#major major fan of literary devices

[nomaishuttle]

i literally hate the argument of like I bet the writer didnt even think abt that metaphor lolll

1. even if they didnt interpretations of the text are still important and symbolism can be unintentional but still very powerful

2. You would not believe how insane writers r abt their metaphors

[spade-riddles]

The album and the Matty Healy of it all; the Allegory and a literary breakdown for you all :)

As an english girly, I am having the most fun dissecting this album. She wrote her entire story into the album. It’s an allegory, each song has two major interpretations, one is the obvious (matty/joe/travis/PATERNITY TEST) whereas the other is her truth. This is a literary device that has been used in writing throughout history since forever. Everything about this album is so intentional, especially the Matty Healy of it all. This album has been planned so meticulously, every move she’s made with the beards has been to directly tie into the songs and the references. She needed a heavily documented example, she wants people to believe it, so when she burns it all down she can say “look at how easy is was to construct a narrative, hide an allegory within it and watch no one get it, it’s happened my whole life”, this is why this album is so much louder to all of us than the rest of them, because we have always seen the second story but now she’s making it more obvious. But they will get it, the story in this album is so strong, she’s coming out and she’s made this so she can send people to look back at her music (lookin’ backwards/might be the only way to move forward- her entire catalogue is the manuscript) screaming “I told you, I laid it all out. You didn’t believe me!” This is the post mortem, every reason why she’s ‘dead’ (the inauthentic version) is laid out in the album.

For example, i’ll break down ‘Fortnight’ since we have the MV imagery too. On the surface is about her fling with MH. If you get down to the next layer it’s about the failed coming out & Karlie. About how she almost had it all “for a fortnight” (just a metaphor for a short time), how her plans got ruined and how she’s doing it over again. She was supposed to be sent away, she was meant to go stay in the asylum (the closet).

“Now you’re in my backyard, turned into good neighbours”.

She has Karlie so close to her, but hidden in her backyard, no one can see her in her backyard.

“Your wife waters flowers, I want to kill her.” There is something that is in the way of them being together, she wants it to end (her public narrative). Could also be a reference to JK, he gets to to be with Karlie, watering flowers in her garden (betty’s garden anyone) while Taylor watches, she wants to kill the perception of him as Karlie’s husband.

The rest of the song moves into Karlie & Taylor getting closer, they’re plotting a way out.

“Now you’re at the mailbox, turned into good neighbours, my husband is cheating, I want to kill him.” Again, Taylor’s husband is her public persona, she wants to kill it.

When you add in the music video, she’s breaking out of the asylum with her twin, then she was put right back in there and her twin is performing experiments on her. I think Post Malone represents both Taylor and Karlie at different points in the MV, because both of their own choices are also part of the reason they’re still closeted, she’s acknowledging this. But then something happens, one of them can’t do it anymore so they run away. This is the release of the album, specifically 2am 04/19 (fresh out the slammer), Taylor’s on top of the box, she’s out; this the endgame for her now, but Karlie is still stuck in the phone box (the closet). But not for long! 😘

Every single song is like this, there’s a very intricate but obvious second story. They’re not all about Karlie, there’s a lot about her childhood, other muses (thank you aimee is not about Kim, it’s about a hometown love), growing up, her fans, the industry, closeting, christianity, masters heist.

I’ll touch base quickly on ‘The Albatross’.

She’s coming to take down SB, i’m not sure 100% how but I think it has to do with the coming out and exposing everything he’s done to her to keep her in the closet for so long (it’s a lot darker than people think).

She is here to destroy him.

“Now you’re persona non grata” he’s not going to be able to work anymore, he’s going to be exiled from the music industry.

There’s always been the iffiness around the masters situation, people saying she was told prior, her insisting she wasn’t. The below is a confession (and a threat).

“Wise men once read fake news

And they believed it

Jackals raised their hackles

You couldn't conceive it

You were sleeping soundly

When they dragged you from your bed

And I tried to warn you about them”

She lied, she knew about the master situation but she said she didn’t. Her fans believed it though and they crucified him, she tried to warn him how powerful they were. She’s already embedded that image of him in their minds, so when the next thing comes out (lol), they’re going to raise absolute hell, his entire career is going to be over.

“thanK you aIMee”, the entire world right now thinks it’s about Kim Kardashian, because she capitalised ‘KIM’ in the title, there’s that line about her kid singing her song (which coincidentally did happen). It’s so obviously about her right! No, it’s another “blue dress on a boat”, something she has done throughout her whole career is splice monumental images of Taylor Swift ™ into her songs, so she can sing about her real life without being questioned. Except this time, she’s trying to make you question it, that’s why it’s so OBVIOUSLY 🙄 about Kim Kardashian. A red herring if you will 😉. It’s meant to point you towards one thing, when it’s really not about that thing at all.

tldr: everything about the album is intentional, she’s layered two narratives together on purpose. one at surface level, one a bit deeper.

Images are both Taylor’s & Aaron‘s words on the album, about hidden meanings and secrets.

And if you need any further proof, at exactly 4:19 of ‘The Tortured Poets Department’ title track, she says “who’s gonna troll you?”. The entire album is the troll, for the general public, it’s not about the men at all.

[kylieswift31]

Liar, liar, pants on fire

Taylor has referred to herself as the narrator of the story within her music over and over again, but what type of narrator is she referring to? It’s appears that Taylor has been alluding to being the unreliable narrator of her own story.

The unreliable narrator is a form of literary device utilised by authors to create plot twists and conflicted characters within a story. In the process the narrator may withhold information, lie to the audience or mislead them. This encourages them to cast doubt on the narrative and engage with the material on a deeper level. The benefit of telling a story in this way is that it forces the audience to come to their own conclusions when the narrator’s point of view cannot be trusted.

When we apply this context to Taylor’s role in retelling her story we start to understand why she has been affectionately referred to as ‘Tayliar’. There is a layer of mistruth sprinkled throughout her story to alter the way it is interpreted so that everyone can slowly see through the facade that was being presented to us. This is a gentle approach, but also an effective one.

Taylor has slowly been drawing more attention to the lies so that more people will notice. This has intensified the split in the narrative, leading to a hostile divide between those who can see the truth and those who believe that the fantasy is real. Both have different points of view but only one side is right, and it's the gaylors because we can see how all of the pieces of the puzzle fall into place when it's viewed through a queer perspective. There's a lot more to the story past this point, but it is the beginning point for many to begin questioning the narrative.

