#love me like i’m an overdramatic novel protagonist

[simpisari]

Someone To Adore Me

As days go by, I continue living as a bystander in people's lives. I continue to observe them from afar. I continue this art of people watching (as our beloved Conan Gray also mentioned in his song once).

I watch as they exchange glances across rooms, communicating in ways no one else can decipher. I watch as one fumbles with their scarf on a chilly morning, their nose red, and without a word, the other reaches over to fix it, fingers brushing lightly before falling away. I watch them stumble over nothing and pretend it never happened, only to have the other stifle a laugh before linking their arms together, as if to keep them steady.

I watch as one catches their reflection in a passing window, adjusting their hair, and the other watches them instead, their gaze filled with something impossibly soft. I watch the way their faces light up when they spot each other in a crowd, how the world around them seems to fade when they are together, lost in conversation. I watch as they throw their heads back, laughing over an inside joke no one else will ever understand. I watch as they steal bites from each other’s plates, share drinks without hesitation, and fit into each other's spaces like second nature, like pieces of puzzles that fit together perfectly.

I watch them exist together — not just side by side, but intertwined in a way that feels surreal. To them, the world is just a background on a stage, and they're, together, the main characters, performing for no one but themselves.

But I also want to be part of it all. I want to exist in the warm corners of someone's life, not just as a secondary character in the background. I also want to enjoy being pampered. I want to be waited for, to be noticed in the smallest, quietest ways. I want someone to watch me tie my laces and think, God, I adore them. Someone who always gets ice cream with me without hesitation, who names butterscotch as their favorite flavor just because they know it's mine.

Someone who watches me as I go on about my hyperfixations for hours. Someone who listens — really listens — when I ramble about whatever my brain is latched onto this week, someone who never makes me feel like I'm being too much.

No, it's not a lover I want. Not all movies are about romance, you know. Nothing like that. I just wish for someone — anyone — to be there.

Someone who wouldn't, just for fun, push me through hell.

Someone who understands me well.

Someone who adores me.

Just someone to adore me.

[kukuandkookie]

Might copy and paste the text here later from my Twitter thread where I expressed why I enjoyed it, but I recently read My Little Poplar and ended up liking Bai Xinyu and Yu Fengcheng quite a bit!

Yu Fengcheng’s eventual regret was honestly written really well, and the relationship between the two leads has good chemistry. 👌

Even better is that it features Jian Suiying, who I also have gotten weirdly attached to???

Like objectively the book Jian Suiying comes from, In Love With an Idiot, has its flaws. Or rather, it employs tropes that really aren’t for everyone, which includes the main couple fighting constantly (so it’s basically fighting and then fucking and then fighting and then fucking and you get the idea), and it gets kind of overdramatic at times, as some very angsty-type stories can be—whether they’re from China (known as “dog blood” stories) or not.

I even found it a little silly that so many were so obsessed with Jian Suiying, and yet…

Here I am now, sliiiightly obsessed with him. 🤡😂

It’s just that! As I mentioned on my Twitter, he’s so unique for a shou/bottom/uke character!! Before he met Li Yu, he was always the top, and he’s sexually confident and pretty intelligent and ruthless and…well, temperamental. He does admittedly have a charm to him that works and I find it pretty amazing the author managed to predict that, since so many characters in her novels adore him BDMGIHSKD.

Even his red flags give him charm, because while he is problematic, the red flags make him an intriguing character. The author does a pretty good job at balancing the different aspects of him that make him technically infuriating and yet also compelling.

His charm is further boosted by the fact there’s actually a clip of one of his VAs just trying to cheer you up if you’re sad?? Like hello??? 🥺

It is no longer a surprise to me that Li Yu ended up so obsessed with Jian Suiying. 😆

Also I’ll note now the last image is actually by the My Little Poplar manhua artist while the others are from the manhua adaptation of Jian Suiying’s own novel! I like how the manhua artist draws him quite a bit since it feels so him. I’ve seen fan art and they sometimes feature him smaller and thus not domineering enough, even though they usually show him with the same hairstyle—which makes for a fun tangent on its own since danmei designs can be a bit “basic,” so when one specific design becomes a recognizable look for a character, I find it pretty cool.

In fact, one of my favourite details in My Little Poplar was watching Yu Fengcheng be very frustrated with how much Bai Xinyu looked up to Jian Suiying. 🤭

Also just seeing him show up always made me go “yay!” because it’s so fun getting to see him again, especially as part of his story aligns with My Little Poplar (as in the plots of both novels happen somewhat concurrently).

Similarly, the manhua adaptation, My Beloved Fool, has a really nice art style and I really like that the artist always lets Jian Suiying shine by really dressing him up. He and Shi Qi from Trap a Vicious Dog (another series I want to ramble about on why I’m enjoying it so far) are two manhua protagonists I know of who are like…confident smart corporate bosses that get stylish fits almost every manhua chapter, which is a nice detail ahaha.

My Beloved Fool has recently hit the heavy angst section of the novel so it’ll be depressing to follow for a while since you’ll just watch Li Yu fall apart as Jian Suiying suffers absolute hell. 😔

Someone even uploaded the first season of the vomic version of the manhua on YouTube. 👀

Similarly, I’m really excited for the My Little Poplar manhua to get to all the good bits of the story there, since Bai Xinyu develops a lot as a character and I find Yu Fengcheng’s regret especially well done. But evidently it’ll take quite some time to get there; first we have to get past the military bullying alfndkfjjss.

Anyway the actual reason I started typing this out before I spiralled into another huge ramble asjakfl is that I found In Love With an Idiot and My Little Poplar audio dramas on YouTube!!

I’d heard some In Love With an Idiot audio clips from something that some fans had shared to YouTube before, but it sounds like those clips were from a completely different audio drama than the one I landed on. I’m especially excited about the My Little Poplar one. Even if it’s not extremely high quality (I think Bing Xing Xia Deng aka Inferior by Nature aka The Selfish Gene has admittedly spoiled me because it was so high quality 😆), it’s still fun hearing these characters come to life aurally.

Even more so since iirc I saw a Twitter post saying the My Little Poplar and In Love With an Idiot got taken down officially, so they may only be accessible via online reuploads right now. I can’t find the post to confirm, but if true, I’m glad someone preserved them. 🙏

Update: I did find the other version’s VAs of the In Love With an Idiot audio drama! Except it’s maybe a…sequel? Where a Li Yu of the past transmigrates 5 years into the future when Li Yu and Jian Suiying are a couple?? It’s on MaoEr FM…and it’s for free. 👁️

In fact, I could totally ramble about the Bing Xing Xia Deng audio drama—which I already have for a friend, so I can just copy and paste that long-ass (slightly more incoherent because it’s a lot of fangirling) wall of text here haha. I am currently very obsessed with that series too because it really is high quality and I like how it evolved the novel it’s adapting, but my friend is the expert on it so I feel a bit more shy about sharing my thoughts sometimes.

Welp that went on quite a number of tangents but yeah. I’ve enjoyed these novels and I’m very happy they got audio dramas and that they are still out there to be enjoyed after everything. 🥺💕

OH and final note but…the fun fact about the 188男团 aka 188 Group, which is the overall series Jian Suiying and Bai Xinyu belong to (so-called because it’s 10 novels that share a universe and all feature (scum) gongs of 188 cm) got sort of made into an “actual” 男团, aka a boy band/group! I found the couple (?) songs they released and some fan songs and it’s nice seeing them all “singing” together alfjskfjs.

An English translation can be found here!

An English translation can be found here!

Me when I spy Jian Suiying, Li Yu, Yu Fengcheng, and Bai Xinyu especially in the MVs: 🥺

[witche-nerd]

The fact that ANYONE thinks Jane Eyre is some cheesy old timey novel and not a book that is both METAL and HILARIOUS should be considered a crime. During her childhood Jane is constantly told she's the woOOOrst (mostly because she's inquisitive and quite plain). In fact a priest-type dude comes into her house being like "do you know what happens to terrible little girls?" and she says "yeah they go to hell" "so what must you do so you don't end up there?" and her reply? "I guess I should just not die BITCH". Jane is 10 when she says this... her power. Then when her aunt scolds her one too many times girl spits out a Shakespeare level monologue/roast about how her aunt is awful™ and is going to be haunted by Jane's father for being such a royal bitch and her aunt is so freaked out that she literally starts being nice to her for the first time (honestly I think she was legit scared she had accidentaly adopted the Devil and did not want to mess with that shit). Oh you thought it was a soft nice little romance afterwards? Jane meets Rochester🤡 who is fifty shades of batshit. He literally spends chunks of the book fucking with his rich acquaintances just cause and sideeyeing Jane like "Did you see that?? Jane did you notice that? What do you think Jane?? Tell me your thoughts Jane, WASN'T THAT FUNNY???" And the best part is she reacts to every one of his antics with perfect composure so much so that HE freaks out and ends up dressing as a fortune teller to get her to tell him what she actually thinks. This young girl who was told to shut the fuck up at every turn is suddely called again and again to give her opinion and boy does she give it. She calls him ugly TO HIS FACE and he immediately falls in love. She in turn falls for him so hard but is so sure he couldn't possibly like her that she DRAWS A PORTRAIT OF HERSELF AND THEN A PORTRAIT OF A "BEAUTIFUL" WOMAN AS A VERY PRACTICAL WAY TO REMIND HERSELF THAT SHE'S NOT PRETTY. Gurl 😭 that's so sad and also way too overdramatic, you guys deserve each other. Meanwhile the house is very obviously haunted but Jane hasn't noticed which is peak comedy for such a usually observant protagonist. I mean, a man has a chunk of his flesh bitten off and when Rochester says everything's fine she just accepts it. "Oh but Jane gives it all up for a man see??? She has no agency" When she thinks he's going to marry another woman but still intends to keep her as a governess she has my favourite dialogue in the entire book where she says: "Just because I am poor and plain it doesn't mean I'm not still a PERSON WITH FEELINGS. IF I WAS HOT AND RICH I COULD HAVE MADE YOU AS PAINFULLY IN LOVE WITH ME AS I AM WITH YOU. I DO NOT ADRESS YOU FROM THIS MORTAL FLESH BUT IT IS MY SPIRIT ADRESSING YOURS AS THOUGH WE DIED AND STOOD AS EQUALS AT GODS FEET, AS WE ARE". She's 18 in this part of the book... HER POWER. She later finds out ON HER WEDDING DAY to Rochester that he is already married to a woman he has locked up in the attic because she'll attack anything that moves (I mean she very obviously has a mental illness which has caused her to be violent but back at that time there weren't many or even any humane options for treatment so unpopular opinion but the fact that he kept her in his house and with a maid to take care of her was probably the best he could provide her with in this situation tbh) Jane runs away and wanders the moors all alone because she knows what happened wasn't right (and this is her rational reaction, i love her and also probably same) and while half dead she finds some people who turn out to be her COUSINS (GASP), she gets a job, inherits a fortune and gets another marriage proposal like a #girlboss. But then she has a "That's so Raven" vision telling her Rochester is in trouble. Turns out his house burned down and he's now scarred and blind and his wife is dead. Accurate recreation of their reunion;

Rochester: Am I mad ugly now Jane?

Jane: Oh for sure. But you know, same as always.

Rochester with tears in his eyes: I missed that woman so much

Jane starts the story underappreciated, poor, belittled and unequal to Rochester (in terms of power). She ends the book appreciated, loaded, loved and a true equal to the man she loves. And that's the most metal thing of all.

[cellard0ors]

Fic: Into The Night

This was SUPPOSED to be posted around @nekoaimy BD and Halloween, but then LIFE happened.

With my OWN BD coming up, I felt this was still good to post. Might write more to this one day. For now just a one off. Inspired by artwork aimy did, but with the added twist of Halloween costumes - lol.

Ford stands by the punch bowl grousing and feeling like an idiot. The first is because he's being forced to attend a Halloween party he doesn't want to. The second is because he's dressed like a cat.

Okay, not a complete cat. There's no tail, thank god - but a black headband with felt black ears was slapped on to his head and painted black whiskers were slanted on his cheeks - a little black dot on the tip of his nose.

The culprit? One Stanley Pines, worst twin (EVER) extraordinaire. Maybe a bit overdramatic, true, but this is all Stan's fault.

Ford had been minding his own business in their shared room when he'd been ambushed. What started off as a normal wrestling match between brothers resulted in Stan pinning him down, painting Ford up with their Mom's eyeliner and him begging Ford to join him at Rachel McCarthy's party.

Mainly because Stan is now eyeing Rachel after the whole Carla fiasco and why Stan wants to date anyone is beyond him.

...alright, this is not entirely true either. Ford gets why dating might be fun, but considering who he'd like to date, well...

Ford can easily say having six fingers on each hand is the least freakish thing about him. Not that Stan will ever, ever, ever, EVER know that. Nor will anyone else. Ford will take his secret shame to the grave.

Grave. Halloween. How fitting.

Regardless, Stan tossed the cat get-up on him, begged him to go to this thing, and now here Ford stands, everything full circle.

Stan, for his part, seems to be having a grand old time. Their mother's green eyeshadow is powdered all over his face and his hair has been lightly slicked down. Screw bolts have been tacked to either side of his neck to complete the monster ensemble and frankly, Ford worries about what kind of adhesive his twin used to accomplish this.

It wouldn't be the first time Stan got something almost permanently stuck to him. Ford keeps hoping for a last, but knows that will probably never happen...lovable, infuriating fool...

Ford really does need to start thinking seriously about looking into colleges. He's been playing Stan, saying he'll join him on their ship, but he knows that's a recipe for disaster.

Stuck alone on a ship with the object of his forbidden desires? Yeah, thanks but no thanks. Sure, Stan will be sour about the whole thing, but better they part then Ford potentially do something unforgivable.

Like kiss the breath out of the big, handsome, stupid-!

"Bro, what are you doing?"

