our own lives. Just as the characters in The Chronicles of Narnia are forever changed by encountering Aslan's love, may we also be transformed by the overwhelming, boundless love of God.

[ladyloveandjustice]

My Favorite Books I Read In 2020

I read about 30 print books in 2020 (you can see them all here) (a LOT of light novels...needed that escapism) and I really liked most of them! I discovered a few gems I’d like to talk about here. From cats to Greek mythology to fantasy-horror-yuri, we’ve got a nice range!

The Travelling Cat Chronicles by Hiro Arikawa

Nothing beats a good snarky cat voice. The Travelling Cat Chronicles follows the journey of Nana the cat as he goes on a road trip with his owner Satoru and meets many of his owner’s old friends. We learn a lot about Nana and Satoru’s pasts along the way and bit by bit, the mysterious purpose of their journey becomes clear.

This book shows how a strong narrative voice can take a reading experience to the next level. Nana’s narration is acerbic, lively,  and just plain fun to read. Again, a pitch perfect kitty cat. The tale is also tearjerker and had me bawling like a baby, but they were good, cathartic tears that come from reading a story  that touches on the tragic aspects of life as well as the beautiful ones, helping one come to terms with how bittersweet but meaningful our experiences can be. Nana and his owner encounter many people struggling to find happiness and love along their way and each tale is touching without ever crossing into cloying sentimentality. I definitely strongly recommend this one, for both cat lovers and lovers of a solid, sweet stories.

Circe and The Song of Achilles by Madeline Miller

I really enjoy how bizarre and messy and sprawling Greek mythology is and Madeline Miller doesn’t shy away from that weirdness, instead fully embracing it while giving strong reinterpretations of classic characters and allowing for resonant emotional journeys.

Circe follows the titular witch, who has long been used as an expression of men’s fears and anxieties about women in power, and tells “her side of the story”. Miller has a vivid, lyrical narrative style that really carries her big ideas well. She does a great job communicating Circe’s emotional torment as a lesser goddess growing up among the petty and ruthless gods of Mount Olympus, and how she understandably develops a fascination with humanity. Yet even among mortals Circe doesn’t have it easy, as often mortal men, they devalue her for being woman before recognizing her power. Circe is a compelling, layered character throughout, making many mistakes along the way as discovers her own power and struggles to find her place among the world of gods and humans. Her journey and the journeys of those around her are rife with tragedy, much like the Greek myths that inspired this novel (and BOY does Miller manage to pull in a lot of those myths). Yet it’s so epic in scope you don’t get bogged down by the bleakness, and there’s always a defiant, hopeful undercurrent. It was certainly the most ambitious (successfully so!) and inventive book I read this year.

Speaking of tragedy, The Song of Achilles gives us a tender, heartfelt look at some of mythology’s earliest Tragic Gays. It tells the story of Achilles and Patroclus, from their childhood up ‘til their end in the Trojan War. In the Iliad, we know so little about Patroclus he functions more as a plot device than a character, but Miller focuses on his point of view and fully fleshes him out, really exploring his backstory, his aversion to violence and the development of his romance with Achilles- so a reader can finally fully understand exactly why Achilles is so devastated at the loss of his love. You also fully feel the tragedy of Achilles developing from a brash, but very open and loving kid, to someone who loses himself in pride and warfare. The clear moral of the book- that these acts of violence or “heroic war deeds” are not what should be celebrated about men but instead we should focus on their capacity for love and mercy- is executed well, coming across strongly without feeling like it’s being hammered into your skull. And Miller’s lyrical way of writing is well suited for a romance, with some nice poetic lines like “our lips landed clumsily on each other. They were like the fat bodies of bees, soft and round and giddy with pollen” 

Favorite light novels: Otherside Picnic series by Iori Miyazawa 

Otherside Picnic follows the adventures of two university students, Sorawo and Toriko, as the venture through portals to a mysterious alternate world the two girls dub the “Otherside”. In this other world, the girls often encounter strange creatures that seem to be straight out of popular Japanese creepypasta/”true ghost stories”. But despite the terrifying things they find there, the girls are drawn to keep visiting this dangerous place. For Toriko, she’s partly motivated by the search for her missing (and somewhat shady) mentor, Satsuki, who got lost in this other world a while ago, yet Toriko still holds out hope she’s alive. Sorawo finds that she simply enjoys going on adventures with Toriko, and starts feeling increasingly nettled and irritated about the specter of Satsuki hanging over them...

Otherside Picnic is a fun blend of fantasy, action, horror, and slow-burn yuri. Sorawo is a really unusual and interesting female protagonist for a light novel- she’s prickly, dryly sarcastic, a withdrawn loner and also an anxious mess at times. Her rough backstory actually has clear psychological effects on her and you can see her social isolation in how she gets confused by Toriko being affectionate. Overall, she’s a really good character and breath of fresh air among all the hyper cheerful or overpowered protagonists, and her acerbic narration and biting banter is fun to read.