What we're continuing to see unfold now is the lies being told to keep up the facade for everyone else. This phase is supposed to feel contradictory as Taylor continues the process of leaving a trail of clues. I understand many have known the truth for years and are growing tiresome waiting for an ending, but I'd urge you to see that what's happening now isn't for us, it's for those who still believe in the fantasy.

Unfortunately the ending of a story told by an unreliable narrator is oftentimes anti-climactic. It sounds cliche but it really is about the journey and not the destination. But the good news is that there really is so much suspense, complexity and beauty when you are paying attention to all of the small cracks forming in the facade. This is where it becomes clear that Taylor truly is a mastermind.

It's likely that some will accuse Taylor of gaslighting her fans when they discover the truth, but the majority will begin to understand why she kept it a secret once they've had a chance to uncover the truth that has been hidden in plain sight for themselves.

"If you ask me if I love him, I'd lie" -Taylor Swift

A tortured poet,

Kylie x

[adrianlikesdinos]

while it is funny to think and joke about, i think the genuine belief that Erik's wife and daughter were used for the main purpose of trying to erase Cherik is just such a truly awful take. there is no contextual evidence to even back up the claim, by the end of the movie Erik still choses Charles yet again.

so I'm here to present my succinct, evidence-based claim: Erik's wife and daughter only worked to further cement his and Charles shared narrative.

in the film, these two girls act as flat characters; very little information is given about them, no character development takes place, and they take up very little screentime. what they add to the films story however is a point emotional attachment outside the world of mutant vs. humans for Erik to settle into, heal, and escape from his previous life as a literal terrorist. unfortunately for die hard Cherik truthers, this means an emotional attachment out side the world Erik shares with Charles. this is a genuine attempt by Erik to remove himself from the cycle of fear and rage he has been a slave to since his childhood, and it really did all work out for him. he had a job, a community, and he was able to create a life perfectly for himself. despite needing to hide his powers, this was probably the best outcome he was ever going to achieve.

but, now that the franchises main antagonist has settled into a life of warmth and comfort, its time for the narrative to get moving again. you cant tell a story without its antagonist. yes, Apocalypse is the main antagonist for this specific movie as he is the source for the majority of the films tension and conflict, but this movie is a part of the over arching narrative primarily concerning Professor X, his X Men, and their arch-nemesis, Magneto. being each others narrative foils and their decades old disputes they are quite literally a package deal, there will never be a Professor X without his Magneto. So, what better way to pull our protagonist his literal other half into the mix than a good old fashioned fridging?

"women in refrigerator's" is a literary trope originally coined in 1999 by comic book fan Gail Simone. this term is used to refer to the trope in which a female loved one is killed, injured, or otherwise hurt in order to further the plot. the trope is one in which women are used as disposable. (there is so much more i could say about the sexism rooted in this fairly common trope but its fairly self explanatory and doesn't pertain to directly to the topic at hand.) once you actually learn about this you cant stop noticing it (ever seen a Disney movie?). it is particularly common in comic books as a heavily male dominated field of media. it is an easy, fast way to get emotion and anger out of a character and gives them the motive to fulfill whatever is needed for the story to continue. in this case, the rage born from Erik's grief lead him to join Apocalypse as one of his horse men. ultimately pushing him towards yet another fated conflict with Charles, the climax of almost any X Men film.

if the writers were truly conscious and concerned with fans perception of Erik and Charles questionably platonic relationship, they wouldn't have used a trope to sling shot the man directly back into his fandom assigned love interest. its incredibly unreasonable to claim a device clearly intended to send him closer to his other half was in an attempt to separate them.

and, claiming that his family was just an attempt to erase Cherik feels like completely ignoring Erik's past experiences with fridging that truly work to build the complexities and tragedy of their strictly canon relationship. this is the second time he has had his whole world ripped away from him. the second time he has turned to rage and violence to protect what little of himself he has left. this is the first time however that he realizes he has more than just a little broken piece of himself left. this is the first time he is able to realize there is another soul out there who can see past the rage he is blinded by. the first time he has had someone who continues to see the good in him.

and this is me looking at this from as unbiased a perspective as i can. this is hardly even subtext. Erik's flashback wasn't stuck in there just because they needed more screen time, everything holds significance. it was blatantly telling us that in that very moment Erik realized he still had Charles, the one person who can actually claim to know someone, the one person who genuinely knows HIM.

[holmesxwatson]

James Lovegrove’s Sherlock Holmes books

James Lovegrove has written a ton of Sherlock Holmes books over the years (all Victorian era/canon era). I recently came across his latest series on the Hoopla app while I was browsing audiobooks that were available and the cover art totally roped me in. I ended up reading all three books in the newest series, all the Cthulu casebooks and a few in his earliest series. As far as I can tell, his books seem to be split into three different series based on the structure of the subtitles and the different cover art. I enjoyed all the books I read by Lovegrove for different reasons, but as I've already established in my other book rec posts, I mostly only care about the Holmes/Watson dynamic. So listed below are Lovegrove's Sherlock series in chronological order, which also happens to be, in my opinion, the order from least to best Holmes & Watson dynamics •ᴗ•

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The New Adventures of Sherlock Holmes by Titan Books Series, 2013-2018

I honestly just realized while researching links for this post that Lovegrove's books in this series are part of a bigger series with multiple authors (lol me), so I'm not going to list all the titles here, but they've been published from 2011-2023 and Lovegrove has written six of the 21 books. The other authors in the series are Guy Adams, George Mann, Cavan Scott, Mark A. Latham, Nick Kyme, Philip Purser-Hallard, and Tim Major. I read the first two Lovegrove books in this series last after reading his other SH series and the stories were pretty solid. One of them was a WWI-era story, which is a time period that I love to read about. The only thing I will say is that the Holmes & Watson vibe is a little too I'm-smarter-than-you-do-keep-up for my taste, which is why I took a break after reading the first two. But I wouldn't be against dipping back into this series at some point in the future and also checking out what the other authors have to offer.