Ford snaps out of his thoughts as Stan approaches him. He blinks and tries to be normal, "Nothing "

"Exactly. Nothing," Stan throws an arm around him, shakes him amiably, "Come on, join the party! You're next to the punch bowl - grab a drink, mingle, have fun!"

Ford carefully extracts himself from his brother's grip, frowning, "I agreed to come with you, Stanley. Not engage in the festivities. The punch is heavily spiked, there's no one here I wish to talk to, and this is miles from what I would constitute as 'fun'."

“Aw, don’t be like that, Sixer! Loosen up!” Stan pulls a face, bottom jaw jutting out, eyes rolling upwards as he growls, “Frankenstein say party gooood.”

“...you know you’re not Frankenstein right?”

“What’re you talkin’ about?” Stan tugs at one of the bolts, “Think I did a pretty good with the costume last minute an’ all...”

“Frankenstein is the name of the main protagonist in the novel, Stanley. The doctor. The creature he creates is not, in point of fact, named Frankenstein.”

Ford once again questions how he can love someone who can give him such a blank face only to follow it up with a raspberry and an eye roll, “Yeah, like anyone past nerds’ll think of that.”

“Are you calling me a nerd?”

“I’ll call you whatever you want if, you know,” he wiggles his eyebrows, “You play it a lil’ cooler.”

Ford scoffs, “And why on earth should I do that?”

“Because you’re bringing people down, man,” Stan whispers this to him as if it’s a terrible secret, “Missy Caldwell told me that Rachel was thinkin’ about busting out some kissin’ games! You know, like Spin the Bottle and Seven Minutes in Heaven and the like. but then she saw you over here, looking like the kid picked last for dodgeball and it kinda killed the mood!”

Ford looks over to see that Rachel is, indeed, standing with Missy and a large group of girls. They are whispering to one another and looking in his direction. Rachel, in particular, is wearing a sort of judging expression. The fact that Stan would take her concerns over his...

And why shouldn’t he? His thoughts whisper. You’re his brother. You’re supposed to have his back. Be there for him as much as he’s there for you. He wants to kiss Rachel. It’s normal for him to want to kiss Rachel. He can’t know that you want to kiss him. He should NEVER know that. Should never even consider it.

Ford knows his thoughts are correct. They are smart. Logical. Everything he has always vowed himself to be. And yet...

...and yet.

“Look, just...” Stan waves at his face, “Give ‘em a smile. A little sign that you’re fine.”

Ford doesn’t feel much like smiling, but he gives it his best shot. It must be pretty bad, because Stan winces, “Yeesh.”

His lips drop, “No good?”

“You look like you just chugged the kool-aid at a cult meetin’.”

That actually gets a genuine smile, a laugh, and Stan beams, pointing at him, “See? That’s much better!”

Ford shakes his head, “What can I say? You always manage to get a rise out of me.”

The words leave and he feels a whiplash of heat wash over him. Shoot! Was that too suggestive? Apparently not, because Stan’s grin just grows, “That’s my job, bro! Keepin’ you from being too stuck in the mud! Now come on...”

He puts a big arm around Ford’s shoulders and drags him over to the group of girls. Rachel appears much mollified now, as do Missy and the others. They’re all girlish giggles and coquettish smirks and Rachel sends some of the gals to collect the other boys, to set everything in order for a game of Spin the Bottle.

While she does this, Stan drags Ford to one side again, hissing, “Alright, Sixer - now’s the time I need your big brains.”

“Wh-? How-? Why?” Ford stumbles over the questions, because as far as he can tell, they’re all intrinsically linked together. Stan explains, “You can like, tell me the best way to spin the bottle. Use maths and wind velocity and science to tell me how best ta make sure it lands on Rachel.”

“I...” Ford starts, but then someone walks up to them. It’s Becky Gilmore, another girl from Rachel’s pack, and she bats her eyelashes at them as she plays with a strand of her dark hair, “Hi! Hey, uh, can-can I talk to Stanford for a sec?”

“He’s Stanford,” Stan points to him even as Ford says, “I’m Stanford.” Both sound surprised as they give this information, but Becky is unfazed, “Um, yeah - I know. Look, can I just-?”

She sneaks out one slim hand to grab at one of Ford’s wrists, dragging him away from Stan who - clearly thinking this is a good thing - gives his brother a big smile and two thumbs up. Once out of Stan’s earshot, Becky says brightly, “’Key, so, Rachel’s like, all about your brother. Like, he has acne and whatever, but she totally wants to kiss him.”

Ford does his best to parse her words, separating the good from the bad, and doing his oh, so best not to comment on the bad, because it really gets his goat, teeth on edge at the acne remark. But Becky, clueless, just continues on, “I think maybe she’s trying to make Joey jealous, ‘cause I know they broke up about three weeks ago and she’s pretty sure he’s running around with Cheryl Manchino and we all know about Cheryl Manchino-”

(Actually, Ford knows nothing about Cheryl Manchino.)

“-but my point is, we definitely need to get your brother to lock lips with Rachel, but with the way the circle’s looking that might be problematic with you there, not to mention I mean, you’re - I mean, you’re cute and all and totally smart but like, I mean, I would never want to offend you or anything, but, okay - you get what I’m saying, right?”

Ford, amazingly, does get what Becky is saying.

His face colors and he hides his hands behind his back and feels like complete trash. Becky, seeming to pick up on this somewhat, lightly taps one of his shoulders, “Aw! There, there, kitty kitty! You wouldn’t’ve enjoyed this game anyway, right?”

“...no.” his voice is so soft as to be near silent, “I suppose not.”

“Great!” Becky returns with the same amount of sparkle she uses on the cheerleading field, “Then how’s about you set your brother riiiiiight-” she drags the word out as she looks around the circle, before pointing to a certain spot, “-there! Rachel and us girls are going to make sure the bottle picks him for sure. And you can stand on the sidelines in case we need an assist, ‘kay?”

Ford nods numbly and Becky bounces off. When he returns to Stan, he does his best to play stoic.

He fails miserably.

“Whoa,” Stan breathes, “What’s wrong?”

“Nothing.”

“That ain’t ‘nothing’,” Stan says pointing at his face, “That’s ‘Crampelter gave me shit’ face and he ain’t here. So? What is it?”

“I told you,” Ford hisses, “Nothing.”

“What did Becky say to you?” Stan asks and there’s such heat in the question. Anger and accusation and Ford pushes up his glasses and pours on the ice, “It’s not important. You’re going to miss out on the game, Stanley. Now, you asked for my help and considering the curvature of the bottle and the state of the floor I would suggest sitting-!”

“I suggest you tell me what she said before I make a scene,” the words sizzle out of Stan’s mouth and close to Ford’s ear, nearly scalding it and Ford can feel the barely leashed fury rolling off his brother in waves and he starts shaking his head, “You know, maybe I just don’t want to talk about it, Stanley! Did you ever think of that?”

Stan actually stands up straighter, looking startled, “Holy shit...what did she say?”

Ford lets out an aggravated breath and points to the exact spot Becky indicated, “You want your kiss? You want Rachel? SIT. DOWN. THERE. I’ll be outside!”

With that said, Ford exits the house. He starts walking down the neighborhood street, but he doesn’t get far before he’s being yanked back, Stanley’s hand turning him around roughly, “Just where the hell do you think you’re-?!”

“DO YOU WANT TO KISS HER OR NOT?!” the shout escapes Ford before he can leash it and it seems to echo in the empty streets. Thankfully Rachel’s neighbors seem to be tucked in for the night and no one left her house to follow them. 

Stan, regardless, shushes him even as he seethes, “Not more than I want to know whatever the hell is up with you! You’ve been sulking all night, Sixer - hell, you been sulking the past couple of weeks if we’re gonna be honest about it!”

Ford looks down at his feet, kicks at the pavement even as Stan charges on, “Then Becky pulls you aside and whatever she says seems to be the last straw and I don’t get-!”

“She said I shouldn’t play, alright!” Ford snaps, “She said I should-should sit the game out and that Rachel wants to kiss you and-and...” he falters, drops off, because he doesn’t want to hurt Stan’s feelings. 

He doesn’t want to tell him about the comments on his acne or how he might just be a ploy in some plot to make someone jealous because he does want his brother to have something nice - even if it’s fleeting, “And you should go back in there and get what you want!”

“...Becky said you shouldn’t play?”

“She-she figured I-I wouldn’t enjoy it anyway and she’s...she’s not wrong...”

“No,” Stan breathes in loudly through his nostrils, his hands curling into fists, “She’s wrong. She’s very wrong and if she wasn’t a girl, I’d pound her right in the face!”

“Stanley,” Ford sighs, suddenly very, very tired, “You shouldn’t want to pound anyone in the face. Boy or girl. And certainly not for my sake.”

“Whose sake would it be for then?” Stan returns, “I’ve told you time and time again, I’m here for you. I’ll protect you, I’ll-!”

“You won’t always be there for me, Stanley.”

This remark stops Stan short. Makes his eyes widen in alarm, “What-? What does that mean?”

“...I think you know.”

“I sure as fuck don’t!”

“Language, Stanley.”

“Fuck your language!” Stan growls and comes closer. He gets in Ford’s personal space and Ford can feel the heat radiating off him. He’s very much the monster he’s dressed as - exuding power and force and deadly seriousness as he looks at him, “I will always be there for you. Always.”

Ford lets out a sad, watery sound. He looks away and there’s a restless wind that seems to rise up, to play with his hair and suddenly Stan touches his chin, directs his face back to him, “Look at me.”

The touch is clearly just meant to direct his eyes, but Ford feels it zip throughout his entire central nervous system, feels it shoot out his toes as he looks into Stan’s eyes and his twin says, “Stanford, you ain’t never got to keep anything from me. Alright? You ain’t gotta hide or-or keep to yourself. Thinkin’...thinkin’ maybe now this is why you’ve been poutin’ so much lately, huh? You think we’re going to be apart?”

“Stanley...”

“That I’m not going to be there for you? Because I will be, Sixer. Always and forever. You should know that.”

Another sigh, “Rachel...”

“She’s just some broad,” Stan promises, and then, with a chuckle, “A cute one, but just the same. She’s not as important as you are. Never will be.”

“You-” Ford swallows around a big lump in his throat, his heart aching, “You shouldn’t say things like that.”

“Why not? You’re family.”

And it’s that, that last word, that helps Ford grab a hold of his senses. He gulps and lets out a shaky laugh, “Uh, yeah - yeah. I am. And, uh, as your family - I...I think you should go back in there. Get your big kiss.”

Stan seems to thinking it over, but more for show than anything, as he cracks with a laugh, “Nah, forget it. Plenty of fish in the sea.”

The breath that leaves Ford sounds as if he’s pushing off a sob. Which makes sense. Ford feels like sobbing. He feels strangely vulnerable and exposed. More so when Stan just. Keeps. Pushing. “’Sides, if they’re not going to let you play...”

“I told you,” Ford manages weakly, pathetically, “Becky wasn’t wrong. I don’t want to play.”

Stan doesn’t say anything for awhile and it’s good. It’s great. Ford can feel his lungs filling with air, can feel his sanity returning, can feel himself pushing away from the ledge of tears. Stan didn’t mean for the things he said to sound so-so romantic. So much what Ford wants to hear.

He was being a good brother.

Ford wants to do the same - needs to do the same.

But then.

“Stanford, any...any of those girls would be lucky to kiss you...”

And that’s it. 

It’s the funniest thing.

That’s the thing that breaks Ford. That’s the thing that pushes him over that ledge. That’s the thing that leads him to cry out, “I don’t WANT to kiss THEM, Stanley! I WANT-! I want-!”

And Stan’s looking at him as if he’s never seen him before. As if Ford is some stranger - raving and demonic and he is - he truly is. Because with an anguished whimper, he grabs Stan and forcibly tugs him over. He seals his lips over Stan’s.

He kisses him.

He kisses him.

Ford kisses Stanley.

The sound of pure shock that leaves Stan sears Ford’s soul and Ford catches a glimpse of Stan’s eyes - big and round and white. Startled. Stunned. Maybe even terrified. So he closes his own as he brushes his tongue against his twin’s inert mouth, as he eases just so between the seam of them to get the taste he’s always feverishly dreamed of and then-!

Ford pushes him away as hard as he can, as hard as he tugged him over to begin with. He pushes him away and with a choked ‘I’m sorry. I’m so sorry.’ he runs. He runs and runs. He runs off into the dark Halloween night and prays that Stan will forget what happened. 

[tiredbiostudent]

DARK PLACES by GILLIAN FLYNN ★ ★ ★ ★ ★ ☆ ☆ ☆ ☆ ☆ [5/10]

after thoroughly enjoying Flynn’s Gone Girl and Sharp Objects, I have to admit that this one was a big disappointment. it maintained the trademark creepy, graphic details of her writing but lacked an interesting protagonist, a gripping storyline, or the clever twists I’m used to from her.

the overall premise of the book had decent potential, but I’d say the three biggest downfalls for me were 1) an unlikable protagonist (she didn’t even have to be a good person! bad people can be interesting and likeable characters!), 2) weak stakes, and 3) too many pointless details and too many missed opportunities. 

Libby was SO boring and unnecessarily edgy. it would’ve been a lot more interesting to delve into how the trauma affected her but I found that a lot of it was more... ok my family was murdered so I’m rude to cashiers. no explanations of why she acts a certain way beyond oh I was traumatized. boring! 

a huge fault of this novel was the lack of stakes. Libby is essentially just delving into the truth of the murder because meh, she’s finally given it some thought for the first time in 20 years? her brother’s prison sentence won’t be affected and he isn’t about to be put to death, she isn’t being actively chased down by the real murderer, and there’s no follow up to the current-day missing women in Kansas. so it’s like. what outside forces are even progressing the story at this point?

following up on that, there were so many missed plotlines that could’ve been super interesting! just to name a few: what’s going on with her aunt in the present? what happened to Lisette and the other missing girls? they mention the angel of death like, once :/

some final critiques: I do love Flynn’s crude writing and I did actually appreciate the descriptions of the murders bc they were like, so brutal it was almost fascinating. yes I’m weird I’m a weirdo. that being said, there were definitely a few parts that were unnecessarily graphic that added zilch to the story. and the part where ok yeah there are definitely life or death stakes here now aka when Crystal tries to murder Libby is both extremely overdramatic AND way too quick of a blip in the radar of this book. the plot twist of who the real murderer is COULD have been a lot more interesting but kinda just ended up being very understated.

don’t think I’d recommend this one, but even if the story and characters were weak, Flynn’s writing is a force to be reckoned with. this novel does present an interesting perspective on justice- do they deserve to be punished for crimes they didn’t commit just because they’re bad people? is murder a crime if someone asks you to do it for them to help their family?