She’s also got really good chemistry with the more easygoing-but-not-without-her-own-baggage Toriko, and their romance is done quite well. It builds slowly and sweetly, not getting explicit until the end of the third and throughout the fourth volume (and Sorawo is VERY dense and on the defensive about it- but again, at least her denseness makes sense considering her isolated background). 

The series format is very suited to anime/manga, with each novel containing a few episodic arcs that can end somewhat abruptly at times, but all the arcs build on each other and the character develop bit by bit. The different bizarre creatures the girls meet are pretty interesting (my favorite being the ninja cats. Yes, you read that right. It’s glorious) and the action is generally pretty solid. My only real complaint is sometimes the author sometimes gets too wrapped up in the technical details of things like the equipment they bring to the otherside and it can slow things down.

Here’s hoping the anime adaptation coming out does this good little series justice! 

[dalekofchaos]

Batman should not and should never kill The Joker or kill in general

The most annoying thing about being on tumblr is the fact that people keep insisting that Bruce should kill The Joker and the fact that they were cheering it last week on Batwoman.

You. Miss. The. Entire. Point.

Bruce Wayne lost his parents to crime and Bruce Wayne is a child who died alongside his parents and was reborn as a creature dedicated to insuring it never happened to any other child. He made a vow never to reduce himself to the criminal scum’s level or to Joe Chill’s level. He never kills for a reason.

Batman not killing is what makes him so compelling, if he kills criminals, there is no moral conflict, he is no better than the Punisher, Wolverine or any other dark edgy hero. Hell, if he starts to take a life, Batman is no better than Ra’s Al Ghul.

In the Daredevil Netflix show, Frank Castle told Daredevil this “That’s not how this works. You cross over to my side of the line, you don’t get to come back from that. Not ever.” That alone is why Batman should not kill, not even The Joker. Bruce Wayne is not Frank Castle, stop trying to make him Frank Castle. I mean...Stan Lee was absolutely disgusted when someone called The Punisher a hero, Frank Castle is a murderer, not a hero. How is this so hard for people to understand?

I don’t want to hear that Batman killed in the old comics and I don’t want to hear Elseworld stories. It’s an established fact that Batman does not kill and it’s a big part of his character.

Guess what? We already got a Bruce who killed The Joker, it happened in the Burtonverse/Schumacherverse and he was disgusted with himself. “So, you're willing to take a life.” “Long as it's Two-Face.” “Then it will happen this way: You make the kill, but your pain doesn't die with Harvey, it grows. So you run out into the night to find another face, and another, and another, until one terrible morning you wake up and realize that revenge has become your whole life. And you won't know why.”

A huge part of Bruce’s character is that he doesn’t kill, no matter what. Same with Clark. But edgelord writers from the New 53, DCEU and the Injustice abominations think it’s cool to make heroes kill. Heroes should not kill. You can’t be a hero and a killer. IT DOESN’T WORK THAT WAY!

Guess what would happen if Batman kills The Joker? The Joker wins. The Joker and Batman are each trying to prove a point to society - and really to us, the readers. The Joker wants Batman to kill him because he perfectly embodies chaos and anarchy and wants to prove a point to everyone that people are basically more chaotic than orderly. This is why he is so scary: we are worried he may be right. If the Joker is right, then civilization is a ruse and we are all truly monsters inside. If the Joker can prove that Batman - the most orderly and logical and self-controlled of all of us - is a monster inside, then we are all monsters inside, and that is terrifying. The Joker is terrifying because we fear that we are like him deep down - that he is us. Batman is what we (any average person) could be at our absolute best, and the Joker is what we could be at our absolute worst. The Joker’s claim is that we are all terrible deep down, and it is only the law and our misplaced sense of justice that keeps us in line. Since Batman isn’t confined by the law, he is a perfect test case to try to get him to "break.” The Joker wants Batman to kill a person, any person, but knows that the only person Batman might ever even remotely consider killing would have to be a terrible monster, so is willing to do this himself and sacrifice himself to prove this macabre point. Batman needs to prove that it is not just laws that keep us in line, but basic human decency and our natural instinct NOT to kill. If Batman can prove this, then others will be inspired by his example (the citizens of Gotham, but again, also the readers), just as we are all inspired every day to keep civilization running smoothly and not descend into violence, anarchy, and chaos. This ability to be decent in the face of the horrors and temptations present all around us is humanity’s superpower, the superpower of each of us. The struggle of Batman and the Joker is the internal struggle of each of us. But we are inspired by Batman’s example, not the Joker’s, because Batman always wins the argument, because he has not killed the Joker.

Batman not killing matters. Batman stories to me are the ultimate tale of turning pain and suffering into something positive.  That is a story that everyone can relate to because let's be honest here. The world can suck. I've experienced and probably will always experience feelings of fear of depression of anger of angst. It's in my nature as a human being to experience those things. It's in all our nature it is what we choose to do with that pain that we all feel that defines us. Batman chose to turn all those negative emotions, he feels into a symbol that can bring people. Hope that Batman will save us from pain but more importantly hope that we can all be Batman. Why do we fall? And Batman Begins explains this best “Why do we fall sir? So that we can learn to pick ourselves up.”