Goodreads series page (x)

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The Cthulu Casebooks, 2016-2023

There are four books in the Cthulu Casebooks series and the framing device is that James Lovegrove himself is a descendant of H.P. Lovecraft, which is how he comes into possession of Watson's secret writings on his and Sherlock's real adventures going up against Cthulu and other eldritch horrors. These books are not just a romp through a mashup of literary worlds, there are very real stakes and things get dark. I really liked these books, I'm not really a Lovecraft fan at all, but I have read some of his works and of course I'm aware of all the elements from his works that have transcended their stories and are really a part of general fantasy/horror fan knowledge. My best friend is a huge Lovecraft fan and we read these together, so they were able to tell me how precise the Lovecraftian elements were -- they were precise -- so Lovecraft fan approved. The framing device was my favorite thing, especially the author's note at the end of book three, which was a very bone-chilling way to end the book (that I was listening to on audio in my dark house at night -- oops).

Sherlock Holmes and the Shadwell Shadows

Sherlock Holmes and the Miskatonic Monstrosities

Sherlock Holmes and the Sussex Sea-Devils

Sherlock Holmes and the Highgate Horrors

Goodreads series page (x)

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James Lovegrove's Sherlock Holmes, 2019-2021

This was my favorite series out of the Lovegrove set and also the first that I read. I felt like the Holmes & Watson dynamic was especially great -- and for me that means: they felt more like equals, there was just the right amount of bickering, and they cared deeply about each other. While I was reading these I took some short notes to help me remember what was special about each book, here they are below next to the titles. I would say that the covers and titles make the series seem like it might have fantasy elements, but it's more like they are debunking their clients outlandish theories before getting stuck in on the actual case.

Sherlock Holmes & the Christmas Demon (has a Three Garridebs-esque scene; Holmes dresses up as Santa!)

Sherlock Holmes & The Beast of the Stapletons (a continuation of HOUN complete with a short estrangement of Holmes & Watson)

Sherlock Holmes & The Three Winter Terrors (the dedication at the beginning of the book is to Jeremy Brett ❤)

Goodreads pages (x) (x) (x)

Here’s my goodreads shelf with all kinds of Sherlock Holmes books that I’ve read or am hoping to read. Let me know if you have any recs! And check my pinned post for other book recs posts!

[scarlet--wiccan]

I have my qualms with Orlando's writing, but have you seen the dumb Twitter outrage that the last issue provoked? The book is obviously open to critique, but the way Twitter Wanda stans behave...

In case anybody's not sure what we're talking about, Orlando periodically engages with readers on twitter, as many creators in the industry do. For a long time, Scarlet Witch has attracted a particularly toxic and obnoxious crowd of "fans" who often speak to Orlando in a rude, inappropriate manner. They're exactly the sort of people you're probably imagining-- entitled, combative "stans" with no boundaries, who are obsessed with power-scaling and "feats," and who appear to have no interest in, or knowledge of, literary devices, plot structure, character development, etc. The particular folks I'm thinking of have a tendency to lash out whenever the series fails to meet their expectations-- and by expectations, I mean whatever indulgent, juvenile fanfic plot they've cooked up in their own head.

Maybe I'm being mean, or maybe I come off as overly defensive of a book that, I'm sure, they'd tell me would be better used as toilet paper. But what I have observed is that most of these people are movie-fandom transplants with grade-school reading levels and a deliberate unwillingness to engage with any narrative in good faith. This week, one twitter user in particular went OFF on Orlando by smearing him, as a person, and loudly insisting that the majority of "Wanda fans" are "praying on his downfall" and want him to lose his job. This person made it fairly clear that they believe Orlando is obligated to tailor his storytelling and his creative vision to consumer demands, which ridiculous. That's not how fiction writing works. Long-running comics are a unique medium, but that level of reader-entitlement has never served anybody-- not the creators, not the fans, and not the characters.

This manner of conduct is not acceptable. It is not an appropriate way to communicate with, frankly, anybody, but especially not on the basis of artistic critique. I've never seen comic fans speak about a book or writer this way, especially not on such a public platform. I think it's shameful behavior, and I think it makes it a lot harder for actual, serious readers to voice legitimate and informed critiques. In this fandom, and with this character in particular, opportunities to lead constructive, meaningful conversations about the text are vital. These illiterate, mean-spirited jackasses ruin those opportunities by creating toxic environments and lowering our collective reputation. On a personal note, it has made my life, and the relationships and career opportunities I have tried to make for myself as a Romani critic, infinitely harder to achieve.

If you think I'm talking about you, or one of your little friends, I probably am. A lot of you would get kicked out conventions for talking to industry folks in person the way you do on Twitter, and if that doesn't mean anything to you, then you are not socialized enough to be speaking to professional adults about their own work in the first place.

[tamelee]

Hello! I've seen you around before but never really visiting your page and now i have! (✨I don't regret it✨)

I have an ask but I don't know if you're comfortable about it so answering it is a choice, not an obligation

Ask:

Why do you ship sns?

(i also ship it but i like to ask people what they think about it)

✨I’m very glad you have✨- hi~!

Yes of course. I talked about some of it here

There are quite a few of ships that I like, but I rarely talk about those. I know they’re just that— a ship. But even if there’s more to it… maybe? None of them come even close to the amount of wealth of supporting evidence that SNS holds to prove that yes, Kishimoto sat in front of a desk for 15+ years hunched over an entire love story, deliberately meaning for it to be romantic, but not ever really able to spell it out directly because… Shonen demographics. Probably. Mostly. And company decisions; alas the sequel. (That’s why I don’t really ship SNS, it feels off to me, I rather am a fan? Not important at all, just a distinction I’d like to make anyway.)  

And at first it was mostly because other people claim their bond really is romantic through their observations. I wanted to find out for myself and coming to that conclusion took me a lot of digging. The more I did that, the more I started to like SNS, Kishimoto as a storyteller and ‘Naruto’ as a story overall because it stands out in ways other stories don’t.

But.. if you want specifics of my reasons story-wise.. (I will not apologize for the upcoming rant 🧡 you did ask me about SNS after all.. ’s what happens)— feel free to read further:

Major Reason 1— the Manga

Because how do you really start to see layers within a story that aren’t spelled out? I’ve seen some SNS-fans questioning their own beliefs and intuitions, but that’s not a bad thing, nor is it surprising. Kishimoto is a sneaky bastard and we love him for it, but I wouldn’t really agree with people saying how “easy” it is to see true meaning, because “it’s all so obvious” when ‘meaning’ isn’t really always. And it discredits the necessary skill and literary devices Kishimoto used to tell this story from his position as Shonen Mangaka imo. Severely.