[masqueradeofmimicry]

Hello, Icarus! Please infodump to me about Danganronpa?

okay so! I had written out a whole thing but then tumblr deleted it! so that was fun! /s but now that I know what I'm going to write it's much easier, so that's good 😌

n e ways, I'm gonna do like a basic timeline w explanations and some other stuff that hopefully I'll remember once I start writing!! so let's go :D

a list of everything danganronpa in chronological order (not the order that you should play/watch the stuff in, I'll put that in the explanations)

Danganronpa 3: The End of Hope's Peak High School - Despair Arc (DR3) - second anime, watch along with the Future and Hope arcs after playing the first two games (and UDG if you want to). backstory for the cast of the second game.

Danganronpa: Trigger Happy Havoc (THH) - first main game, play first. also has an anime that's basically the same as the game, but since there's not enough time to put everything from the game into the anime I definitely recommend playing the game. high school students from a prestigious school trapped in said school are forced to play a killing game, hijinks ensue.

Danganronpa Another Episode: Ultra Despair Girls (UDG) - third game, not main. play after playing the first two games. very different game mechanics from the main three, and widely considered not cannon by the fandom. I like it though, and it introduces a lot of really interesting characters along with giving a v underdeveloped character from the first game a lot more character development. it's not necessary to play it (though one of the characters plays a pretty big part in the third anime, so that would make more sense if you already knew her), but I think it's interesting and fun. there are also robot fights.

Danganronpa 2: Goodbye Despair (DR2 or SDR2) - second main game, play after playing the first game. same basic premise as the first game, except it's a different class (same school though) and this time they're on an island. even more hijinks and plot twists than the first game.

Super Danganronpa 2.5: Komaeda Nagito to Sekai no Hakaimono - (I could only find the Japanese title for this one, sorry 😔) kinda also part of the second anime? watch after playing the first two games (and UDG if you want) and watching DR3. character is woken up from a coma via overdramatic and overpowered other character.

Danganronpa 3: The End of Hope's Peak High School - Future and Hope Arcs (DR3) - second anime, watch along with the Despair arc after playing the first two games (and UDG if you want to). aftermath of the first two games.

Danganronpa V3: Killing Harmony (DRV3) - third main game, fourth game in total. I don't actually know when it happens bc they're v secretive about everything, so I'm just putting it last. play last. same premise as the first two, the class is trapped in a school with a courtyard and a huge sort of dome around everything. peak hijinks, too many plot twists to count.

woo!! that's the timeline as I know it, hopefully I didn't miss anything. and I have managed to remember what else I was going to say, so let's move on to section two:

the mechanics of the games

danganronpa is, at its core, a glorified visual novel. every character has a certain amount of sprites for when they talk, as well as voice lines that aren't usually the exact text on the screen but fit the vibe of whatever they're saying. and as I've said before, there's quite a lot of talking. these games have more plot than should really be possible and most or all of it is done through dialogue. cutscenes and class trials are the only parts that are reliably fully voice acted, but there are a lot of those.

as for the parts that are less visual novel-y: you can walk around, and the settings are pretty much as 3d as the 2d-ish style of the game allows. you can also click on things, and sometimes clicking on stuff will get you monocoins, the currency of the game, which means you'll be able to buy presents for the characters!!

"now why do I need presents for the characters?" you ask. well, that's because you're given a certain amount of free time each game to hang out with characters you want to get to know better! the game's ending is fixed, so you won't change the course of the game by who you do or don't hang out with, but you can learn more about characters and become closer to them! giving them presents they like makes them like you more :D

and the most exciting part of danganronpa, what a lot of people play the games for, the true lure of the game.... the class trials!!

so these characters are in a killing game, right? basically, they're faced with a sort of lose-lose predicament: stay trapped in the school forever, or kill one of your classmates to "graduate". but it's not as simple as that, because in order to graduate, you can't be caught. and how do you determine whether or not a criminal has been found out? well, a trial of course!

enter the class trials. every student (barring dead or severely wounded ones) is required to participate in a kind of mock trial- except someone's really dead, and they need to find the murderer or they'll all die too.

(right, did I forget to mention that? only one person can graduate. getting out alive insures that none of your classmates get the luxury of doing the same.)

so, yeah. the class trials are a true fight for life on both sides, because who ever loses will be executed.

and they're really, really fun.

entirely voice acted! enough minigames that the list of them is probably longer than this entire post! the joy of solving the mystery! the... execution, right in front of everyone.

hey, it's a dark game. not like they're trying to hide that. and the executions aren't actually all that gory most of the time, but they're still very much there and onscreen. also as close to fully animated as the games ever get, which is pretty cool.

so how the class trials work is this:

there's a murder. dun dun duuuun. you investigate everywhere related to the murder to get "truth bullets", which are the reason you don't immediately fail at the trials. you don't have to remember all of them, they're all written down in your e-handbook. plus, the protagonists all seem to have really good memories.

time for the actual class trial!! Monokuma (asshole bear running the killing game) introduces everything, explains the rules. and everyone starts talking.

there are a lot of different parts to the class trial, but most of it is "nonstop debates". everyone talks one after the other, and you have to find inconsistencies and shoot the right "weak spot" with the right truth bullet. you refute the lie or mistake and everyone goes back to arguing normally.

there's also hangman's gambit (weird hangman to find a key word), multiple choice things (self-explanatory), and plenty of others.

near the end of the trial (or sometimes only a little over halfway in, it varies), the killer will.... kind of become obvious. there's a specific kind of change in behavior that's the mark of the murderer in these games, but I'm not sure how to describe it exactly. a lot of times there's an accent change, and in general they start acting much more erratic. since it's a trial, though, even after this presents itself you still have to prove your case beyond reasonable doubt.

and once it's become clear to the killer that they're backed into a corner, you have to do the "bullet time battle". it goes by different names in different games, but the basic mechanics are the same: you battle against a student (usually the killer, but not always) in a rhythm-based battle where you have to click to the rhythm to refute your opponent's statements. once you've dealt enough damage, you shoot the final piece of evidence, and that's the end of it.

the murderers react differently different times. sometimes they break down and confess. sometimes they keep denying it. sometimes, they're just calm. however they act, though, the end is the same. they are caught and punished accordingly.

but before that, there's one more thing to do. the closing argument.

your final task is to explain how the murder was committed, from idea to execution (look, a pun! see I can be funny too 😌). and you have to do it... as a manga.

you don't have to draw the whole thing yourself ofc- you just have to fill in the missing panels and then watch as the protagonist narrates it to the rest of the class.

and that's all for the class trial, not counting the long talks after every execution while still in the courtroom.

wow, this is getting...... really, really long. there's only one more thing I'm gonna add, and I promise it will be much shorter than the other two bc it is late and I am officially Incredibly Fucking Tired.

with no further ado, a very short part three:

my general impression of the game. its vibes or smth, I dunno this is just what i think about it

when I first heard of danganronpa, I thought it was a horror game. I can now assure you that it is not. thriller? maybe. debatable. but definitely not horror.

and despite its extremely dark premise, this game is not all doom and gloom. there's so much stuff about hope, and overcoming despair even when it seems impossible... it's not exactly a happy game, but there's a lot more of that in there than you'd probably expect.

all in all, I love this game. so much. it means a lot to me, and I think it's a really good game. thanks for letting me talk about it so much asdhfd :D

[ladybirdwithoutdots]

I think I’m the only one who actually dislikes Emma and Harriet’s scene in the movie where the latter tells Emma “I refused Robert Martin because of you”.

I need to preface this by saying that neither adaptations, let alone the book (where Emma indeed cares about the girl, but she still happily parts ways with her in the end, and never really considers Harriet an equal to her and Mr Knightley tbh), could ever really convince me that Emma and Harriet are friends.  The new movie 'upgraded’ that relationship A LOT, and for a good reason: they put the spotlight on that and Emma’s relationship with Knightley more than on things like Jane/Frank because the movie is very much about ‘Emma.’ and HER personal character’s growth and Harriet is useful for that purpose, too. However, even this movie still doesn’t convince me that she and Harriet are ‘best friends’.. and this scene makes it worse for me because it does emphasize all the issues I always had with their relationship in the book too.

I think it’s because, in that scene, it comes across as her making Emma feel like the bad guy who is stealing her man (and Emma thinks that too!) because she knows Emma has more chances than her. My problem is that I cannot really feel so bad for Harriet there, and I find she’s at fault as much as Emma is, maybe even more than her. Here’s the thing: were Harriet a real friend for Emma - in the realest sense of what a friend truly is, which is someone who knows you well and cares about your feelings TOO, and not just about what you can do for them -  she should’ve realized, noticed the hints, taken into consideration, the fact Emma maybe had feelings for the man too, especially given how much Harriet seems to interpret HER own interactions with him as hints that he wants to marry her, and yet I’m supposed to believe she is so oblivious about Emma and Knightley’s much deeper feelings. She supposedly spends time with Emma and her family, which includes Mr Knightley, but she never notices a thing. I can understand her not noticing Mr Knightley’s attraction and feelings for Emma (even though one should try very very hard to not notice it! Especially in this movie!) for Mr Knightley isn’t her friend. But Emma’s feelings should matter to her a bit, she should notice things about Emma.

Their relationship never really recovers for me because even their last scene, their reconciliation, while it’s cute and all, still doesn’t resolve their issues. It’s great that Emma tries to be a good person and a good friend in the end, you really see her changing for the better and you really see her trying and doing everything so that Harriet gets her happy end too, and only then Emma gets her own happy end. But I would’ve loved that scene between them much more if Harriet had said something, anything, about Emma’s own wedding too. I wish there was a hint from Harriet’s part that she was happy for Emma too. Instead, that whole scene is just about what Harriet wants and needs and what Emma still needs to do for her. Only her. Where’s Harriet’s side in this friendship? Where is her being there for Emma and acknowledging her feelings as valid too? Where are Harriet’s concerns for Emma too?   I’m not erasing Emma’s flaws and bad actions here. I’m not making her a victim. Emma is wrong and it’s good for her that she tries to be a better person and learn from her mistakes. However, the fact Emma was wrong (and she’s the protagonist. and she’s rich and she got the best man lol) doesn’t mean her feelings and happiness must be irrelevant to someone who is supposed to be her friend still.

IMHO, Autumn de Wilde humanized Harriet, and her character has much more dignity here than in the novel and other adaptations, but she also emphasizes her ‘blindness’ and her faults (and an issue in the Emma/Harriet relationship that I see in the novel too) all the more. I find her overdramatic and immature reaction (for me, especially when she seems to want to blame Emma for the fact she refused Robert Martin, when that actually was still HER choice and it’s bad SHE let Emma influence her IF she really cared about the guy)  when she realizes Emma is in love with Mr Knightley is emblematic and while it’s a big change for the novel, it’s consistent to their book energy for I find it believable that had book Harriet realized Emma’s feelings for Mr Knightley, she’d indeed get very disappointed about her ‘hero’ becoming ‘the villain’. To me, it makes the point that she kind of had always treated Emma like a God whom she loved and admired only because she was mentoring her and was trying to help her, but Harriet has no critical thinking about Emma and this ultimately dehumanizes Emma. Proof in the pudding is the fact she’s constantly trying to get her favor and please her with pretentious comments such as when she tells her no one plays the piano better than her. Harriet doesn’t see that her friend treats Jane bad. And she’s right there with everyone when Emma acts bad with Miss Bates, but she doesn’t care, doesn’t notice her friend is doing something wrong that is very bad for her. The only moment where Harriet has a negative reaction for something Emma does is when she realizes Emma wants the same guy she wants. Btw, all the people in Emma’s life do what Harriet does. I always thought that,  saved for Mr Knightley, Emma doesn’t really have real friends. She has admirers, which is a completely different thing. For all the flack Mr Knightley gets for criticizing Emma (from himself too, people always forget that he feels bad about it),  I think by noticing her flaws too, and loving her in spite of them, he actually is the only person who effectively treats Emma as a human and he pays attention to her and who she really is beyond perfect appearances. The others seem to care about Emma apparently but it’s only on a surface level and it’s always limited, IMO, to what Emma does or can do for them.

[sunstone-nerding]

“TDP Book One: Moon” Book Adaption Review

My feelings on the "Book One: Moon" novelization can be summed up in one word: disappointed. In a few more words: disappointed, often ticked off, and a few times, outright angry. I know that sounds dramatic. But I care about The Dragon Prince universe, possibly more than I should. I was looking forward to this book for more details about the world and insight into characters' thoughts.

Nerd rage to follow. You have been warned.

To put in plainly, the book does not read like a finished product. It needed editing…very badly. The word choice is often overdramatic, and sometimes outright wrong. The first instance that jumped out at me was in the preview of Chapter One that the staff posted on the official website:

“The rain stung [Rayla’s] cheeks [as she chased after the guard]. The putrid smell of the storm overwhelmed her senses.  She’d never felt more alive.”