Yes, Bruce Wayne is a flawed crazy person. He is at times mean stubborn and even abusive but he is still good. He is still someone we can aspire to be. We can try our hardest to be Superman but no human being can fly, but we can still try to be Batman We can all try to turn our pain into something good when I see Batman killing people or fans saying he killed before and he should kill The Joker, It pains me. It actually hurts my soul. Batman is not about finding a way to kill evil. But try to redeem it. His mission is an impossible task. Maybe he should kill people.  Maybe he should kill The Joker,  but what makes him fascinating what makes him a hero Is the fact that he has that moral code and stopped himself from crossing that line That's why I always looked up to Batman even as a kid despite all the adult subtext or mature themes superheroes are for kids. And killing is not Batman and it is not Bruce Wayne. This is why I hated the portrayal in the DCEU and the Burtonverse and why I really hated the implication that Batman killed The Joker in Batwoman. A Batman who kills is certainly not Bruce Wayne, that is an interpretation of Bruce Wayne that completely misses the point of Batman. It's easy to kill. Batman does not make the easy choice... Batman does not kill.        

[dareactions]

DAI companions meeting Adaars mercenary band for the first time (romanced too, if possible)

Cassandra: The seeker isn’t entirely sure what she expected, but to see the Inquisitor practically attacked through physical affection by other Qunari weren’t close to it. She did her best to remember the names told to her and properly connect them to faces- but it was incredibly difficult with everyone but one named Kaariss, because he was the only one who fit the ‘obnoxiously loud poet’ description the Inquisitor had given her. The group is confusing to her, if only for their rather dysfunctional conversations- she had heard both the Inquisitor and Shokrakar tell the earlier mentioned poet that if he didn’t stop, they’d sew his mouth shut. They are close though and she admires their loyalty to one another.  If Romanced: She is nervous, and Cassandra is very rarely nervous these days. The seeker feels such relief at earning even an inkling of approval from Shokrakar she swears she could pass out at the spot from the lingering tension in her shoulders. Eventually, the seeker is found wishing that the Inquisitor had been quiet about their relationship because suddenly Kaariss wants to write love poetry inspired by the two and Ashaad (two?) keeps asking if there are kids incoming. No matter what they start a conversation with, Cassandra is left groaning with a red face as the group laughs at her and the Inquisitor’s despair.

Solas: The group is too loud, that is his first-ever comment about their visitors to the Inquisitor. He has no clue why they are at Skyhold, but he cannot WAIT for them to leave- there is something about a man named Taarlok asking to overlook your paperwork 8 times in a row that really makes Solas blood boil. Then that annoyance turns into slight admiration, at their bond- their willingness to throw themselves into danger for each other and the family-like relationship they all share. Solas starts to appreciate their smarts, their views on the odd and peculiar as well as the insight they can give on any changes the Anchor has seemingly caused the Inquisitor’s personality.

Dorian: The mage has to admit he is having the time of his life, Beyond Solas annoyance and Cassandra’s sudden inability to speak when someone says something rather extreme- it’s the interactions between Valo-Kas and the Chargers that has him on the floor holding his stomach while laughing. It’s like watching a group of toddlers try to pick who gets the swingset first, except with pointy and sharp weapons involved. He gets along with them surprisingly well, sure there are some snide comments about Tevinter and the occasional magic insult at first but - nothing he can’t throw back at with ten times the force. Soon he finds himself dreading the day they leave because who will amuse Dorian then? If Romanced: He doesn’t want to say that their approval of him means the world, but it sort of does. The inquisitor deeply respects Shokrakar, a woman who could snap Dorian in half, and to Dorian that means she is important enough to try and get her to like him. And it takes a while, they poke and prod at him to see how he can hold himself and when all things are said and done- Dorian is left victorious. Well, as victorious as he can be with Kaariss shitty poetry thrown at him. The Inquisitor goes out of his way to state that Dorian shouldn’t have worried one night, because Shokrakar had mentioned in a letter that she already liked Dorian due to the fact that he ‘Makes the red magic fucks implode’ with his magic.

Sera: There is nobody in the entirety of Skyhold that is as excited as Sera is, she is visibly shining when the Valo-kas are introduced to her. She fits in faster than anyone else because she is practically on the same wavelength. Sera will poke fun at Kaariss, call Taarlok a huge nerd and ask Katoh to throw her up onto the tavern roof just to freak out the Inquisitor- she fits in as if she was apart of the Valo-kas herself. Sera doesn’t look out of place with how she acts, something that is absolutely horrifying to the Inquisitor. If Romanced: Shokrakar narrows her eyes at Sera the first time they meet, but then simply nods and states that the inquisitor picked someone good and that she quite enjoys the jar of bees idea. After that there are no worries, Sera is family. The Inquisitor will be seen smiling fondly at her partner together with the mercenary group because it just looks right. The loud laughter, obnoxious jokes, and borderline violent comments just feel like home- for once the Inquisitor goes to bed knowing that everyone she loves and cares for is in the same place, and Sera notices that. She is just happy to have new friends honestly, but it warms her heart to see the person she loves so relaxed for once. One day Ashaad brings up marriage though, as a joke because he heard some human mention it- and Sera threatens to spike his next drink with mabari urine.