Majority of me becoming a fan only started after reading the Manga. Here is where all the extra noise and influence in the Anime from the many (and often different) episode directors and other decision-makers, is removed completely. (I’m not saying that’s all done with ill intent, just, intent best suited for Anime goals that I don’t necessarily agree with in ‘Naruto’s case. I don’t really care otherwise.)  

Manga vs. Anime: In Manga is where all the Mangaka’s true subtext is and where their messages through the Theme are a lot more clear than when you view it through episodes. Each episode has separate goals not necessarily tied to the overall Story (like in Manga), but to structure it in a way that optimizes entertainment within the timeframe of an episode. It’s true art of deliberately selecting and stretching of source material. People sometimes don’t believe me when I say that, because if you ignore fillers and the Anime covers the same things as the Manga, surely it won’t make a difference? But it really does. You can use all the extra elements in Animation to strengthen a message (like voice, action, music, pacing and camera-direction), but the opposite is true also. Even as “simple” as coloring can subtly influence subtext. You can use all the elements in whichever way to tell the story— together very powerful, but not all nearly as aligned with the Mangaka’s “truth”.  To test this out of curiosity, I have put the Manga and several episodes side by side and when you study a scene from the Manga (a case study), the underlying messages are sometimes completely removed in the Anime. Or other perceptions are strengthened by showing moments a character thinks back on to show what they mean with their words even if it’s irrelevant at the time. It doesn’t mean it’s not relevant at all, it’s just not the same thing as in the Manga. (I don’t recommend testing it the way I have because it takes an ungodly amount of time ><) And it’s only natural for the Anime to do that because… it’s literally their job to fill in episodes in a way they think is best and fits their goals with their audience in mind. Anime and Manga audiences aren’t the same even if someone belongs to both. This is true at least in theory and from my understanding talking to animators when I traveled, they aren’t treated the same if you compare strategies. That’s also why saying Kishimoto helped with certain movies or his approval of whatever doesn’t say too much (or at all) regarding his personal vision regarding the source, because the execution of the final product has too many elements that have nothing to do with his role or skills in the project, whereas that’s completely different with the Manga. It’s fairly obvious in ‘Gaiden’ and Minato’s story as well. Yet his name is always used to prove otherwise because it’s a marketing tactic and it (unfortunately) works. 

Major Reason 2— Subverting Expectations

It’s true that a lot about SNS and their bond is just blatant text and spelled out directly making them both sound incredibly insane and incredibly in love. Meaning, that even if you would watch the Anime or read the Manga on a surface level— you’d realize there’s something more going on regardless. If you question whether your intuition is true on this, watch any reaction to certain moments— you’re not alone. It isn’t for nothing that majority of the general audience mockingly calls Sasuke ‘Sasgay’ since the beginning or are only able to filter an opinion about his motivations through what the surface-narrative says it is: bad. (We can talk about that more in a different post.)

Or people hate Naruto for prioritizing something other than his protagonist’ self “should” prioritize; what is narratively seen as “good”. (Konoha for example. Often why people put Konoha vs. Sasuke when there’s a lot more to it and categorizing it as such only enhances that surface view of good vs bad— it works against the argument these people try to make because that automatically puts Sasuke in the bad-category for most people.. ’s kinda funny, but not really.) 

Or how there are complaints because neither Naruto or Sasuke have shown even the slightest interest towards their ‘supposed’ (read: Shonen-‘expected’) love-interests because there isn’t any. Arguing that they should love another character simply because the girlies are stalking and fawning over them holds no ground at all, yet people take it as truth because they don’t know where else to look. To accept or even acknowledge the unexpected means you gotta swim a little deeper to explore the rest of the iceberg. (Yes, ‘Naruto’ really is that special.) If you don’t then it’s pretty easy to blame everything on bad writing, but I don’t think that’s fair at all simply because some people are unwilling/unable to actually see what’s truly written in the first place and can’t connect things otherwise because “no that’d be gay” and “it’s not possible, it’s Shonen so the Hero should fall in love with the most obvious girl-option” despite there being no mutual foundation to support a decision like that. Nor is there any significance that contributes to anything else. (Or in ‘Naruto’s case, Kishimoto mocks the idea of them liking these girls back, which should tell you a lot as well.) 

Major Reason 3— Subtext, Plot-Goals & Theme

So alright, there’s text. There’s them giving up their goals for each other, willing to trade their lives for the other’s wellbeing or dreams, wanting to understand and reach hearts being each other’s one and only’s in different ways as well as driving strength, motivation and the cause of inner conflicts… but all of its meaning is found in context. (Yes, that thing that people love to ignore to make up their own.) The foundation of SNS’s bond and what it means to them (and even other characters) is primarily subtext weaved through their character arcs. Their change as a character has all to do with each other and very little with the actual plot, hence their final battle being an emotional one and more climactic (in theory of storytelling) than the actual war. 

And yeah, possibly the reason why no one could really connect with the war was because it actually had little meaning beyond the surface.  

Naruto was already celebrated as future Hokage and got the acknowledgement he believed would make him happy. But it didn’t, not for long. 

Sasuke killed both his brother (sorta) and Danzo. He had the perfect opportunity to demolish Konoha because he believed that would be the solution, but he didn’t. Because he realized he had to question the former Hokage and learn more to tackle the problem behind his suffering (the system) on a larger scale. (Revolution.)

These things by itself should tell you there is more to it, because had it been any other story, it would’ve been over. It’s the entire revelation that halts a story completely, but it went on didn’t it? The war only strengthened Sasuke’s resolve for his plan for revolution (we can talk about that in another post) and Naruto’s status as Hero is conflicting and can’t actually ever soothe his anger (in fact, you can see during the war that it became worse) which is why Kishimoto sorta lamely (I’m sorry) brushed the problems off during the Waterfall of Truth arc… by having Naruto believe in himself (which he already did) for arguably the wrong reasons. Although admirable and touching, it’s not very believable considering the rules Kishimoto set before.