Here are my earlier comments on the preview. As a reader, this was not a good start, but it turned out to be indicative of the rest of my experience. Since this book is supposed to be for kids, I expected shorter sentences and simpler words; however, I also expected accurate word choice. I actually took a pencil to the page and trimmed or altered the writing as I went. Here’s another example of incorrect language, from when the assassins extinguish the lights before charging up the staircase:

“Just then, a howling wind blew through the staircase, deep and strange and oddly warm. One by one, the sconces and torches fizzled out, leaving the entire tower in sudden darkness.”

Ignoring the redundant phrasing: a sconce is the bracket on a wall that holds a torch. It is never on fire and therefore cannot be snuffed out. These are simple mistakes an editor should have corrected. Though, considering Aaron Ehasz' history with one editor at Riot Games, the Scholastic editor(s) probably did point out these mistakes. I assume he ignored them. That’s tragic, considering the people they brought in from the publishing house were either TDP fans, or had loved ones who were.

Because of these mistakes, I cannot recommend the book to anyone who is learning English, unless you keep a dictionary close by.

Another huge problem was how the book relayed information to the audience. Often the perspective just doesn't make sense. One glaring example: While in Rayla's POV, the book describes the shadowhawk arrow as though she has never seen one before, even though we know she lives with the guy who makes them. Also, she is somehow skeptical that the bindings will tighten on their own, even though she has trained with assassins for years?? What happened to “magic is all around, like sayin’ you’re in nature” (paraphrased)?! I get that Aaron and/or Melanie were trying to explain things to an audience who perhaps hadn’t watched the show, but...it would not have been difficult to phrase it differently. (It took me ten minutes tops to revise the part about the arrow.)

My final gripe is about some of the characterization. First, Viren’s perspective reads as 100% Evil Advisor Trope. I was ridiculous and it pained me. I could pull examples, but honestly I’m embarrassed just thinking about the scenes. If this is how part of writing team views Viren, the other writers and Jason Simpson made invaluable contributions to his character.

Regarding Rayla: her viewpoint seems childish. She admires Runaan, but is also intimidated by him to a degree that is unhealthy for someone of her age. She is 15. Any normal teenager is gonna start resenting their parental figures well before then – and we know how sassy Rayla can be. This may have happened in the book adaption because the target audience is younger than two out of three of the protagonists, but that can’t be all. You can pare down vocabulary and still convey nuance. 

And the Moonshadow assassins…Let’s just say there were some unnecessary changes. Changes that removed Runaan’s attempt to maneuver Rayla out of trouble (thus showing how he cared about her, under the stern front), cut out some of Rayla’s agency, and made the other assassins act like bloodthirsty hecklers instead of, you know, professionals.

To be clear: I don't mind some scene and dialogue rearrangement. Prose is a different medium, and a writer needs to adjust accordingly. But this book reads less like that, overall, and more like someone decided to write their own version of The Dragon Prince’s story without anyone else’s input. Were any of the other Wonderstorm writers allowed to read the manuscript? Did anyone perform a lore check? The inconsistencies are irritating.

Visually, the book is beautiful. It has very nice illustrations and an elegant layout. We got a more detailed map, too. But all the graphic design work couldn’t make up for the disappointing and often frustrating content. The writing seemed to improve after the kids left the Banther Lodge, but not enough to overcome my accumulated grumpiness. I stopped reading weeks ago, and couldn’t bring myself to continue.

An animated TV show is a collaborative effort. The writers, director(s), visual designers, actors, and animators all contribute to the final product. Writing a book should be a collaborative effort, too, on a smaller scale. It’s not only the author(s), though they do a lot of the work. With this prose version of The Dragon Prince Book 1, it is obvious to me that Aaron Ehasz and/or Melanie McGanney Ehasz either did not seek or did not heed constructive criticism. They’ll need to start listening to their editors before I, at least, consider buying the second book adaption.

[the-light-followed]

THE COLOUR OF MAGIC (1983) [DISC. #1; RINCEWIND #1]

Rating: 5/10

Standalone Okay: Yes

Read First: NO.

Discworld Books Masterpost: [x] 

* * * * * * * * * *

Ask any Discworld fan, and we’ll all pretty much universally agree that The Colour of Magic isn’t the pinnacle of the Discworld experience.  Nobody really recommends that new readers should start here, even if it is the first book in the series chronologically.  I’m pretty much a writing-order-equals-reading-order purist, for reasons best discussed elsewhere, and even I would absolutely never start people off with this one.  (I tend to go for Going Postal or Wee Free Men—again, for reasons best discussed elsewhere.)

It’s not Pratchett’s best work.  It’s not even his tenth best work.  If I have to rate it (and I do, because that’s kind of the point, here), compared to the rest of Discworld, it’s down at the bottom of my list.

It’s pretty damn good, though, for what it is.

For me, it’s a genuine joy to read the early Rincewind books. This is because, in my head at least, it makes total sense that everything involved in them is baffling and strange when compared to the settled absurdism you get from other Discworld novels.  Further into the series, it all feels a lot more comfortable and fleshed-out: yes, the things Pratchett writes about are often genuinely ridiculous, but usually the setting explains those things and packages them up neatly enough to make them acceptable. And the characters treat everything as perfectly normal, business as usual, so the reader is gently encouraged to do the same.  

Thinking about it, I would argue that a lot of the Discworld shenanigans aren’t all that different from a lot of the real-world nonsense that we all just accept as totally normal.  Discworld nonsense and our nonsense just come from different places. For us, it’s stuff like the fact that some cops still ride horses for absolutely no good reason, or that tipping is part of a server’s pay in an American restaurant, or that water is usually free but we all let movie theaters charge us like $5 for a bottle, and what’s that even about?  In the Discworld, the thieves and assassins have unionized, and if you slip up, it’s entirely possible to just fall right off the edge of the world.  It’s weird, and it’s not exactly fine, but it’s not about to kill us right this second, so we all just let it happen. We accept it.

This is not at all the case for our unwilling protagonist, the original Discworld hero-who-is-absolutely-not-a-hero, Rincewind. He’s scared of everything.  He is a genuine, bona fide coward.  Absolutely everything that happens leaves him baffled, terrified, and/or dismayed, and to tell the truth I unconditionally respect all of this about him, because most of the absolute bullshit nonsense going down around him is baffling, terrifying, and/or simply Not Good, and he and the reader have to learn to live with that together.

Over the course of this one novel, failed-wizard-slash-reluctant-guide Rincewind is:

Involved in burning down large parts of the city of Ankh-Morpork, because he left his friend unsupervised and the city really wasn’t ready for the invention of ‘insurance’ without the accompanying understanding of ‘insurance fraud.’

Chased, threatened, and variously menaced by a sentient suitcase known as the Luggage, which canonically has huge teeth, a mahogany tongue, hundreds of little legs, and an insatiable hunger for the flesh of its owner’s enemies.  Also, it does your laundry if you leave it inside. Isn’t that nice?

Forced into a duel by dragon riders, where he must fight upside-down while wearing boots that basically Velcro-attach their wearers to the ceiling.

Captured, imprisoned, and scheduled to be sacrificed to the anthropomorphic personification of Fate in exchange for success in a scientific endeavor—specifically, checking the biological sex of the giant turtle carrying the Discworld on its back through the universe.

Dropped over the Rimfall, the waterfall at the edge of the Disc, which in Roundworld terminology is something like tripping and falling off the surface of the Earth and flying into the abyss of space.

Repeatedly almost forced to speak one of the Eight Great Spells that created the universe, which will do…something, possibly catastrophic, when spoken.  No one knows exactly what it does.  Rincewind certainly doesn’t.  This spell attached itself parasitically to his brain years ago, and, in the meantime, has shoved all the other wizard-y type things he could have been doing right on out of there.

So, basically, he’s going through a lot.  And this list isn’t everything, just the bits I pulled out by opening my book at random spots and reading a couple of lines.  It kind of makes sense, in my opinion, that things feel a little topsy-turvy.  Shit’s wild.

On top of that, I’d also argue that Pratchett is playing pretty fast and loose with plot and story structure in this book.  It can feel sloppy at times, more like a bunch of little vignettes that have been strung together than a single, coherent storyline. The plot loosely wobbles along the tightrope strung between Rincewind’s uncanny luck, good and bad, and cheerfully-blockheaded-tourist Twoflower’s unstoppable ability to trample through the middle of every single situation that could possibly try to kill him.  Very bad things happen, but somehow, they miraculously fail to die, and so Rincewind is still stuck shepherding Twoflower along through the next incident of someone or something trying to brutally murder them both.  There’s no real greater plot or driving need, just Twoflower with his little camera, wanting to take pictures of every beautiful and dangerous part of the Disc.

If a rabid wolf the size of a bus came up and tried to eat him, Twoflower would take pictures of the inside of its mouth and say, “Oh, wow, I’ve never seen teeth that big before!  Rincewind, won’t you take a picture of me with this magnificent beast?”  And Rincewind wouldn’t answer, because he’d be half a mile away already and still moving fast, with nothing but a cartoon cloud of dust left behind to mark where he’d been.

[Here’s the boys, Rincewind and Twoflower, just doing their best.  From the BBC two-part miniseries called The Colour of Magic, which actually spans the plot of both The Colour of Magic and The Light Fantastic. Yes, that is Samwise Gamgee playing Twoflower, and yes, I did get distracted by that a lot while watching. Twoflower has all of Sam’s earnest faith and absolutely none of his common sense.]

Fun!

The whole thing actually is pretty fun, though.  It’s witty.  It’s got something to say, even if that something is just “hey, aren’t all these identical High Fantasy Adventure books all overdramatic and ridiculous in the exact same ways?”  Pratchett is writing this book as one massive joke he’s telling about the genre, the tropes, and the archetypes, and he does a pretty decent job even by today’s cultural standards, let alone the standards of 1983.  Chances are that any point he’s making here in The Colour of Magic is something he’s going to make again, better, in a later book, but that doesn’t mean he doesn’t have the seeds of something here.

As a main example, I’ll point out Liessa Dragonlady, who has arguably the biggest role in one of the major conflicts of this book.  Liessa is initially presented as the quintessential High Fantasy barbarian warrior lady, which would typically be more about sex appeal than any actual skill—except that Liessa is actually highly intelligent, 110% more talented and qualified as a leader and warrior than her brothers or literally anyone on the protagonists’ team, and is aware the whole time that she’s struggling against the patriarchy and her society (and the tropes) in trying to take what should be her rightful place as leader of the Wyrmberg.  The sexism exists in the Discworld, not in the writing.

[Liessa from the BBC’s The Colour of Magic, wearing—no joke—a crop top armor chest piece.  Actually, I think it’s technically a bikini, based on the bottom half of the armor.  Or should I say the lack thereof?  Classic.]

Liessa is a decent example of Pratchett’s ability to look at the tropes and the reader’s expectations, and then go and take his writing somewhere else.  But even so, I’d absolutely point to Monstrous Regiment or even Equal Rites first for anyone wanting to read a really solid exploration of femininity and what it means to be a woman in a traditionally ‘masculine’ field.  Or I’d suggest just about any book starring the senior witches or Tiffany Aching for examples of well-rounded female characters that demand respect in a world specifically designed to not want to give it to them.

But that’s just one example.  The Colour of Magic has the seeds of quite a few really good ideas that Pratchett will explore in more depth later on.

I think those seeds are part of what makes The Colour of Magic worth a read at some point, even if it’s never going to be anyone’s favorite Discworld book.  I love seeing the foundations of Future-Discworld, that settled absurdism I was talking about earlier, in this.  We’ve got our proto-Vetinari, long before he had a name, being generically threatening and Machiavellian and as close to ‘cackling evil overlord’ as it’s possible to get without actually cackling, or at least without some sort of thunderstorm rumbling in the background.  Ankh-Morpork is a wonderfully scum-filled cesspit of depravity and immorality.  There’s no effective City Watch to kick things into a rickety and leaking approximation of ship-shape, so it’s probably a good thing that the river Ankh is so thick with pollution that you don’t need a ship to cross it—you can just walk.

There’s even some early conceptualization of Pratchett’s special brand of everyday magic, the kind that will show up over and over again in the Discworld: the idea that even with a reality full of gods and wizards and hyper-powerful, monstrous things, there’s still a lot of power in everyday, ordinary people.

Pratchett is all about belief.  He preaches the importance of the self, in terms of making reality into the place we think it should be.  In Pratchett’s world, the things we believe in matter, and not just in a philosophical sense.  Belief is a real, tangible form of magic—in this book, specifically, Twoflower manages to summon an entire dragon out of nothing, just because he believes strongly enough that dragons should exist the way he’s always dreamed them to be.  In later books, sheer belief and willpower are shown to create and fuel gods and spirits, to contain quasi-demonic entities of vengeance and darkness, and to form the backbone of every other more ‘traditional’ type of magic.  

It’s nice to see the early forms of it here.  I’m not going to get too into it, because it’s going to show up a lot in later books in more significant ways (I’m thinking Hogfather, Small Gods, and even Pyramids) and I don’t want to beat that horse to death just yet, but it’s one of the foundation stones of the Discworld.  It’s somehow comforting to know that it’s been here since the very beginning.

It’s also funny as hell to see the stuff that Pratchett will eventually change, soften, or drop entirely as he settles into the way the Discworld will work.  Did you know there are eight seasons on the Discworld?  And that in my 1985 edition of the book, the footnote where he explains these eight seasons takes up the bottom half of two entire pages?

That’s one single footnote there.  The first ever footnote, even, and it’s almost a full page long and utterly ridiculous.  It’s incredible, and I love it a lot.  I also love that almost none of the details here are ever mentioned again, and if they are, it’s never in a significant or memorable way—and Pratchett certainly doesn’t waste a whole page on any of them ever again.  Well, except for Hogswatch, because Pratchett knows when he’s got a real winner.  It might have taken him thirteen years, but he wrote a whole damn book about it, and we all can agree that Hogfather is a joy and a delight.