Blackwall: Because clearly having two giants who can see when you lie from a mile away wasn’t enough. The Warden frowns when he first hears about it, tension clear in his face for days before he finally settles down and realizes he can just ignore them if all things fails- well, at least he thought so. But Sata-Kas starts taking refuge in the stables and suddenly Blackwall is having casual conversations on the daily, while he doesn’t find himself getting overly close with the mercenary group- he has nothing against them. Sure they make him nervous but he sees no reason to avoid them at the end of the day, Blackwall has to admit he loves the chaos they create during late nights in the tavern though. It’s enough to make potential stress worth it. If Romanced: Shokrakar threatens him the first time they meet, fully aware about the events of Blackwall leaving- and what he has done. Word travels fast and even faster when mercenaries are involved, he knows this better than anyone. After that initial threat though she is surprisingly relaxed, simply happy to see the Inquisitor well- happy. Sure, they poke fun at him and do some jokes that honestly makes him want to crawl into the dirt but he can tell they mean well..though if he has to sit through Katoh trying to choke out Kaariss one more time he might just stop showing up to the late night drinking sessions.

Iron Bull: He is excited and rivals Sera in that regard, his curiosity gets the better of him because Bull is no longer apart of the very organization that the Inquisitor’s mercenary group was disowned from or simply had denounced. There is some lingering tension from rivaling opinions but they get along swimmingly and Bull feels nostalgic somehow. He can spar with Sata-Kas and has to agree with Shokrakar about the poetry. Bull feels at home and especially during the late nights in the tavern when Krem and the others join- laughing loudly with the Valo-kas about past adventures and tales. They can drink together for their fallen friends and count their blessings. If Romanced: Nothing is really different, other than the fact that Shokrakar feels the need to speak to bull in private. The woman is clearly very nurturing, while head-strong and a bit foul with her expressions. He simply ensures her that the Inquisitor is a good person, someone he adores and while they can butt heads he would do nothing to hurt their member emotionally or physically- he isn’t out to break the Inquisitor in any manner or collect information.

Varric: He gets ideas right away for stories, something only fueled by Kaariss mediocre storytelling and awful poetry skills. Varric finds himself especially getting along with Taarlok, the two spending hours talking business and eventually the topic of their fallen friends does get brought up. Varric finds a new respect for the Inquisitor, because they have felt the same type of mourning that he has. They have lost friends, people that were like family and somehow not even shown just how much it hurt them. Varric realizes with the Valo-Kas visit, the Inquisitor was someone entirely different before the conclave, sure their personality may be the same and so their morals- but they’re emotionally aged now. They’ve been put in charge by force and he didn’t honestly realize how much that had affected them. Varric also learns that drinking games with the Valo-kas and the chargers is dangerous, like super dangerous- holy shit they tried to throw him twice last night.

Vivienne: Ugh, is all she can really say about the matter. They are loud that’s for sure. Vivienne respects them though, because their skills are impressive. She might consider hiring them in the future should she ever need to, but often times she finds herself avoiding the Tavern even more- but the Inquisitor needs it, the familiar smiles and laughs. If it’s for them she supposes that she can stand the overly violent mercenaries for one more night- or two.

Cole: The Valo-kas finds him a tad creepy at first, but eventually warms up to the lanky tall man and his odd sentences. Cole likes being around them, because they like being around him. They’ll laugh and joke, send deadly glares to people who dare make comments about his odd behaviour and at one point Shokrakar attempts to give him two very big beer glasses because ‘he was a growing man’, which Cole wasn’t entirely sure what it meant. Varric had stopped that though. He enjoys their bond- their happiness.

[the-desolated-quill]

It’s Summer And We’re Running Out Of Ice - Watchmen (TV Series) blog

(SPOILER WARNING: The following is an in-depth critical analysis. if you haven’t seen this episode yet, you may want to before reading this review)

I’m not going to lie. I was incredibly sceptical going into this. This isn’t the first TV adaptation of a classic novel to go beyond the source material and try to continue the story, and they nearly always suck (see The Handmaid’s Tale and The Man In The High Castle). There’s a reason why books end where they’re supposed to end. If the author intended to carry the story on, they would have done so. This is why I get angry when the TV industry arrogantly oversteps the mark and try to continue a plot that has already come to a satisfactory conclusion. Doing a sequel to Watchmen, a story that hinges on the ambiguity of its ending, is just utter madness to me, and allowing Damon Lindelof to write that sequel borders on moronic at first glance. This is the man behind the TV series Lost, a show that ran out of steam within the first couple of episodes due to the fact that the plot was complete and total bollocks and the fact that nobody could be bothered to come up with satisfying answers for these ludicrous mysteries and series arcs beforehand. They were just making that shit up as he went along. Now you’re handing Lindelof the keys to one of the most intricate and detailed comic book properties of all time?! Fuck, why don’t you just let JJ Abrams direct the next Star Wars mo- Oh yeah, I forgot, he already did that.