So, their arcs continue and the characters have to keep growing. As Main-characters, it’s saying “you aren’t there yet, there’s something you have to discover still”. It isn’t “anyway, you still have a war to fight”, because the war isn’t an obstacle to their inner needs. It’s plot conflict mostly. When it comes to Naruto and Sasuke, Kishimoto masterfully used plot conflict between each other as an obstacle to represent how they feel. Naruto’s existence really is an obstacle to Sasuke’s goal, but you gotta wonder why exactly that is. Naruto couldn’t ever become Hokage if he couldn’t save a friend, but if that’s true, then Naruto failed long before that, so why is Sasuke so special, huh? Hehe.  

On top of all that, overcoming these obstacles means they have to fight for it— emotionally and literally. And fight they do, which is why it is so emotional, because it’s both. The discovery lies in acceptance, something a character can’t go back from in a good story and it’s very prevalent during their conversation after VotE2 and Sasuke’s inner monologue at the end. They are each other’s answer to the Thematic questions the story posed in the beginning. These aren’t “can Naruto become Hokage?” Or “Will Sasuke decide to destroy Konoha?” Or “will our heroes be able to win the war?”, those are plot, not Theme and they don’t argue for a Universal truth nor does it repeat throughout the story constantly like their bond is. It's why Sasuke's "I've lost" has nothing to do with giving up the reason behind his goal, nor the physical fight they just had.

Together it creates a promise saying their understanding is the solution to the Narutoverse’s problem we unfortunately weren’t able to see in action because it jumped from that to delulu lala-land. But that didn’t make the former any less true.

Because if it wasn’t, then Kishimoto spent 72 volumes proving a message he never intended to prove which is ridiculous. As is saying that doing so is accidental (lmao).

And come on now, if their love for each other is the growth within their Character Arcs, the answer to the problems the Theme and Plot posed, both supported by Context and Subtext with some insane blatant Text on top, then I’m sold completely. 

Ooohhh and don’t get me started on the insane amount of symbolisms and metaphoric elements and how Kishimoto used minor characters to support and deepen its meaning because I'll be typing forever... ><

[notmoreflippingelves]

Krisnix and cykesquill?

Krisnix (I Ship it)

What made you ship it?

Projecting onto Kristoph. I first started to be curious about the ship at about the same time that I got into the fandom a few years ago. Discovering the k*nk meme was pretty groundbreaking for me in terms of introducing me to a lot of ships that I might not otherwise have considered. (As I believe I've mentioned, I'm pretty indifferent to both narumayo and narumitsu so I was definitely looking for other pairings to get into besides the obvious slash option and obvious het option). Krisnix started appealing to me pretty quickly due to the inherent tragedy and drama of such a ship. However, it took me finding fanworks that leaned more into Kristoph as a comedic and/or tragic character (as opposed to just him as the designated evil villain in endgame narumitsu) and emphasized his vulnerabilities that really got me into the pairing. I really credit the Count of Monte Cristo AU, the Frozen AU, and these two pieces of fan art for really getting me to latch onto a more nuanced, emotional Kristoph and to the ship.

2. What are your favorite things about the ship?

As a former English major, I tend to get feral over ships that utilize some of my favorite literary devices. And there is so much to work with for krisnix. The "doomed by the narrative" trope, particularly given that the fact that Kristoph's actions even before they met inevitably doomed any relationship (romantic or otherwise) that they might have had before it even began. Not to mention Phoenix's savior complex vs. the man who it is too late to save.

There's this sense of Kristoph as a dark mirror/foil of Phoenix, and given that Kristoph's influence canonically brings out a very dark side ( hidden cameras, forgeries, manipulation) of the otherwise "heroic" Phoenix, I like to contemplate that the reverse may have been true as well--that Phoenix's "light" might have penetrated Kristoph's darkness even if only a little and if it was already too late. The yin-yang potential fascinates me. I also love the fire and ice imagery motif that surrounds them.

I also love the intriguing possibilities of the 7-year gap--the opportunities for closeness, catching feelings in spite of one's self in a way that is all but inevitable when you spend so much time together, the idea of Kristoph at least somewhat co-parenting Trucy with Phoenix, wondering exactly how much of their "dinners" were genuinely for mutual surveillance and how much was because they grew to enjoy each other's company, speculating as to when Phoenix realized Kristoph was involved in his disbarment (my headcanon is less than a year) and if Kristoph ever realized Phoenix was on to him.

They're also so weird about each other in a way that's so interesting to me. The solitary cell scene is frankly bizarre in a lot of ways, but I am always taken aback by how quickly the two of them fall into their old rapport. Kristoph is literally in a jail cell because of Phoenix, and yet they are super polite and friendly to each other. Honestly, Kristoph in this scene seems far more upset about the idea that Phoenix's "friendship" might have had ulterior motives from the start than he is about the fact that said false "friendship" resulted in Kristoph's incarceration. (Phoenix's bringing up their friendship, trying to snoop in Kristoph's mail, and questioning why Kristoph killed Zak are the only times in this scene that Kristoph's facade slips. Otherwise, they're just bantering like old times. Why are they this weird? I don't get it but I love it anyway).

I also love a lot of the relationship tropes that the ship plays into: uptight loves impulsive; repressed loves outspoken; contrasting visual aesthetics; fake relationship/becoming the mask; foe yay; things we left unsaid; the enemies-to-friends-to-lovers-and-not-necessarily-in that-order pipeline. It's all so good.

3. Is there an unpopular opinion you have on your ship?

The unpopularity of this opinion has fluctuated over time, but when I first started shipping krisnix, there were really strong fanon for all of the following: 1. Top and/or Dom Kristoph who liked subjecting poor poor Phoenix to times that were neither fully safe, fully sane, and/or fully consensual. 2. Helpless cinnamon roll woobie Phoenix who has NO IDEA about Kristoph's various crimes until a Savior™ (usually Miles, occasionally Apollo, Trucy, or Maya) comes and explains the plot to him even though canon implies he puts this together on his own and pretty quickly. 3. Kristoph is a generic sociopath incapable of any real feeling and diabolically clever who gets off solely on POWAH and does evil for evil's sake.

None of these headcanons/interpretations had any appeal or rang true for me, so it was hard for me to interact even with some of the people who shipped it because they shipped in in the opposite way/ for opposite reasons that I did. I even had someone tell me in no uncertain terms that I was shipping it "wrong" for headcanoning a more vulnerable, conflicted, nuanced Kristoph who wasn't a pure one-dimensional generic villain, who had real and genuine feelings (both for Phoenix and in general) , and who was overall more likely to be submissive and/or a bottom than dominant and/or a top.