Not so much “Autumn Prime,” “Crueltide,” “Winter Secundus,” and blah blah blah etcetera whatever.  I’m not ashamed to admit that I forgot them while I was literally still in the middle of reading them.  And what the hell is “Reforgule of Krull”?  No clue. It’s total nonsense, never seen again, and I think we can all agree we are fine with this.  

On second thought, I think Pratchett does end up using Hubward and Rimward pretty regularly as directions.  But without this info-dump, when reading other books, I think that even I figured out how “Hubward” and “Rimward” work on a flat plate of a world with a Hub in the center and a Rim along the outside.  And I am so bad with maps and directions that I literally get confused trying to give people directions to the parking lot outside my work.

I’m no good at wrapping these things up, so I’m ending this post the same way that Pratchett ends the book: with Rincewind abruptly falling off the edge of the Disc.

[Originally, I was going to go hunt down some fanart or something, but I don’t have permission to use any of that, so instead you get my doodles off the scrap paper I steal from work.  Luckily for everyone, I’m an artistic genius.  The dot representing Rincewind obviously isn’t to scale, since one human person would be much smaller than that, but if it represents the size of his body and the size of his scream, then it’s basically accurate.]

* * * * * * * * * *

Side Notes:

Rincewind’s insane luck, good and bad, is because he’s a favorite of the goddess referred to only as ‘the Lady,’ since invoking her true name means she has to leave.  She’s the anthropomorphic personification of Luck itself, and she’s the reason Rincewind always survives whatever terrible situation he finds himself in—but also the reason he’s stuck in that situation in the first place.  

Everything that goes wrong, and the dramatic escape that inevitably follows, is because the Lady likes to play dice games with Fate, using normal people on the Disc as game pieces.  

Rincewind, it turns out, is the human equivalent of her favorite Monopoly token. (The iron, maybe?  It has the same sort of Looney Tunes cartoon-anvil vibe as Rincewind’s whole, well, everything.)

Death as a character makes his first appearance in The Colour of Magic.  However, here it’s implied he actually is involved somehow in the killing process, and his role can be filled in by apparently random low-level demons on their days off, whereas later books make it clear he just collects and shepherds the dead onward, and actually the issue of his replacement is a big deal, cosmically speaking.  

Pratchett sort of avoids this issue by claiming that Rincewind’s life timer is so complicated and convoluted (because of all the weird accidents and magical incidents) that Death just can’t tell when he’s actually supposed to die.  

I guess Death shows up every time it looks like Rincewind might kick the bucket, just in case?  And in that case, all the threatening stuff he says to Rincewind in these early books must be because he’s so irritated that he has to keep coming out for no reason, only to find that Rincewind has, once again, managed to survive.  And maybe the low-level demon showing up instead was just, uh, Death trying to scare him into actually beefing it, this time…?

Although the Unseen University Librarian exists and is human for the entirety of this book and only this book, he does not appear at any point.  He’s briefly referenced—or, at least, a librarian is referenced, but this is referring back when Rincewind was young and read the grimoire that left one of the Eight Great Spells parasitically attached to his mind.  There’s no guarantee it’s the same librarian, and based on the turnover (read: murder) rate of University wizards at the time, I don’t think it’s likely that anyone managed to hold onto their job that long.  On Google, I did find a thing where someone cut together some shots of him in human form from The Colour of Magic BBC show, so that’s pretty fun:

Once he’s changed into an orangutan in The Light Fantastic, he’s described as still looking a bit like the human Librarian: with that beard and hair combo, I think they nailed it.

* * * * * * * * * *

Favorite Quotes:

“Inn-sewer-ants-polly-sea.”

“She was the Goddess Who Must Not Be Named; those who sought her never found her, yet she was known to come to the aid of those in greatest need. And, then again, sometimes she didn’t. She was like that.”

“It was all very well going on about pure logic and how the universe was ruled by logic and the harmony of numbers, but the plain fact of the matter was that the Disc was manifestly traversing space on the back of a giant turtle and the gods had a habit of going round to atheists’ houses and smashing their windows.”

“Some pirates achieved immortality by great deeds of cruelty or derring-do. Some achieved immortality by amassing great wealth. But the captain had long ago decided that he would, on the whole, prefer to achieve immortality by not dying.”

“‘I’m sure you won’t dream of trying to escape from your obligations by fleeing the city…’ ‘I assure you the thought never even crossed my mind, lord.’  ‘Indeed? Then if I were you I’d sue my face for slander.’”

“It was octarine, the colour of magic. It was alive and glowing and vibrant and it was the undisputed pigment of the imagination, because wherever it appeared it was a sign that mere matter was a servant of the powers of the magical mind. It was enchantment itself.  But Rincewind always thought it looked a sort of greenish-purple.”

[gingerly-writing]

Questions Tag Games

explanation: I’m super late to these, I suspect not many people will want their dashes spammed with my random answers, and I’m not tagging people, so I’ve amalgamated all of these into one post. 

tagged by @concealeddarkness13! haven’t spoken to you in a while, hope you’re doing great

1. Would you rather write a more classical hero or an anti-hero as a protagonist? I’d rather write a hero for the protagonist, but an anti-hero as a general character

2. Who is your favorite character you have written and why? Ever? That’s cruel. Out of people that y’all would know, Urial does seem to generate the most emotional reactions

3. How many WIPs do you have? 3 proper ones, currently: Iron Flower, Space Royalty and Piracy Pays

4. Who is your least favorite character you have written and why? To write? Klarion from Young Jutsice fanfic. Motherfucker would not follow the assigned plot. Hate-wise? Possibly Coincidence or Accord, neother of whom you guys have met yet. Those two are a pair of nasty criminals/villains, and they are a little too good at punishing anyone who gets in their way

5. What is your favorite aspect of writing? Finishing!

6. If you had only one sentence (per WIP) to get someone to read your books, what would the sentences be? They wouldn’t because I suck at loglinesss...humourously though?

IF: an entire continent is saved from the ravages of war by the ancient art of sexting via treaty negotiations Space Royalty: ‘she stabbed me? god-fucking-dammit I am so in love with her’ Piracy Pay: you get to chug your drink every time I kill a character

7. If your protagonists fought to the death, which one would win? Protags? Depends if morals were removed, and whether it was on-on-one. Koronis, if not -he’s an emperor with black magic and an entire galaxy-wide army.  If it was on-on-one with minimised morals, Ace would stand a damn good chance. Boy is smarter than he gives himself credit for, and very adaptable. Galaxy is also pretty viable. Girl can swing a superpowered punch like she means it, and she hasn’t survived this long on luck alone.

8. Which protagonist(s) would survive the zombie apocalypse? Koronis would. Ace would die trying to save someone else. Solaris would...provided Monarch was dragging him around, and even then they might go down together in a dramatic last stand. Galaxy would be in charge of a small, benevolent queendom. Cleo would, those plant skills would make her handy to any new civilisation. Fact would go down staving off the hoardes so everyone else could run. Rosalie would think she was the weak link of her group, but they would probably keep her alive; L’aura would kick zombie ass.

9. Which is your favorite story you have written or are working on? Space Royalty is damn fun to write -the benefits of extravagant, overdramatic space operas I suppose. Piracy Pays has had a good reception, so I’m pretty proud of that. Hopefully I can keep the momentum going until the end! It is a huge pain o write though

10. Which of your characters is your favorite villain and why? Raph is my evil supervillin crimelord Big Bad and I adore him utterly

11. When do you find is the best time of day for writing? Evening! 8pm-1am

*******************************************************************************************

tagged by the lovely @a-sundeen​! this is so old I bet you don’t even remember tagging me, oopsie

1. When you’re describing a new character, what feature do you usually note first? Build, usually, as in their height/weight ratio, muscles/skinniness or lack of, how they carry themself etc. The reason for this is that I often start with the macro ‘impression’ of the character before zooming in on a few specifics. I try to use an interesting description or comparison here as well.

2. Do any of your characters play an instrument or really enjoy music in general? If so, what instrument (or what genre, if it’s the latter)? I am the least musical person on planet earth, so making my characters musical often doesn’t occur to me. Koronis can sing and play the space-piano (forced childhood lessons), and Jade can play the violin, but neither of them are passionate about it. Kolya/Cynosure (the popstar/supervillain) is very very musical, but I skip around a lot of the specifics because I’m a big cheater. He mostly makes anti-establishment and anti-hero music, but he’s one of those artists who strays all over different genres.

3. Which musical artist usually gets you the most pumped to write? Les Friction does good dramatic music and they’re not so well known, so I like to tell people about them when I can

4. Do you prefer writing fight scenes over other types? (This is a weirdly worded question I’m sorry, rip) It’s worded fine, sunshine! And no, I don’t like writing fight scenes because I don’t like the logistics of them. There are too many limbs to keep track of, and then I feel like I’m neglecting their surroundings and potentially useful items in favour of mentally tracking who’s where and what their arms and legs are doing. I cover up for my fight scene weaknesses with too much dialogue, and I’m fully aware of that fact.

5. Is there a city or country you’d really like to write in or about? Write in is probably just where I’d like to travel, so Russia, India and South America (I know that’s general but it’s the only continent except Antarctica that I haven’t been to) are my top choices. Write about…I’d like to sink myself deep into east coast USA to really nail the feeling of Galaxy’s city and her character, and then be able to confidently write about it. I do have a study year abroad coming up in 2020, so here’s hoping…

6. Do you prefer to be warm or cold while you write? Warm! I love blankets and my big fluffy dressing gown, and on top of that all my friends always complain about how hot my house is

7. Do any of your characters have hobbies you’d like to try out someday? Fiction wise, glo-ball from Space Royalty sounds like a very entertaining game, especially when I’m kept safe behind a pod. sodding netball injuries Jade paints and draws, and I’d love to get better at art. Likewise, Rosalie sews, making and decorating her own clothes, and I’d love to be able to do that. Idk, does being a supervillain count as a hobby? I’d love to rob a bank…not even necessarily for the money, just the #aesthetic

8. What is your favorite type of character to write? Villains! And morally grey people. And characters where the POV character has no idea what they’re really thinking, who they really are, what they actually want etc. And, on the flip side, balls of positive sunshine, because they make me feel better about the world

9. Halloween is here! Which character has a costume made for them by their mom? Ahahahahaha can you tell how late I am to this.

10. Halloween is here (again)! Which character thinks the holiday is childish but dresses up anyway? I AM SO LATE. Rosalie thinks the holiday is childish but dresses up in the most elaborate homemade princess outfit ever and entertains all the kids she can find. What, it is a children’s holiday, surely she should be making them happy on their special day…

******************************************************************************************* tagged by @blackfeatherantics who is now @mbovettwrites I think? I hope?

1.      How long have you been working on your WIP(s) for? Iron Flower is the oldest current one, and I started it on Christmas Day 2016

2.      What song would you assign as your protagonist’s theme tune? I’ll just pick one, and Koronis’ is Young and Menace by FOB. No real lyrical reason, it just reminds me of him

3.      Do you have any favourite spots (gardens, parks, cafes, etc.) where you like to write? The sofa in my living room next to my family

4.      Poetry or Prose? Prose!

5.      Where do you draw inspiration for your writing from? Everywhere! Other people’s writing and prompts and published novels and TV and movies and random stray thoughts and daydreaming and chatting to other writers and-

6.      Is there any popular book that you wish you had written and why? The Lies of Locke Lamora because I’d take out the first 100-ish page of solid worldbuilding and backstory that seemed almost completely irrelevant to the rest of the plot?And the domino-effect of all the plot elements knocking each other into action at the end was so clever, it annoyws me that the beginning means I don’t like reccing it to people

7.      What’s your planning process when you start working on a new WIP? I daydream about it for at least a few weeks to make sure the idea has staying power. Then I come up with character names, quirks, descriptions etc. finally, I lay out the plot chapter-by-chapter from the beginning to the end so I have a guiding rope throughout the whole process and I’m less likely to get stuck. Of course, that’s when I plan on letting a WIP bloom into being. Some, like Space Royalty and Piracy Pays, start off as short drabble ideas and then refuse to leave, which means I have no concrete plan for them...

8.      Do you work best in mornings, afternoons, or at night? Evening!

9.      Would you prefer to self-publish or work with an agent and publishing company and why? Agent and publishing company, because I value the help they can provide more than the ability to retain complete creative control over my book (since I’m crap at titles and designing book covers anyway)

10.  How do your emotions/moods affect your writing? Not a lot tbh. If I’m very very tired I can’t write anything good, but I’m not sure that counts as an emotion.

11.  What’s your favourite line of your WIP/one of your poems? I’ve written both of my current favourite lines for prompts, which were: ‘Time hollows all victories’ and ‘The hero doesn’t die in this one’. I’ve had other favourites in WIPs over time, but I can’t think of them right now

******************************************************************************************* tagged by the ever wonderful @time-to-write-and-suffer

1) How are you so awesome? Genetics.

2) What’s your favorite thing about your writing? The dialogue! Or the romances, which I mostly like because of the fun/cute dialogue.

3) Who’s your favorite character that you’ve written and why are they your fave? This is so mean. At the moment, Raph, because I can’t stop thinking about him and he’s so incredibly dangerous, yet on the low down (like the Mariana Trench level of low down) he has all these cute little quirks that only one or two people know about

4) One of your characters has been placed in the world/plot of a book you love. What happens? Rosalie becomes a Grisha in Leigh Bardugo’s world. She finds a sense of self-worth and gets to enjoy the little luxuries that come with the position.

5) One of your characters has been placed in the world/plot of a book you hate. What happens? X takes the place of Celeana Sardothien. He murders everyone in his path, tells the crown of Terrasen to get fucked because there’s no way he can run a whole government with any level of competance, probably murders Rowan with extreme prejudice, opens the Wyrd gates just to search the universe for Raph and bring him through so he can construct a decent government for Terrasen, would probably sleep with Dorian, would make it his new life goal to highfive Manon.

6) Your characters must fight each other to the death until only one stands victorious. Who wins? Raph. Koronis could conceivably stand a chance against him, but Raph would decimate pretty much anyone else. I think Raph would be able to stay above the fighting for longer, whereas Koronis would jump in just a touch earlier, which would be his downfall.