Thankfully, judging by this first episode anyway, HBO’s Watchmen is nowhere near as bad as Lost. It’s certainly far more engaging and coherent. Does that mean I’m looking forward to the rest of this season? Well... I don’t know if I’d go that far. I’m definitely intrigued though.

HBO’s Watchmen is a sequel to the graphic novel (Lindelof called it a remix, but come on. Grow a pair and call it what it is. A sequel). Superheroes are still illegal, Robert Redford is now the President, Rorschach’s death has inspired a white supremacist cult, and it’s raining squid.

Yeah, the raining squid thing feels like the only egregious bit of fanwank in here, to be fair. Maybe they’re going somewhere with this, but I have my doubts. Are we supposed to assume that Ozymandias has been making squid rain for the past thirty odd years in order to keep up the whole alien invasion ruse? Why squid rain? And why is everyone so nonchalant about it? Shouldn’t people be just a bit concerned by this, considering what happened in New York?

Speaking of Ozymandias, we see him riding a horse and writing plays for his butler and maid in some fancy mansion. Quite what the significance of The Watchmaker’s Son is, I don’t know. All I do know is I’m not going to be able to sleep at night without thinking about Jeremy Irons’ thighs from now on, so thanks for that.

Putting my cynicism aside for a moment, I do like what Lindelof is trying to do here. He’s not merely cashing in on the Watchmen brand. There is a genuine effort to do something fresh and different with this material, and I commend that. Watchmen’s central theme has always been about power, but whereas the source material focused mainly on its relation to sex (Comedian’s hedonism, Nite Owl’s impotence, Rorschach’s mummy issues and the sexual objectification of Silk Spectre), the TV series seems to be zeroing in on race as a topic. This I applaud. Expanding on certain areas that the graphic novel only ever really touched upon is a great idea. This doesn’t feel like a repeat of the graphic novel, but rather a clarification of it, exploring areas and themes that Alan Moore and Dave Gibbons may have overlooked. This helps set this series apart from the outset. 

The opening scenes where we see the Tulsa Massacre of 1921 is a pretty harrowing way to start. I’m ashamed to say I had no idea about the Tulsa Massacre prior to this, and we could have a whole other discussion about why schools seem to have been avoiding teaching specific topics like this in favour of the broad strokes of the Jim Crow era, but now is not the time. The fact that it’s depicted here sets the stage for what’s to come. Some have criticised the show for the length of time the opening focuses on Tulsa, claiming that it sensationalises the pain of black people at that time. I personally don’t think it does. It’s not overly graphic or gratuitous, at least in my opinion, but it is a very shocking way to open a series. Some might say even upsetting, but I think it’s important that we saw this because it’s relevant in setting the tone for the episode and indeed the season as a whole, as well as letting the audience know that this show isn’t going to fuck around or shy away from more sensitive topics, and I can respect that. Unlike Zack Snyder’s overly stylised adaptation from 2009, Watchmen the HBO series is grounded very firmly in reality.

Let’s discuss characters. This episode mostly focuses on Angela Abar, also known as Sister Night. Regina King has given some terrific performances in the past and this is no exception. She’s simply phenomenal. The way she switches from light-hearted wife and baker to violent, no nonsense vigilante cop. The shift is noticeable and yet both personas feel like they’re aspects of the same character. It’s exceptionally good. It also helps that the character herself makes for a great protagonist. Having survived the ‘White Night’ four years prior, where the Seventh Kavalry attacked the families of forty Tulsa police officers in response to the government giving special reparations to the victims of racial injustice, Angela has become cynical and battle hardened. She has no sympathy for Kavlary members and is willing to skip due process by beating one of them to a pulp and bundling him in the back of her car. She’s angry and in pain, and yet retains the audience's sympathy. I’m interested to see what happens to her over the course of the season.

I also really liked her friendship with Don Johnson’s character Judd Crawford. Johnson is a charismatic performer and Crawford is a charismatic character. He really dives into the olde western sheriff persona and seems to be having a lot of fun with it. Crawford is the only other character, besides Angela, who stayed on as a police officer after the White Night, and the two characters seem to have a great relationship. They laugh and joke around and there’s clearly a mutual respect between the two. I genuinely like this character, which is what makes his murder at the end so much more heartbreaking. Not to mention all the little details that force us to realise he may not be what he seems. We see him sniff cocaine in private and there’s a photo on his desk featuring the kid from school who aggressively asked Angela why black people deserve reparations. It doesn’t necessarily mean that Crawford himself is racist, but there’s clearly more going on with him that we don’t know about.