As I have said, fanon de jour has fluctuated significantly overtime and more and more people who headcanon/prefer a Kristoph more similar to the version that I enjoy have come out of the woodworks and shared their fanworks/head canons/meta with the world. (*Waves affectionately to all my beloved krisnix frens and mutuals. You know who you are. *) That being said, with the release of the AA 4-6 Trilogy port, I have noticed another shift within the larger fandom towards the "Hello Naughty Phoenix, It's Murder Time" Kristoph interpretation again, which makes me rather sad/anxious. I just wanna be able to project onto and shamelessly woobify the pathetic blond blorbo without worrying about people telling me I'm not allowed in the krisnix sandbox anymore. And like I think I'm probably safe enough but there's still a little fear.

Cykesquill (I Ship It...albeit much more casually)

What made you ship it?

A combination of being somewhat indifferent about the fandom-preferred ships for them (Juniper or occasionally Apollo for Athena; Nahyuta for Blackquill) , the fact that I already actively shipped Athena in a similar-ish pairing that is just as (if not more) "problematic," and the fact that telling me I am not "allowed" to ship something/shouldn't ship is far more likely to encourage me to ship it than actively deter me. Also I project pretty heavily onto Athena so naturally I'd be drawn towards ships that are narratively and thematically interesting for her.

What are your favorite things about the ship?

I tend to be especially drawn towards ships that are (or have the potential to be) agents of narrative/character development for the characters as individuals. And this is especially the case for Athena and Simon. They were quite literally created with and for each other.

You can't really think or talk about Simon Blackquill without first talking about Athena Cykes--about the fact he was willing to risk and even give up his life to protect a sensitive, frightened child from an experience (prison and/or execution) that would've destroyed everything about her. You can't really think or talk about Athena Cykes without talking about Simon Blackquill--about the brave, kind young man who comforted and protected her when no one else would but who wouldn't let her comfort and protect him back.

Everyone always talks about the impact that narumitsu have on each other, and I'll admit that they do. But the thing is...there are other people in Phoenix's and Miles' lives that have had as greater or greater an impact on each of them than they have on each other. (Mia, Maya, Dahlia, Trucy, debatably Larry, Apollo, or Kristoph for Phoenix; Gregory, von Karma, Gant, and debatably Kay, Gumshoe, and Ziska for Miles).

For Athena and Simon, there's really no contest, they are the single most important and impactful person in each other's life. Yes, Apollo, Phoenix, and Juniper also influenced Athena. Yes, Fullbright, Metis Aura, and the spoiler character also influenced Simon. But none of them did so to the level that Athena and Simon influenced each other. To quote Wicked, "Who can say if I've been changed for the better? (I do believe I have been changed for the better.) But because I knew you, I have been changed for good." That's it; that's them.

Additionally, they do have some other tropes that I enjoy: grump and sunshine (though Athena is so much more complex and complicated than just a "sunshine" and Simon can also be much more playful than the typical grump); the couple that saves each other; contrasting visual aesthetics; height difference; "we're both hella neurodivergent albeit in different ways,"

Is there an unpopular opinion you have on your ship?

The fact that it's a valid ship in the first place? I've legit seen the argument that you can't ship it because hypothetical future step-incest. Which is absurd in and of itself but especially cause it's presuming a reality that could not possibly exist. One where Metis not only lives (so we're starting off very canon-divergent) but also returns Aura's feelings, assumes that because they love each other that they would of course have to get married (which not every couple want) and therefore Simon now is hypothetically Athena's step-uncle in the future and this possible reality should be treated as such even if it doesn't exist. And just if you have to conceive of so many steps in order to justify why not to ship a pairing, maybe your case against isn't as strong as you think. Also very curious to hear what OP thinks of double-in-law marriages (ex: Person A marries Person B and then Person B's sibling marries A's sibling) because like those exist in real life???

send me a ship and I’ll answer three questions based on if I ship it or not.

[sapphire-weapon]

All the RE fandom proved while shouting at you was:

1. They have no game and don’t know what flirting looks like.

2. They don’t know what a hobby is.

3. The majority of the Twitter EagleOne side of the fandom are cowards and it’s pathetic.

4. They have a weird relationship with sex and need some serious therapy.

5. Aeon fandom is the second dumbest fandom I’ve ever seen. Absolutely the most self absorbed though. I can see why the rest of the RE fandom hates them. I do too now.

I also 100% believe you’ll be proven right in time. Thanks for having genuine discussions on characters and story arcs on your blog. I truly appreciate it.

The hobby one was really strong. I literally had to bury my face in a pillow to stifle the barking laughter that came out of my face because it was hella early in the morning, and my roommate was still asleep.

It wasn't as funny as the person who literally screencapped someone's tumblr post and circled a paragraph in it and tried to treat it like an objective source of fact that I was stupid for not knowing.

It also wasn't as funny as the person who, without a hint of irony, tried to pass off "Leon couldn't have hit on Ashley in RE4make because of what happens in the original RE4 and also RE6." as a legitimate argument.

And it also wasn't as funny as the person who wrote up and sent me a screenshot of a barely coherent rant in Notepad about how Leon doesn't really even like Ashley as a person, actually, and I'm delusional for thinking he does anything more than tolerate her, and it was steeped with outward misogyny and projection.

But it was still really really strong.

Like, I can't express to you guys in words how genuinely and truly funny some people were about this. It was like people watching at WalMart without having to leave the house.

I've heard that the EagleOne discord has turned on me, though, which is just. Wild. Anyone is free to come talk to me about this at any time, but I'm not going to apologize for Aeon fandom getting butthurt, and I'm also not going to apologize for telling the truth about the canonical nature of the ship. What Aeon fandom feels or does is not our responsibility, and we need to stop acting as though it is.

But here's my discord if anyone wants to take it out on me:

I'm at work, so I can't have an active, lively discussion ATM, but I'll take whatever hits the fandom wants to throw at me if it'll make them feel better.

I'm not going to stop talking about narrative devices, storytelling techniques, character arcs, or the usage of layered dialogue -- nor will I give it a rest pointing out literary allusions or the purposes and usage of cinematography, imagery, or symbolism. Too many people were not taught how to do these things in school, and if we let discussions like this die, we may as well all just become Aeon fans who buy into Leon's mafia backstory and give up on thinking all together.