7) If you could steal a cover and a title from other books to use for your own WIP/s, which ones would you steal? Cover-wise I’d steal the minimalist Red Queen aesthetic, because that sleek shit is the bomb.  Title-wise? That’s harder. The Lies of Locke Lamora has some sick alliteration, but I think I’d rather steal the style of it rather than the exact title

8) If you switched places with one of your characters, what would happen to you and to them? I would die, pretty much everywhere. If Rosalie swapped with me, she would slowly come out of her shell and become a fashion designer -not an A-lister, she wouldn’t like how vicious and ruthlessly businesslike you have to be, but maybe making her own high-end clothes in a small shop in London

9) What makes your style unique compared to other writers? Thanks for the existential crisis, Eff.

10) Describe your antagonist’s song number if they were a Disney villain. No Good Deed from Wicked, for Darklight

******************************************************************************************* tagged by the lovely @itstheenglishkid

1. Have you ever realized how similar an oc is to you and felt the need to change them so they aren’t so similar? I mean, Jade from Iron Flower almost shares a name with me, and she’s ginger, which did concern me for a while, but hopefully she’s nothing like me personality wise (or else I’d have to do some serious self-reflection)

2. Do any of your ocs like candles? I bet Rosalie loves pretty candles, especially patterned or strongly scented ones! Anything luxurious that she can’t afford, really

3. Do you normally write settings that are (or are based on) places you know intimately (ie your home town)? Oh god no. I like sweeping Chinese-inspired castles or creaking pirate ships or far flung space universities and man-made planets. I’m really not a contemporary writer though, so I guess this isn’t much of a surprise?

4. What is a book that feels similar to your own wip? Ahahaha, which WIP? Piracy Pays has similar vibes to @boothewriter‘s pirates and probably also @noodlewrites’ pirates (I’m guessing? I haven’t read any excerpts from you I’m sorry). Space Royalty is just weird. Iron Flower is probably similar to a lot of generic fantasy YA, like Red Queen and whatnot.

5. Do you have a dream cast for your ocs? I don’t really faceclaim? Or know much about a wide array of actors, so no, not really.

6. Are you good at story titles? Do they come easily to you? I am abysmal at story titles, holy shit. I mean, you can see the evidence scattered around this post. Piracy Pays and Space Royalty are just placeholder names, but I’m not convinced I’ll come up with anything good to replace them. Iron Flower is alright in that its relevant to the story and fits into the series title (The Flowers of War) but…idk, its not setting the stars alight or anything.

7. Do you ever change oc names once you’ve started a wip? Not often, though I am considering changing Ace’s name because I don’t think ‘Seb’ suits him. Only question, what to??

8. Which people have you let read your work? I mean, all of y’all have the opportunity to read Piracy Pays. No one has read Iron Flower, and I’m stretching myself by letting @rrrawrf-writes @lux-deorum@haphazardlyparked read Space Royalty in its raw first draft stage.

9. What usually catches your attention about a book first? Style? Characters? Plot? I’m quite an easy reader to catch and hold tbh. What makes me love a book is a clever plot. For me, a very strong plot can carry weak-ish characters, but I can never read super deep characters with no plot.

10. Do you have a favourite author? Probs Rick Riordan, or Julia Golding.

******************************************************************************************* tagged by the wonderful @typeaadventures

1. How many works in progress do you have? Properly, three. Iron Flower, which is written (143k) but needs editing, Piracy Pays which y’all are reading, and Space Royalty which crossed 30k about a week ago

2. Do you/would you write fanfiction I used to! I stopped in Y12/13 because I didn’t have enough time to do fic and original writing, and I haven’t really had the time to pick it back up.

3. Do you prefer paper books or ebooks? Either, I’m not fussed. Though if it has a really pretty cover, I’ll be hankering after a paper copy

4. When did you start writing? 14-ish on Young justice fanfic

5. Do you have someone you trust that you share your work with? Not all of my work, but yeah, I have a lovely server and also some irl friends that get the junk landed on them

6. Where is your favourite place to write? At home chilling with my family while we all do stuff

7. Favourite book as a child? Dragonfly by Julia Golding

8. Writing for fun or publication? Hopefully publication, but I know I need to improve a lot first, honing my skills etc.

9. Have you taken writing classes? Not a lick

10. What inspired you to write? Gotta get those stories out of my head and onto the page, man. Gotta get that sweet sweet representation out there too.

thanks everyone!  xx

[kingofthewilderwest]

What do you think of Viggo´s supposed death? The noise he made when falling and the complete lack of dramatic element regarding it make me think he is as dead ad Dagur. It would not surprise me to watch Hiccup attending that Maces and Talons match only to find Viggo has already won and greets him with open arms and something in the line of "My dear Hiccup, it is such a pity you couldn´t arrive earlier. I truly was hoping to compete against you"against you"

Hello, hello! Thank you so much - I’m doing well! I’m moving into a new apartment and it’s slowly coming together. :)

[Quick note on the damselstrid (continued from this post) before I chat about Viggo: The way I usually see Damselstrid dialogue occur within the Hiccstrid community is that either the individual doesn’t mind or they are very frustrated with the portrayal (I see much more of the latter on my dashboard). So I understand what you mean, yeah! It’s frustrating for all of us. As you saw in my previous post, I agree that it’s something that should be addressed and corrected in later seasons. I also guess I’m glad I helped illuminate the sexism within RTTE? The sad thing is I could continue elaborating with many more points… but I hope that, at least with pointing out some of the things, people can be aware it’s there. As much as I love the show, and as much as I will continue to love the show, it’s always good to be aware of the areas in which the show could use improvement, especially in areas of representation.]

As far as Viggo is concerned, I personally actually really hope he’s dead. As much as I love the mind games that Viggo has, and as much as I think he is a unique villain within the HTTYD realm, I don’t think that bringing him “back from the dead” would be the best choice of narrative. Even though there is a point to be made that his death feels, in many ways, anticlimactic and lacking in drama, I also feel as though it would be a poor choice in other writing respects to bring him back. Here are my main reasons why:

1. Back-from-the-dead tropes get old fast.2. Viggo might have a disproportionate number of screen time otherwise.3. Still being alive would be unrealistic.4. Viggo’s ending is fitting to his flaws.5. RTTE S4 wraps up basically everything with the Viggo plot arc.

1. Back-from-the-dead tropes get old fast

Fake deaths are a common narrative device in fiction used to build tension and create audience surprise. When done correctly, it can evoke shock, excitement, or a host of other suddenly-jarred emotions. Correctly done faked deaths can really get the audiences excited. When done incorrectly, though, it can feel like a very worn-out plot device… especially since it is a common trope. 

It’s to note that repeating tropes within a single story - especially tropes with these sorts of high-drama elements - tend to wear out and annoy audiences. It’s not a good plot element to recycle and keep redoing; if ever done, it should be done once for optimal effect. Otherwise, you cheapen both the first faked death and the second, make the plot of the story predictable and repetitive, and rely too heavily on tropish plot devices to carry the narrative “forward.”

RTTE writers have already implemented the back-from-the-dead trope once. It’s what happened with Dagur in S3 to S4. We never saw Dagur’s body at the end of his “death scene” in S3′s Family on the Edge, and indeed, he comes back in the fourth season alive and well. Now, if Viggo came back from the dead, not only would we recycle the same overdramatic plot device… but we’d be pulling the same stunt with two characters in back-to-back seasons. At this point, it would feel much like a worn-out, recycled plot device… rather than giving us some new, more novel twists and turns.

I would MUCH more prefer that Viggo - and Ryker - stay dead for that narrative reason alone.

2. Viggo might have a disproportionate number of screen time otherwise.

I’ve always found it interesting how long a character stays an antagonist in the DreamWorks Dragons shows. The writers tend to have a set time frame in which the villain interacts with Hiccup before we move onto some new enemy. To recapitulate how long villains stayed in conflict with Hiccup:

Mildew: 1 season (ROB; 2 seasons, counting brief appearances in DOB)

Alvin: 2 seasons (ROB and DOB)

Dagur: 3 seasons (DOB, RTTE S1, RTTE S2).

Ryker: 3 seasons (RTTE S2-S4)

Viggo: 3 seasons (RTTE S2-S4)

Now, it is to note that RTTE seasons are half the length of ROB and DOB seasons, and that he only appears visually on screen at the end of RTTE S2… but we still get about the same amount of screen time per villain. At the moment, we have a pretty decent pattern in which the villains come, wreak havoc, but end their plot arcs before their presence gets worn out. We don’t drag out the villain plot arcs in the DreamWorks Dragons franchise.

Now, if we have Viggo return in Seasons 5 and 6, then he would disproportionately dominate much of the narrative throughout the HTTYD franchise. It might feel a little odd that this villain, whose presence has been keenly felt since RTTE S2, would be so prevalent, while the other antagonists would have a disproportionately lesser time being the bad guy.

So purely from a sake of balance, it’d be better for Viggo to be dead, too.

3. Still being alive would be unrealistic.

Race to the Edge is hardly accurate in how it portrays volcanoes. Oh goodness, it is very inaccurate in how it portrays volcanoes. That said, having a character seem to fall down into a volcano still seems like a sure way to perish. We could suggest Viggo grabs onto the side of the cliff or something like that, but regardless, chances of survival are extraordinarily, extraordinarily slim for him. It’s extremely likely he dies here.

Now, people could point out, “We don’t SEE him dead.” Yes, that is true. Nevertheless, would this show actually show a dead character on screen? Would they actually show the character getting impaled or hitting the lava or something else horrendous and graphic like that? Probably not. They’re going to show a character falling down into what should be a sure death without showing their actual death. Sort of like what just happened with Viggo.

Especially given as we see Hiccup watch Viggo fall, and Hiccup’s right there with his eyes glued on the volcano… it makes it a little hard to say that Viggo made it out alive. Look at Hiccup’s horrified expression. It seems he witnessed something directly.

Of course, this doesn’t have to mean that Viggo is dead, but the most they will ever show on screen I believe - for a children’s show like this - is an implied death with the camera focused on the individual (Hiccup) watching it.

4. Viggo’s ending is fitting to his flaws.

One of the things I have always been curious about was how Hiccup and Viggo’s intelligence match would progress. I suspected that, over time, Hiccup would learn how to outmanipulate the manipulator and beat Viggo at his own game - though in a way that demonstrated kindness and mercy rather than a drive for one’s own profit. I suspected that Hiccup would grow from being extremely frustrated about Viggo, feeling as though there’s no way he can beat the villain, to the person making Viggo unsettled and worried. There would be a turn of tides, with Hiccup eventually gaining the upper hand. That was my prediction.

Nevertheless, the fact that this is not what occurred still doesn’t mean it wasn’t an interesting and fitting way to end Viggo’s role as a villain. In fact, Viggo’s ending is fitting to his flaws in multiple respects - both in terms of Hiccup’s interactions, and in terms of Viggo’s character itself.

First, the fact that Viggo never becomes overwhelmingly bested by Hiccup means that Viggo will forever remain as the character who could outsmart Hiccup. Viggo retains his legacy forever, this way, which is actually sort of fitting. We don’t have an all-powerful protagonist who can magically outdo people at their own strengths. We have a villain who still gets defeated, but retains his legacy of his strengths. Viggo’s identity never unravels.

Hiccup still manages to outdo Viggo by throwing away the Dragon Eye, but it’s not an “outhinking”, so much. It shows Hiccup doesn’t have to become Viggo to best Viggo. Furthermore, it shows Hiccup’s growth from being obsessed about the Dragon Eye to the point he endangers his friends (Dragon Eye of the Beholder Part 2)… to being willing to sacrifice it because of the people he cares about - it’s not Hiccup becoming better than Viggo, but Hiccup becoming better at being Hiccup. Then, this event could help Hiccup grow into who he is by HTTYD 2, someone who doesn’t believe he can do everything (since he never got to outdo Viggo at his own game, in full).

Last, what happens is that Viggo’s core identity - that of a manipulator - is what leads to his own downfall. Viggo leads to Viggo’s own fall. It’s Shakespearian. It’s nice. It’s fitting to have him end in the way where his own strengths becomes his undermining weaknesses.

Viggo’s greatest strengths are his control over the dragon hunters, his manipulative abilities, and his desires for profits (which in turn fuels him to hunt dragons, seek the Dragon Eye, and thus clash with Hiccup so adamantly). These are what make him a villain to be contended with against Hiccup. All these things lead to his downfall in RTTE S4.

Viggo’s gripping control is what makes him a leader. But Viggo’s gripping control is what sours his relationship with his brother and turns Ryker against him (debatably - we’ll never know how much of that incident was staged trickery and how much was genuine rebellion). But more obviously, Viggo’s desire for profit and ability to manipulate is what led to his direct end. Viggo tried to manipulate Hiccup with Astrid. That backfired. It led to a situation where Hiccup had to throw away the Dragon Eye. Viggo wanted to get hold of the Dragon Eye - it was his pursuit from start to end of his role as villain - it’s how he could extend his profits as a dragon hunter. But his own drive for the Dragon Eye, the very reason that he was such a contender and dangerous enemy for Hiccup… is what led to him trying to grab the Dragon Eye… and thus falling to his death. 

Had Viggo not wanted the Dragon Eye, he wouldn’t have been an enemy to contend with. But had Viggo not wanted the Dragon Eye, then he wouldn’t have fallen as he did.

So Viggo’s ending is superbly fitting to his character. The reasons why he butted heads with villain and became a dangerous villain are what became his downfall. Viggo brought about Viggo’s own end there at the end of S4. And that’s very fitting.

Now, it’s true that it might have felt anticlimactic in its execution, and I agree, but the concept is really something I can get behind. REALLY something I can get behind.