The final character of interest at the moment is Tim Blake Nelson’s character Wade Tillman, aka Looking Glass. We don’t know anything about him yet other than he’s a human lie detector, which I find very intriguing and I hope will be explored further as the show goes on. There’s a lot to play around with there, and the moral implications are tantalising. A conviction based not on physical evidence, but rather on the observations of one man. Even Sherlock Holmes has to back his deductions up with evidence, and yet Looking Glass clearly doesn’t need to. That just raises so many ethical questions. What if he has a particular bias towards someone? What about burden of proof? What if forensic evidence contradicts him? If Looking Glass is supposedly that accurate, does that mean the police will side with him regardless? It’s a great premise for a character and I really like Nelson’s performance, giving him a cold and detached personality that contrasts beautifully with Angela’s.

The characters and ideas are solid, however where I feel the show is lacking is with the consistency of its world building. Let’s analyse. This is an alternate history where Nixon used superheroes to extend his term limits, but after the New York attack at the end of the graphic novel, he’s been kicked out in favour of Robert Redford (nice nod to the source material there by the way. lol). As a result, black people got reparations for the racial injustices their ancestors went through and police are now unable to openly carry firearms without special permission from Panda (literally a cop wearing a panda costume). However, after the events of White Night, the government agrees to allow cops to wear masks to protect their identities, hence why quote/unquote ‘superheroes’ like Sister Night and Looking Glass are around despite the existence of the Keene Act. These are, in effect, legal vigilantes. Except already there’s a problem with conflicting messages. I like the idea of masked cops. In the current age of Black Lives Matter and police accountability, it makes sense and could be interesting to explore. However this is hindered by the whole ‘no guns’ stuff. Again, not a bad idea. America’s current gun laws are, to put it mildly, woefully inadequate. What if we went the other way? What if not only was it near impossible to own a gun, cops couldn’t even use a taser without special permission. Both ideas could work... but not at the same time.

Cops being allowed to wear masks creates the effect of empowering them through anonymity, and runs the risk of officers overstepping the mark and normal citizens being unable to hold them to account. But on the other hand, we’ve also got cops whose lives are constantly at risk and who are hindered in their duties by an overprotective nanny state, which effectively depowers them. So... which is it? It can’t be both. I like the scene where Panda reads the law about how the use of firearms can only be permitted in extreme circumstances, and everyone just angrily shouts him down because it tells us how the police feel about this new system. The fact that they’ve made one cop the sole arbiter of these new restrictions and forced him to dress like some ridiculous furry demonstrates the sheer amount of disdain they have towards this policy. But having said that, with the masks on, they have the power and freedom to break into people’s caravans and basically kidnap and assault them without consequence anyway. So what the fuck are they complaining about? It just doesn’t gel together. Either have it that the rules and regulations of the police are the same as our world except that cops can wear masks now, which has led to an increasing problem of police brutality and corruption, or have it that the police are being too heavily restricted and so a few have chosen to turn toward more ‘unorthodox’ methods of crime fighting out of frustration. Pick one and go with it.

Then there’s the Seventh Kavalry. Again, not a bad idea. In fact I love it. A white supremacist cult that’s taken Rorschach’s journal as gospel and have banded together out of a fear of being sidelined in a more liberal world. Very relevant and very interesting. Except... well... there’s not an awful lot to it, is there? In the original graphic novel, there was no clear bad guy. Ozymandias believed he was doing the ultimate good by killing millions of people to save the world, and everyone reluctantly went along with it. It was morally complicated. This, not so much. They’re unambiguously evil. The end. So what? What is there to discuss? It just feels lacking compared to the graphic novel and it runs the risk of creating a conflict that’s too clear cut. Obviously we’re going to end up siding with the cops, regardless of what they do, because the alternative is objectively bad. Hopefully Lindelof is going somewhere with this, but I’d be remiss if I didn’t say I was slightly concerned.

So on the whole, would I say I enjoyed this first episode? Well... I’d say I did, but with reservations. There’s some good characters and ideas that could be interesting to explore and develop, but its execution feels a little shaky in places. Hopefully the episodes to come will offer further clarity.

[dzamie-oc]

Smaugust 04 - Knight

"When I grow up, I wanna be a knight in shining armor!" The happy shout of an eager youngster, raised on tales of valiant knights who rescued fair maidens or wayward, foolish princes from the clutches of evil wizards, and who took in wicked bandits and recovered ancient treasures from long-forgotten strongholds of traps and undead. To be a knight in shining armor was something which many kids in the kingdom aspired, and this one was no exception.

There was, however, one thing that set Torix apart from the others. He had weapons and armor already: to protect himself, a tough covering of scales, and to defend others, sharp claws, sharper teeth, and... well, a few sparks that would eventually grow into a proper gout of flame from his jaws. In short: he was a dragon.