Keep bringing your ideas here, friends, and we'll keep working through the narrative together.

[astronicht]

me, back again! i'm loving your LOTR evil's geology reply! I'm not a huge LOTR person - I read the books a long time ago, but I recently watched the movies and had a lot of fun with that. I'm also not Christian, but I am an English major, and so I don't really care about the specific Christianity allusions except in the way allusions and symbolism and other literary devices can enhance or make new/different/deeper meanings of text. My understanding of Tolkien is that he drew a LOT from a lot of different texts; the extent of my experience with very old texts is a course on Beowulf, so while I would love to learn more about it, I'm far from an expert.

So to your point about old Christianity associating evil with the north - that is super interesting! It also works with Tolkien taking a lot from Beowulf and medieval/Old English texts. I totally understand why that would be frustrating. One could (and for the purposes of this, I suppose I am) then extrapolate the migration of evil from north to east to mirror the shift in real-world beliefs as time passes. IDK if that's what Tolkien intended, but either way, it works, and that's always super cool.

Smeagol - I don't know recall what the books have to say, but in the movies, they were brothers. Like you say, though, the symbolism works! LOVE the ring-giver insight!

I definitely agree that these stories are layered, and I'm a big fan of an endless reply and an insanely long ask! it was very fun to read your thoughts on this, thank you!

Super belated reply, apologies, but thanks for reading that whole long-ass reply to the original ask! I'm glad it was fun etc! It's neat to see how people read Tolkien (myself included, bc I had no idea how I'd see it till I got to it).

[weaselandfriends]

I keep picking up on this continuous discourse in the modern "highbrow" literary scene along the lines that something in today's world, i.e. the internet/consumerism/postmodernism, has rendered a previously reliable readership unwilling to engage with complex content. Obviously this kind of interpretation is hopelessly subject to nostalgia and cherrypicking, but it seems hard to deny that there's been a pretty jarring shift in the author/audience relationship regarding, maybe, the amount that the author actually knows about what their prospective audience wants and likes, which might be pretty disillusioning for someone predisposed to believe in an idealized and highly discerning viewerbase with the time and dedication to unwind a Great Work. The tentative point of my question I guess is what are your thoughts in the area, is there any truth to the notion of a literary fall from grace, and can anything be done to communicate with perhaps the lion's share of readers who will come wanting something entirely different from a thematically pressurized and traditionally "meaningful" narrative, with the corollary of, assuming a solution exists, is it possible to enact it while simultaneously maintaining the sense of conceptual rigor that seems so important to the inner conscience of the literary sphere? Is there any point in maintaining this conscience at all? Now that the age of world-spanning absolutist theory is over and thoroughly disavowed, does literary fiction have any place at all outside its niche?

Is the issue whether "highbrow" art has a place or is the issue what defines "highbrow" art? Because, despite all the class snobbery on both sides of the issue--the literary intelligentsia sneering at "genre fiction" and the genre fic fans sneering at "purple prose" intellectualism--everyone still wants their art to mean something deeper beyond surface level special effects lightshows. Everyone online at least. Is a Tumblrite writing an essay on the queer representation in Steven Universe categorically different than a university professor writing an essay on Nella Larsen's Passing via the lens of gender and sexuality studies? The professor may have learned some more compelling logical and rhetorical devices but they're both searching for deeper meaning in something they consider art.

If you've ever read, watched, or seen something that made a deep emotional impact on you, you found meaning in that work whether you know how to articulate it or not. The fundamental issue is not the act of finding meaning or creating art that is intended to contain meaning but who gets to claim what art is most meaningful.

People will always gravitate to art that depicts them. In historical times, the nobility loved art that depicted past kings engaged in great or tragic deeds. The church loved art that depicted Biblical scenes. The merchant class loved portraits of themselves or still lives of all the stuff they owned. The Romantics loved art that depicted the beauty of the natural world. The increase in widespread literacy and an educated middle class in the 1800s led to novels that depicted wide cross-sections of contemporary society. Major progressive, communist, feminist, Freudian, and fascistic revolutions in the early 1900s led to modernist art that prized experimentation, rejection of the old, and exploration of the human psyche via surrealism or stream of consciousness. Who has power defines what art is considered "best," or most "highbrow." Like the early 1900s, what we see now is a struggle between an entrenched political, economic, and academic class against a "common man" empowered by new technological and societal changes. In our case, that change is the internet. For the first time, Joe Schmoe can go online, write their essay on Steven Universe, and post it for the world to see. This has led to an explosion in interest about what popular media means and has led to new types of in-depth media discussion entirely detached from academic modes.

(This also means that Nostalgia Critic, as one of the first major figures in the internet media discussion landscape, is now a historically notable commentator on art. Guess that's the downside to this whole internet thing!)

The current era is not the first time the highbrow/lowbrow distinction has taken center stage in discussions of art. Any time the entrenched "highbrow" class is threatened, this conversation crops up--take, for instance, Marcel Duchamp's famous Fountain (a toilet), which he submitted to a prestigious New York gallery as art, only for one of the gallery's curators to grab a hammer and destroy it.

I would hope, though, that the current democratization of art by the internet learns something from the modernist era, which also possessed a gleeful, rebellious anti-academicism. While it's easy and fun to tear down the stuffy elites in their ivory towers, there is in fact some elements of artistic value in the whole of human history that came before the present mode. The internet's definition of art will win out; in fact, it probably already has. But if you reject everything about the past and refuse on principle to engage with and learn from it, you'll waste a lot of time reinventing the wheel.

[roamanddiscover]

Vampire Academy Book Summary

Vampire Academy Book Summary

The Vampire Academy series is a captivating novel series that explores the life of a teenage girl, Rose Hathaway. Rose is a sixteen-year-old girl who is half human and half vampire. She is training at St. Vladimir's Academy to become a guardian to her best friend Lissa Dragomir, a Moroi vampire princess. The novel is set in a world where vampires exist and are divided into two categories, the Moroi and the Strigoi. The Moroi are mortal vampires who have special powers and need to drink human blood occasionally, while the Strigoi are immortal vampires who kill humans to drink their blood. The Moroi and the Strigoi are kept apart, and the guardians are tasked with protecting the Moroi from the Strigoi. The story follows Rose's journey as she trains to become a guardian. Rose is a tough and determined girl who is willing to do whatever it takes to protect Lissa. As she goes through her training, she faces many challenges and battles, but she always manages to come out on top. The Vampire Academy series is a perfect blend of romance, action, and fantasy. It is a story of love, friendship, loyalty, and betrayal. It has a unique and enthralling plot with well-developed characters, and it will leave you craving for more. If you're a fan of young adult fantasy books, then the Vampire Academy series is a must-read. It will take you on a journey full of twists and turns, and you won't be able to put the book down until you've read the very last page.