5. RTTE S4 wraps up basically everything with the Viggo plot arc.

Viggo’s antagonist story doesn’t need to be continued. It is, in many ways, self-contained between seasons two through four. The main plot of Viggo bothering the youths through the dragon hunters and battling over the Dragon Eye is now done. The Dragon Eye is gone, after all. And even the problem of Hiccup needing to best Viggo to save the dragons is finished. Assuming Viggo and Ryker never come back, the dragon hunters won’t harm the dragons any more. The dragon riders have victory in all the areas that they need for the plot arc. They’re not going to be bothered by those dragon hunters again. Story closed.

So there’s no need to extend the plot arc with Viggo. We’ve gotten a full narrative arc with an ending that concludes just about everything that needs to be concluded.

Rather, I would prefer if we spent the next two seasons exploring the new plot device they’ve opened up with Krogan. If he becomes the main antagonist in the next two seasons, then that would make a lot of sense, have room for development, and make for a good lead-in to HTTYD 2 by the end of S6.

Now, the last thing I want to say is that, just because *I* think that it is better plot-wise on many fronts for Viggo to be dead… doesn’t mean he has to be dead. It doesn’t mean that this is the route the writers will take. My comments are not predictive, they’re just what I think would be best for the story were I writing it myself. It’s totally possible for Viggo to make a reappearance. I wouldn’t be all that astonished if it happened. But for me, personally, I want this to be the wraps on the Viggo story arc, for the reasons I outlined above! XD

[jugaddict]

Ladder Talks

Fic: Ladder Talks

Fandom: Riverdale

Pairing: Betty Cooper/Jughead Jones (Bughead)

Posting this before tonight's episode makes this impossible to be canon... If you liked this fic, my asks are always open for prompts! You can find me on ao3 as MoonlightShines. 

Fred Andrews leaves a scatter of tools on his grass on the right side of his house. Among his miscellaneous equipment, there is a grey ladder propped up against the red brick that reaches right under Archie's bedroom window. When Jughead was little, he used to climb the ladder to sneak into his house at night. Not because he wouldn’t have been welcomed if he rang the doorbell, because he would have been. There was just no fun in that.  

This night, Jughead took the ladder and walked across the lawn. Carefully, he set the ladder against the Coopers’ house, underneath Betty Cooper’s bedroom, the pink and white room right across Archie’s blue one. With steady steps, Jughead made his way up to Betty’s windowsill. He was about to knock on the glass when a flash of blonde hair entered view through the curtains. Betty opened the window and leaned over the ledge on her elbows. She quirked an eyebrow.

“Is this going to become a habit?” She asked, referring to the last time Jughead snuck in. When he comforted her and kissed her and smiled so softly at her she felt the edges of her world blur. Until she remembered about the car, that is.

Jughead smirked. “That depends, I don’t know if I feel like facing the wrath of the Capulets by knocking on the door every time I want to see my favourite sleuth.”

“Are you calling yourself Romeo?” Betty laughed, giving Jughead a hand as pushes himself up and into her room.

“I’d rather be Shakespeare.”

He stood up so that he was right in front of her and they both gazed shyly at each other, inches apart. Betty bit her lip and reached for Jughead’s flannel shirt. He watched her as she fiddled with it, eventually doing up the buttons. “The opened window made a draft,” she mumbled, as a way of explanation when he gave her an intrigued look. “It’s cold in here.” When she finished the top button, she crooked her finger to tilt up his chin. They both smiled into kiss, chaste and sweet.

“Not anymore,” replied Jughead, sighing and leaning in again.

It’s a lightheaded feeling, bliss. So lightheaded, Jughead momentarily forgot how to use one.

“Tell me you don't love Archie,” he breathed against her skin, but she goes rigid, and he let her go numbly.

“What?” She said, her tone instantly cold and hard.

He didn't clarify or take it back. He didn't say anything.

“Why would you ask me that?” Betty said, her blue eyes bore up into his.

“Tell me you don't love him, Betts.” He pleaded, internally cringing at the emotion in his voice. When did he get like this? To feel passion, to feel the swell of emotion rise from within him, for his passive, iciness in his veins morph into growing heat under his skin? To want .

“I can't.”

“Why?” Jughead snaps, and he's angry, mostly at himself, for being stupid enough to think it could be any other way. This wasn't how it worked. He knew that. Archie was the dreamer, Betty dreamed of Archie and Jughead doesn't dream at all. But then, she’d look at him. And she’d smile, she’d beam up at him and grab onto his arm with excitement at any new lead she thought up with and he’d think maybe, just maybe he could dream too.

“Because it would be a lie, Juggie.” Betty whispers, troubled by the subject, or maybe the volume of his voice.

Jughead took a further step back, burned. The temperature in the room dropped drastically, still he feels scorched all over. He imagines Betty Cooper pouring scalding hot water over his head and leaving him dripping to shiver in the puddles left behind.

But his Betty would never do that. Not intentionally. She’d reach over to hand him a cup of something hot and accidentally spill it. She would apologize profusely as he shook his head and swallowed down the pain, forever left with slightly charred skin. “It’s fine,” he would say, clenching his teeth. He’d smile too. God, he's an idiot.

He blinks.

“Does it matter?” She said.

Does it? In Romeo and Juliet, nobody remembers Rosaline. What if Jughead is Romeo, pining for Rosaline, chasing Rosaline, loving Rosaline, only to be rejected by her. Romeo and Rosaline, lost in the void of the world’s most iconic romance, what chance does Jughead stand in the face of that kind of fate and challenge it?

Or maybe Betty is Romeo yet to meet Juliet, willing to discard Rosaline for the chance to pursue her fantasy? Pining for Archie, chasing Archie, loving Archie, only to reject Jughead. Betty and Jughead, lost in the void of Riverdale’s most inevitable romance, what chance does he stand. How long will it last?

“Betty you know I don't do this.” For the first time, Jughead is tripping over his words.

“And What is this, Jughead?” She challenged, but not unkindly, “What is it?”

Jughead hesitated.

Betty sighs. “Because I don’t know what it is. You climbed up my window and kissed me, and now we're doing things but we’ve never talked about it.”

“Because I don't know what the hell I’m doing Betty Cooper! Kissing? Holding hands? I’ve never done this before!”

“I was your first kiss?” Betty gasped.

“Irrelevant.”

“I’m here because I like you. I like being with you.” Betty said, and he shrunk into himself.

“It’s not that simple, Betts.”

“Why not?”

He could plainly never tell her. He was never meant to starr in a romantic drama anyways. But she's so honest, so sincere, even when she's crushing him.

“Betty I have never felt for anything what I feel for you. I didn't even know I was capable of it.”

“You’re making yourself sound like a emotionless robot, Jug, that's not who you are. Is that how you think?”

Jughead shrugged, scuffing his worn combat boots.

Betty noticed his discomfort and her voice softened. “You never seemed bothered by this before. Everyone always assumed it was a part of your identity… What made you-”

“Aberrant?”

“-Jughead,” she finished. She gave him a funny look. Some would identify it as pity, but Jughead knew that expression well. It wasn't that.

“I never was,” he admitted, “not until you.”

It was true. All of his life he was disinterested in girls, in boys, in sex. It was like that part of himself-if there even was a part of himself that wanted lust, companionship or desire- was muted or barely existed. He knew others thought it was weird. An extra something that alienated him from the rest even more than he already was. Archie was well used to his blank stares when he asked his opinion on this girl or that one. It wasn't something he thought about. It wasn't something that mattered to him. It wasn't who he was.

But now things are different. Now there's Betty. It wouldn't be a case of melodrama, to know it's only Betty. There won't be anyone else. Jughead would be unaffected, if there was never anyone else for the rest of his life.

But it's Betty. And to lose her would be emptying, even if he never really had her to begin with.

Jughead took a deep breath and forced himself to not give in to his desperate urge to break their eye contact, or worse, run far away from Riverdale and never come back. Because after this…

“I-I love you Betty.”

Her eyes widened- they widened a lot actually. “Oh Juggie,” she sighed, and he sighed too, struggling to breathe with the hurt in his chest. Can you die from heartbreak?  Jughead always thought that was overdramatic and would roll his eyes at romance novels and movies where the protagonist died from a broken heart, but now he was not too sure. He thought he might need a doctor. And if he thought he could never resent Archie any more than he does at this moment, he was wrong. For if Archie Andrews put Betty Cooper in a fraction of the pain Jughead was in right now, he may end up buried under Riverdale in the same earth as Jason Blossom.

“Yeah, I know.” Jughead forced a laugh, but it was dry and loud and laced with bitterness he didn't want Betty to hear.

Betty sat down on her bed and patted the space beside her. “Talk to me Juggie, you’re being distant or not really distant, but you're not present fully or something, I don't know. I’m confused. We used to always talk about everything.”

“When we were ten,” Jughead pointed out.

“You were simpler when we were ten.” Betty said.

“Life is simpler when you're ten,” he countered, but sat next to her anyways, the mattress of the bed dipping underneath him. Their thighs brushed slightly, her body warm and soft and it startled him, how much he liked it, so he moved an inch away.

“My feelings for Archie aren't going to magically go away.”

“Right,” Jughead says flatly.

“But that doesn't mean that I don't have any for you either. You've always been this constant in my life. Of course you mean the world to me. Especially now. Everything I’ve been going through,” she touched his shoulder, making him glance up at her, “ we’ve been going through. We did it together. I couldn't do any of this without you.”

“You’re making me sound important,” Jughead tried to joke. Betty shook her head at his self-deprecating tone.

“You are.” She insisted, with her signature smile.  

Jughead didn't believe that. Not after his childhood, not after his life of being cast aside and left in the shadows behind Archie and Betty, but suddenly, it was true when she said it. He knew deep down that it has to be true. And yet-

“If Archie asked you out tomorrow…” He couldn't stop himself from asking.

“Juggie, Archie made it very clear that’s not going to happen. If it did…” her words tapered off, eyes looking out the window. The window she would look into every night for a glimpse of Archie. The blinds were down. She turned back to Jughead, conflicted.

“I don't know, I don't think I can make my feelings for him go away after them being there for so long. But I don’t think I want Archie anymore. I don't think he will make me happy.” she said simply. As if this mess of a love triangle- god, Jughead is in a love triangle, what the hell-  was simple.

“Besides,” she said with a growing smile, “I have a boyfriend.”

Jughead’s pulse quickened. How bold Betty Cooper could be. How clever. Taking his words and throwing them back at him. Doesn't she know what she could do to him? How easily Jughead Jones’ iconic facade of apathy could crumble because of her?

Nevermind heart on his sleeve, Jughead felt like she was holding his literal heart in her hands. He looked down at them, face flushing and grabbed them with his own and squeezed.

“I thought I loved him, Jug. But he doesn't make me feel the way you do right now. Maybe I don't know what love is.” Betty frowned at that.

Jughead could see her concentration reflecting from the furrows of her brows as she thought. Jughead let go of one of her hands to tentatively reach up to her face. He stroked her left cheek lightly, hesitant, making sure it was okay. She blushed a soft pink, the kind of colour artists would use for a sunset piece. Her eyelashes fanned out as she looked up with her blue eyes, and Jughead was hit once again over how strikingly beautiful she is.

“Okay,” he accepted, and meant it. “Okay.”

She turns to wrap her arms around his neck and kisses his cheek. Jughead's heart went from heavy to light so fast he thought he might faint.

“But I want to love you,” she said, after a moment.

His heart did that flip thing again, and the corners of his mouth twitched up into a small smile, briefly he thought maybe he really should see a doctor.

“I’m not asking you to, Betts.”

She shook her head, her golden ponytail swishing behind her as her eyes flickered to her vanity mirror. On the top left side there was an old photograph taken by Mary Andrews of the two of them laughing at Archie, a red blur half out of the shot. Her eyes then drifted to their reflection, a stark contrast of light and dark outfits sitting close on her bed. She turned back to Jughead, pensive.

“Juggie,” Betty proclaimed, confidently and so sure of herself the corners of her eyes were crinkling. She took his face in her hands, “I will love you.”

Good , Jughead couldn't help but think selfishly.

He drew her in even closer, pressing her against him, his insides exploding with warmth and she melts into his side.

“I know I will,”  she murmured, leaning into his chest. He holds her in his arms, and thinks this is the longest he’s ever held anybody. He wouldn't mind doing it forever.

Eventually, Jughead had to leave. They both knew nobody would enjoy Mrs. Cooper finding the two asleep on the bed curled together, Betty with Jughead's flannel over her shoulders. So he opened the window at three AM, and climbed back down the ladder, after kissing Betty, bleary eyed with sleep goodnight. He hopped off the final step and lifted the ladder so that he could carry it across the lawn. It was dark and quiet, nothing but the sounds of dried leaves crunching under his feet. Jughead propped the ladder up against the Andrew's house where it belonged and began to climb up again. He has been crashing with Archie for a while now. When he got into Archie's room, he changed into something warmer and got into the air mattress he's been calling his bed. Archie, a very deep sleeper made no twitch.

He looked at the redheaded boy for a second and wondered why he was so jealous of him all this time. He was the one who blew his chance. That's when it dawned on him. Archie was Rosaline in this story. In their story. No Archie, no Riverdale mysteries, no crazy parents. Just them. Betty and Jughead.

He closed his eyes and slept.

[ghelikblack]

Character Study - Men

From what I’ve seen from social media, this is probably an unpopular opinion, but I actually like men. 

Anyone that knows me, knows I don’t really listen to people, in the sense that I usually “voy a mi bola”, as the Spanish say. I follow my own path and usually don’t care much what other people think either of me or of my way. 

That’s why I usually try and keep out of these highly politically charged discourses. Whenever I participate in them it’s mostly because at that moment I’m bored and in need of a good argument/discussion. I was taught to debate at school and I’ve loved it ever since. I can counter-argue practically anything -be it my opinion or not - and I love to do it. If you say brown bread is better than white bread, I would automatically jump into the discussion and try to argue my way around until I managed to convince my “adversary” of the wonders of white bread. 