His mother took heart in seeing him so spirited, but at the same time, knew he would have to be disabused of such a dream. True, she had cultivated her collection of storybooks to avoid dragonslayers, and as such, she suppose she could take partial blame, yet... either way, there was nothing to be done about it. In the meantime, she would offer him other, more draconic hobbies, such as hoarding, hunting, roaring, spellcasting, and, if he takes a shining to it, some light kidnapping.

And for a while, it worked. Torix hoarded, he hunted, he roared, and he managed a light binding spell. He even gained a hot, steady flame! However, when his mother looked a bit closer, she was disheartened: the young dragon hoarded longswords and lost or discarded armor, which he softened and shaped with his breath and claws to better fit himself; he hunted highwaymen and pickpockets, then bound them and left them for towns to find. But, although she suspected he roared for justice, that at least was a fine roar to claim dominion and intimidate his foes. And so, with the determined resolve of an experienced, adult dragon, she set about teaching him the ways of dragons, and let him experiment with using them for knightly things. He took to it like a kelpie to water, and was soon a fine dragon in his own right, even with his eccentricities.

However, no dragon is ever content to stay in their hatching cave forever, and Torix, too, had things to prove: to himself, to other dragons, and to everyone else. So, one day, in his best-crafted armor, and with his bags slung over his back, he bade his mother well until they met again, and was off to a human town.

---

"Uh, Sir Fernal?"

"Yes, Sir Jenkins? What is it?" Fernal braced himself for whatever inspired the rookie knight to seek him out at lunch. His mind went through the banal stuff first: someone lost their sword, someone got locked out of their room, someone decided to be "creative" about getting into their room, or Ronald got stuck in a doorway again.

"Well, you see, they - the others who were there - told me that you're the one to deal with unusual things. Unique events. And, well, I'm pretty sure that this one is very, eh, very unique."

Fernal struggled to resist rolling his eyes. It wasn't the first time someone had said their problem was unique, nor would it be the last. Though it did clear out a lot of potential reasons. Maybe someone's handle broke off and left the blade in their hilt. Or they got another one of those weirdos who WANTED to be thrown in jail. Wait, no - someone had been caught with their pants down around a kobold, and is arguing they should be charged with pedophilia rather than bestiality. Or they're seeking justice for the obvious outcome of playing around with something that sharp-toothed. He looked at the younger knight again, and realized he was waiting for him to say something. This time, he didn't hide his eyeroll. "Well, then? Out with it, Jenkins."

Jenkins jumped and glanced behind him, looking for his words. "You see, Sir Fernal, there's a... well, there's a dragon at the entrance. About twice the size of a horse."

The more experienced knight leaned forward and pressed his fingers to his temples. "A dragon the size of a horse... and neither you nor the three other knights stationed there thought you could do anything about it? Stab it until it stops trying to eat livestock and steal our women." He gave Jenkins a tire, condescending look. "By which I mean, kill the damn thing before it causes more damage than what it's already done."

"I... don't think I can do that, Sir Fernal, without violating my principles as a knight of the crown."

Fernal froze. He fixed Jenkins with a nigh-inscrutable look, as one certain he was about to hear something terribly fascinating, either because of its newness or because of its sheer, utter, unmatched stupidity. "Sir Jenkins," he commanded, "explain."

"Well, you see, it's that, well," the young knight started, unsure of how to phrase the news, "the dragon, he walked up nice and calm, and says he wants to join us."

"We have ample cautionary tales as to why we ride horses, and not anything with a mind."

Jenkins shook his head. "No, Sir Fernal, as a knight. He has armor and everything."

This earned him a long, steady stare, before Fernal stood and began to walk to the door, beckoning Jenkins to walk with him. "Well, whatever prank you four have set up, I'll at least see what it is. Least I can do for such an entertaining lie."

The pair walked through the halls of the order's building. Jenkins continued to try to convince Fernal that he hadn't been lying, but to no avail. Finally, the two of them pushed open the main doors and squinted in the bright midday sun. As soon as he recognized the shape in front of him, he drew his sword quick as a flash and brandished it in front of him.

Torix stepped one paw back, but otherwise looked at him curiously. "Hello. I am called Torix. Are you the one to speak with about becoming a knight?"

Fernal pretended he hadn't heard the dragon, in his glinting, metal armor, speak. "Foul beast, why have you darkened the door of our city?"

Torix blinked, looked to the door guards, then back at Fernal. "I just said, I would like to be a knight. I admire them for their brave deeds and moral code, and it has long been my dream to join their number." Jenkins and the other non-Fernal knights nodded; it was the same thing Torix had told them when he introduced himself to them.

"So the vain lizard seeks fame, and protection from meeting the well-deserved end of his kin?" Fernal growled.

"I did not know knights grew indiviually famous; I thought it was just 'knight' in general that was well-known. Either way, I want to help people. Foil assassinations, recover long-lost treasures to their owners or to museums, and rescue innocent maidens and princes from evil wizards and cults!"

"And dragons," the skeptical knight appended.

"Yes, and dragons," Torix nodded, "though I do not think dragons are as likely to be captured by evil wizards and cults as maidens and princes are."