The internet and social media -at least in my experience - isn’t much in favor of discussions. I had this one really interesting discussion on Twitter once, about the culture of a fictional group of people in a series. It ended with the other person saying something along the lines “you’re literally stupid” and then probably blocking me. I mean, it was a little hard arguing in favor of a culture of warriors when I am not much in favor of soldiers, to begin with. But it keeps the mind active and forces me to step into someone else’s shoes. 

What has gotten me out of my “shell” so to say it is what follows: every once in a while I would stumble  across some terrible experience some woman (or some gay man, because talking about men nowadays goes hand in hand with sexual representation, for some reason) has experienced at the hands of men. 

It chips away at you if you know what I mean. 

Then there’s the media I consume YA novels and fanfic. (I’ll try not to enter into the realm of movies and such because then this will turn into an essay and no one wants that).

I read mostly urban fantasy/science fiction/dystopian YA novels; usually with hetero protagonists. I haven’t read many LGTB+ YA novels so I couldn’t say if the trend is present there as well. 

But in those stories that I have read, I can tell you this: the heroine is shackled by The Old Ways – usually represented by some Big Bad Man, be it an evil dictator, a controlling father, etc. She breaks free of her shackles, the Male Lead discovers how badass she is, yadda-yadda we all know the gist. 

Don’t get me wrong stories are important and I understand why they exist. What they’re trying to tell. I even understand why most of the authors writing about heroines rejecting the patriarchal society are written by women. 

But whenever I come across yet another YA novel written in the First Person POV with a female lead, and a female writer I find myself rolling my eyes at it and leaving it unread. Which probably says more about me than the work that I am ignoring. I don’t dispute that. 

Why do I leave the book on its stand and walk slowly away? Because it is repetitive and boring. It is boring reading about how evil men are. It is boring to read flat one-dimensional characters that bumble around and look in awe at Awesome Protagonists, who are actually bimbos but think themselves average, who are clumsy and have a great heart and don’t think they’ll get with Romantic Interest because they’re not pretty like the adds. Not to speak about the even flatter and even more predictable villains: old men with ridiculous backward plans that are easily foiled by Special Snowflake. 

And yes, men are also heroes of exactly the same types of stories. Have been for centuries and they are as much Special Snowflakes as the females. So why don’t they make me uncomfortable? 

Because I don’t get reminded every five seconds of the fact that Special Snowflake is a man, a man that thinks himself average, a man that has the necessity of wooing Romantic Interest, and doesn’t know if she will ever look at him. 

Male protagonists are… un-gendered to me. Because there isn’t the need to insert a Romantic Interest in every story. Because when it is inserted it doesn’t necessarily hinge on the fact that “AW he’s so dreamy and I am so normal, watch me weep while I cleanse the world of demons”. Every time more often they form a partnership, or they leave the romance completely out. That is also possible. Sure, apparently people like sex, so sex is inserted in a lot of narratives. But even then, it feels like it’s not the primary goal fo the protagonists - ok the primary is to stop Evil Patriarchal Guy, but the second is to woo the man of their dreams, so... 

Yep, not a fan of YA female leads, which is my own personal opinion. Writing is difficult and if that’s the way you want to swing your story, go for it.  

Fanfic is the second Great Source of reading material for me. (Thanks to it I won’t be finishing my Goodreads book challenge this year either, so thanks, AO3) Anyway, Fanfic has always been transformative and innovator and cool and I love them and are incredibly grateful to all writers young and old. But they too have become a place where hetero men don’t seem to be welcome. An “anti-hetero”/ “anti-male” playground where characters that are male and non-LGTB+ are villainized, probably rapists and most definitely just a tool to the submission of women. 

But much like those random posts, I’ve mentioned earlier, and like YA novels, this chips at me. Makes me feel uncomfortable for starting to think this is more a trend than an actual critique.

 I mean: yeah men can be awful. But so can women, so can gays and lesbians, and bi, and ace and white and black and Asian and anyone. There are 7 billion people out there. I’m sure many can be nasty, nasty people. I am of the not-so-nice opinion that people as a whole suck.

This - I’m going to call it a trend from now on - trend reminds me of the short stories I wrote as a somewhat feminazi-14-year-old. Because now that I am older and I understand the world a bit better, my 14-year-old was an angry pessimist that didn’t write all that flattering portraits of men. 

I come from what you’d call a traditional middle-class 90’s family in which the father is an older authoritative figure. As a teen, I was rebelling against it. That is not to say that men had done anything to me, particularly. My father may be the authority in the household but he’s a good father and a good man that has always looked out for us and has given everything for his family.  – Love you, dad. 

At 14 I was just an angry rebellious girl with some very black-and-white worldviews and a flair for over-dramatization. Also, I love torturing fictional characters. So there’s that. 

I didn’t have many girlfriends – as in friends that are girls – growing up. I still don’t. I’ve always been more comfortable with boys. Most of my friends are cis, white, hetero. They’re also men. 

And of course I’ve had big explosive arguments and I’ve spent time not talking to some of them. But whenever I had a problem I could rely on them. Not to sound overdramatic, but no male friend of mine has ever “betrayed” me, or hurt me. Female friends have. Which doesn’t make all women evil and males suddenly saints. I’ve said it: humans suck. 

 But I hope you can see a bit where I’m coming from. 

And maybe I am alone in this. Maybe this is just my inability to completely grasp women psyche. Jus my own shortcomings. But whenever I hear a man saying “women are complicated” or “I don’t understand women” I totally get you! Because I don’t either and I am one of them! 

As it must be evident by now, I am not the most socially attuned person in any room - not even in this one and I am alone but for a beautiful moth flying around somewhere. 

That is the reason why this is only my opinion, and I accept that you might have a huge grudge against all men. 

Then again, I have a very limited memory and don’t really understand social cues. I am sure someone has leered at me at some point in my life, I am sure I haven’t noticed many of the times it happened. Maybe I am able to brush misogynistic comments away because not every man around me is a total douchebag. I don’t know. 

What I do know is that I like men. I enjoy spending time with them and it bothers me that social media insists on portraying them all as some faulty discriminating mass. Because that is not true and by doing so… Aren’t we stepping right into the “oppressors shoes and turning the tables to make them “pay”? Do we want to become the oppressors, make them feel bad for being what they are just as some sort of revenge for the centuries of oppression women and LGTB+ people have endured? Or is this really about feminism and equality and turning the page and making women and men of all colors and orientations equal? 

If what we want is the latter… Then we’re doing it wrong. We can’t use a hate-discourse. We can’t use the same weapons they’ve used against “us” and then just turn them on “them”. We need to find another way, a way to have no one be ashamed of the way they’re born. 

That is the hardest thing because it requires education. It requires understanding. It requires forgiveness for “Universal Sins”. And it requires a willingness to listen and stepping into other people’s shoes. Which, from what I’ve seen from my limited attempts at online debates, is severely lacking. 

[entergamingxp]

Sakura Wars review – heartfelt, over-the-top anime romp • Eurogamer.net

Originally conceived back in 1996 as a way to offer an RPG franchise on the Sega Mega Drive, the original Sakura Wars series was a mix of visual novel, dating sim and round-based strategy combat. It follows an all-female theatre troupe based at Tokyo’s Imperial Theatre, putting on shows as the Flower Troupe to keep the spirits of the populace high, while also acting as the Imperial Combat Revue, a paramilitary operation tasked with defending the capital from monsters. To do so, they use mechs called Kobu, powered by the strength of their spirit.

Sakura Wars review

Developer: Sega

Publisher: Sega

Platform: Reviewed on PS4

Availability: Out now on PS4

With its anime stylings and a cast of lovable protagonists, the franchise became a wild hit in Japan before its fate was sealed along with the Dreamcast. The west only saw the localisation of the last Sakura Wars game, Sakura Wars: So Long, My Love, its New York setting and all-new cast considered a good entry point into a series often deemed to be too Japanese.

This new Sakura Wars constitutes a soft reboot, set a decade after the events of the originals and using established gameplay but featuring a completely new cast. You take the role of Navy ensign Seijuro Kamiyama, who becomes the Flower Troupe’s new captain. It’s your job to help restore the Imperial Theatre to glory and keep Tokyo safe. In order to make a gaggle of women into a real team, you need to get to know them, help them overcome personal struggles and realise their true potential.

Kobu battles aren’t difficult, but winning is satisfying, especially during dramatic moments in the story.

As Seijuro, you spend your time either talking to these women or fighting demons in musou-style action combat. Sakura Wars’ dialogue is built around the series’ patented LIPS system: you get three dialogue choices, but only have a limited amount of time to pick an answer. The dialogue options themselves are recognisable if you’ve ever played another game with dialogue choice – you have a good option, a cautious option and a sleazy, impulsive one. There’s also ‘analogue LIPS’, a conversation option where what Sejiuro says is predetermined, and you only settle on the intensity with which you want to say it.

Just like in a visual novel, the answers you pick determine the other character’s opinion of you. Each of the women conform to established personality types – the bookish one, the short-tempered one and so forth – and you get to know them better the more you talk to each of them. If you gain a character’s trust, you can trigger a ‘trust event’. In this event, which uses first person POV, one of the women will have a personal chat with you that will end in some PG-13 touching. These situations can be deliberately naff – one character just wants to practise a romantic scene in a play – but they are, and this is important, fully consensual and do not reduce the young women only to their bodies, even while ogling is definitely going on. Context and nuance are very important here.

If you’ve played Fire Emblem Three Houses, you’re likely well familiar with staring at your favourite character up close like this.

Action combat is new for the series, and a step away from Sakura Wars’ more typical Fire Emblem-esque turn-based strategy. You can freely move your Kobu around, use light and strong attacks, and unleash a special attack once a spirit point meter has filled. Both in combat and in conversation, your actions influence your team’s opinion of you. Fighting quickly without getting hit raises team morale, which in turn has an effect on attack and defence. Making the girls like you outside of combat also determines your starting morale.

The story of the new Sakura Wars is quickly told: the old Combat Revue, including teams from other countries that appeared in previous Sakura Wars entries, died in a grand battle to seal away the powerful Archdemon, saving the world from certain destruction. Of course it turns out that the Archdemon threat is still very real, and reveals itself just when the Flower Troupe is participating in the Combat Revue World Games, a public battle event determining the reputation of several international combat troupes, because clearly saving the capital against monsters isn’t enough already.

Sakura Wars is firmly dating sim/visual novel first, combat second, as it belongs to a genre of games called ‘gal games’ – dating sims for heterosexual men. The player controls a male protagonist in a setting where they’re almost exclusively surrounded by young, beautiful women, and players may ‘pick’ their favourite. In Japan, gal games are part of the mainstream, so much so that dating sim elements are a natural part of many games you know – take the Fire Emblem or Persona franchises for example. While there are many gal games that take dating to misogynistic, demeaning extremes and borderline illegal territory (I drew the line at Tokyo Mirage Sessions, for advertising often misogynistic and borderline illegal practices in a real industry), Sakura Wars remains above board.

Sakura Wars comedy bits involves running gags like this, goofy and forgettable.

Sakura Wars does regularly dip into bouts of panty humour, having you find women’s underwear or ‘ending up’ in a women’s bathroom for comedic effect. This sort of humour might be immature to western audiences, but it’s a result of a culture that treats bodies in a very different way. I can’t laugh about it, but I understand why it exists. I’m split on the borderline creepy dialogue options, which include asking for a kiss or making sexually ambiguous jokes.

It’s important that, unlike other games which paint you as the hero no matter what you say, these options are always penalised – you’re explicitly encouraged to be a good person, and that expectation entails giving players an option to be bad. I do however need to point out that the creepy options are always played off for laughs, which is pretty jarring considering the overall respectful tone.

Sakura Wars’ real strength lies in the passion with which it delivers its story. Designed like a TV anime, complete with episode previews and title cards for ‘ad breaks’, it focuses on a different member of your troupe with each chapter, while also driving the overall story forward.

The plot doesn’t even remotely make sense and I didn’t mind in the slightest. Nothing about the game is smart, it even spoils its own plot several times with ‘clever’ foreshadowing and likes to fix problem using deus ex machina. “How is this possible?” a character says at one point about a surprising twist in their favour, only to receive the answer “I don’t know, but it is!”… Okay!

The plot is silly and the combat’s simple, but I loved spending time with the main characters and seeing what they have to say and how they react to the increasingly high-stakes plot developments. And boy, do they react. There are life and death situations, fisticuffs, and battles set to the triumphant title theme while characters discover their true strength thanks to the power for friendship. The passion all but incinerates your screen. What’s not to love? It may not make sense, but each episode has a clear dramatic arc that resolves satisfyingly.

Also, Sakura Wars just looks consistently great: each scene is presented from multiple camera angles and almost-static images and anime sequences offer further visual variety. The different environments, while little more than pretty backgrounds for conversations, are detailed and the design of each main character is memorable. I do miss the instantly recognisable style by Kosuke Fujishima, who has designed the characters for previous instalments -here, mangaka Tite Kubo of Bleach fame takes over. The designs of the new mechs however is a new favourite of mine, each coming with their own specialty like a giant hammer or an ice pistol. The demons don’t really get a chance to stand out in battle – if you look closely you can see them stumble and fall overdramatically like kaiju in old Japanese monster films. Everything about Sakura Wars is as over the top as an old monster film, but it’s that very cheesiness that had me enraptured.

They don’t make ’em like Sakura Wars anymore, probably with good reason, but this new incarnation, like the old games, is earnest, unapologetic anime nonsense and wish fulfilment at its best.

from EnterGamingXP https://entergamingxp.com/2020/05/sakura-wars-review-heartfelt-over-the-top-anime-romp-%e2%80%a2-eurogamer-net/?utm_source=rss&utm_medium=rss&utm_campaign=sakura-wars-review-heartfelt-over-the-top-anime-romp-%25e2%2580%25a2-eurogamer-net