The two of them stared at each other in silence for a while. The other knights quietly talked about what they thought would happen.

"So... IS it you I go to about becoming a kni-"

"Queen's grace, you're actually not lying," Fernal muttered in disbelief, lowering his weapon.

"I try not to. So?"

Fernal sighed. "I'll... draw up the paperwork while Sir Jenkins here runs you through the entrance exam. If, and I do mean IF, you pass, you can start your training." He waved Jenkins over to him. "Sir? A word in private."

Jenkins walked over, and Fernal took him aside, an arm over his shoulders. "Okay, so the lizard's too dumb to realize dragons can't be knights. I don't want you newbies injured if I can avoid it, so we're going to make him fail the test so he can go away and get himself killed somewhere else." He thought for a moment, then continued, "First task, grab the info of our #1 most wanted. Don't tell him the reward, don't tell him the difficulty, just give him the target. Even better: he has to take the guy in alive, not dead. And if he somehow manages that, we'll go with an old classic: he has to find and bring back a snipe."

Jenkins nodded along, but paused at the last one. "Wait, Sir Fernal, you said that's what I need to do to get my next rank. You're saying it's impossible?"

"No," Fernal lied, "not for a human. But they're very afraid of dragons."

With that, they broke the huddle, and Jenkins explained Torix's trials while Fernal went back inside to finish his lunch. Torix looked over the drawing of his target and listened to the description of the bird he was to find as well, then bowed and took to the sky.

---

Jenkins led the new prisoner into the warden's office. The warden's eyebrows shot up when he saw the spitting image of the most wanted criminal in the city, Grindel Vilswarn, arms bound behind him, soaking wet, and looking more terrified than anyone might think the mad mage could ever be. After he recovered from the shock, he pointed through a door. "Right. Cell 16D, then."

"Please no..." Grindel begged as Jenkins pushed him along, "not a cell... they're so dark and small and... and damp, and small, and..."

The warden gave Jenkins a questioning look, and the knight replied, with an apologetic smile, "new guy's being tested. He has a rather... unorthodox method of transporting targets."

"Tight... wet... dark..." the traumatized mage mumbled as he was led to his spot in prison. "Nothing I could do..."

---

"And just why am I needed outside when I'm off duty?"

"Well, Sir Fernal, Torix is back, and he looks proud of himself."

"Torix."

"The dragon."

Fernal grimaced. "Right, that bespangled lizard. I don't see why this concerns me, Sir Jenkins."

"Quite simple, really," Jenkins said with a bit more smugness than Fernal thought the junior knight had been capable of in his entire life, "you said you'd get the paperwork ready for if he passed the tests. So, naturally, you should present it to him."

The two strode through the door, where they saw the armored dragon sitting, one paw off the ground and closed. Torix and two of the other knights on door duty were having a spirited conversation, with one of the humans appearing to exaggerate the size of a fish he caught once. They all turned to face Jenkins and Fernal when the pair approached, save for the knight doubled over with laughter.

"Look!" Torix said excitedly, his tail flicking back and forth. He held out his forepaw, turning and opening it to reveal a small, brown-and-black speckled bird with a long, slender beak, unmoving in death. It would say 'peent' no more. "I caught it as it flew from the marsh."

The knights looked at the bird. "Sure looks like a snipe to me," one said.

The dragon looked to Fernal expectantly, but the knight stared placidly back; a good knight was prepared for many setbacks, and this was no exception. "I was... not expecting such speed, even just for the entrance exam. It may be some time before-"

"Oh, that reminds me," the knight who had been laughing spoke up, holding a rolled-up parchment, "we finished today's report, including the arrest and the snipe. Just gotta light this sucker up and it'll be off to Her Majesty's people."

Fernal glared at him. "If you think for one second that thing will get near a candle before I review it..."

"I wouldn't dream of it. I know how fond you are of candle duty," the man replied, before turning to Torix. "Say, Torix, you can breathe fire, right?"

Torix beamed. "Yes! In fact, that's how I fashioned my armor!"

With a grin, the knight held forward the rolled-up parchment. "Then could I get a light?"

Two seconds later, Torix was hastily apologizing to the man, who had thrown off his metal gauntlet and was rapidly shaking his hand. But the parchment's spell had gone off, and the ash swiftly sped through the air.

---

The flat of a blade gently struck Torix's right horn, then his left. He remained still, belly and chin low to the ground as he crouched for the Queen.

"The Crown recognizes the deeds of Torix the Dragon, and grants him the title of Knight." The composed woman took several measured steps back, then held the sword out, point-down, where it was taken by an attendant. She nodded just enough to convey authority without displaying weakness or familiarity. "Sir Torix, you may now rise."

Every muscle in his body begged him to crash through the enormous stained-glass window and joyfully soar through the skies, roaring in celebration. Yet Torix steadily pushed himself to a standing position, keeping his head low to avoid the ceiling. Sir Torix, the knight who was also a dragon.