Character Analysis

Vampire Academy is a novel series that boasts an array of diverse, complex, and engaging characters. First and foremost, there is Rose Hathaway, a half-human and half-vampire girl who is fiercely loyal and protective of her best friend, Lissa Dragomir. Rose is impulsive and hot-headed, but also possesses a sharp mind and an unwavering dedication to her duties as a guardian. Lissa Dragomir, on the other hand, is a Moroi vampire princess who is deeply empathetic and caring. She is also plagued by anxiety and is struggling to assert her power within her royal family. Other noteworthy characters include Dimitri Belikov, Rose's mentor and love interest, who is a skilled and deadly guardian; Christian Ozera, a Moroi vampire who has been ostracized by his own kind due to his family's dark past; and Adrian Ivashkov, a spirit user and Moroi prince who is struggling with alcoholism and heartbreak. Throughout the series, each character has a unique personality, distinct motivations, and complex relationships with one another. The dynamics between the characters drive the plot forward and keep readers engaged. For instance, the relationship between Rose and Lissa is at the heart of the series, with Rose being Lissa's guardian and protector, and Lissa providing Rose with a sense of purpose and a reason to keep fighting. Meanwhile, Rose's complicated feelings for Dimitri and Christian add a layer of romance and drama to the story. The characters in Vampire Academy are not one-dimensional; they are flawed and multifaceted, making them feel more like real people than just fictional characters on a page. - Rose Hathaway - Lissa Dragomir - Dimitri Belikov - Christian Ozera - Adrian Ivashkov

Analysis

The Vampire Academy series is more than just a story of vampires and their guardians - it's also a richly layered narrative that explores themes of love, friendship, identity, and power. The series makes use of a variety of literary devices, including foreshadowing, metaphor, and allusion, to convey its complex themes and ideas. One of the most prominent themes in the Vampire Academy series is the idea of duty and sacrifice. As a guardian, Rose is willing to lay down her life to protect her charge, Lissa. This theme is illustrated through Rose's struggles with her own desires and ambitions, as well as her relationships with other characters who have different priorities. Another major theme in the series is the nature of power and how it is wielded. The vampire society is organized around a system of bloodlines, with some Moroi families holding more power and influence than others. Throughout the series, we see characters struggle with the consequences of that power dynamic, and how it affects both individuals and the larger society. The Vampire Academy series also makes use of rich symbolism, from the use of roses to represent love and protection, to the use of blood as a symbol for power and sacrifice. These symbols help to deepen the series' themes and add an extra layer of complexity to the story. the series makes use of a variety of literary devices, including foreshadowing, metaphor, and allusion, to convey its complex themes and ideas. The use of these devices helps to elevate the series beyond mere genre fiction and make it a truly memorable and thought-provoking read. the analysis of the themes, symbolism, and literary devices in the Vampire Academy series reveals a richly layered narrative that goes far beyond its genre trappings. The series is a testament to the power of storytelling and the ways in which stories can help us explore complex ideas and emotions.

Reviews

If you're wondering about the general consensus on the Vampire Academy series, look no further. In this section, we've collected reviews from both critics and fans to give you a better understanding of how the series is received. Many readers praise the series for its strong characters, particularly Rose Hathaway. They appreciate how she breaks away from typical female protagonist stereotypes and is portrayed as a flawed and dynamic individual. Other characters like Lissa Dragomir and Dimitri Belikov also have their own fan base, with many readers invested in their relationships with Rose. When it comes to the writing, opinions are a bit more split. Some find the writing style to be engaging and enjoy the banter between characters, while others label it as juvenile and cringe-worthy at times. Some critics have even referred to the series as "Twilight with fangs," while others believe it brings something fresh and unique to the vampire genre. As for the plot, readers tend to appreciate the action-packed nature of the series. It has plenty of twists and turns to keep readers engaged, with many noting that they were constantly surprised by the events that unfolded. However, others criticize the series for relying too heavily on tropes and cliches, particularly in the romance department. Ultimately, whether you'll enjoy the Vampire Academy series or not boils down to personal taste. While it has its flaws, many readers love the characters, the world-building, and the fast-paced plot. It's definitely worth giving a chance if you're a fan of YA paranormal fiction.

Details

The Vampire Academy universe is a rich and complex world filled with different vampire races, each with their own unique abilities and traits. In this section, we will explore the different vampire races and their roles in society. Race Abilities Traits Moroi Control of one of the four elemental powers (earth, air, fire, water) Must drink blood to survive; weakened by sunlight Dhampir Enhanced strength, agility, and senses Half-human, half-vampire; trained to protect the Moroi Strigoi Immortality, enhanced strength, speed, and senses Evil, bloodthirsty vampires who prey on Moroi and humans In the Vampire Academy universe, Moroi are the ruling vampire class, with Dhampirs serving as their guardians. Strigoi are seen as a threat to the entire vampire society and are hunted down and killed by guardians. The Moroi have a complicated social structure, with royal families and noble houses. They are also governed by a set of rules and traditions, such as the law that prohibits Moroi from using magic to harm other Moroi. Moroi are also required to attend school and learn to use their elemental powers. Dhampirs, on the other hand, are seen as inferior to Moroi and are often looked down upon by them. However, they play a vital role in protecting the Moroi from Strigoi attacks. Dhampirs are also trained in combat and self-defense. Strigoi, as mentioned earlier, are the most feared vampire race. They are turned from Moroi or humans by being bitten and drained of blood by another Strigoi. Strigoi are immortal and their powers are much stronger than those of Moroi or Dhampirs. They also have a weakness to silver, which can incapacitate them. the Vampire Academy universe is a fascinating world filled with different vampire races with their own unique abilities and traits. The rules and traditions that govern their society, as well as their complex relationships and power struggles, make for an intriguing read.

News

The Vampire Academy series has been a fan favorite since the first book was published in 2007. Fans have been waiting for updates and news on the series, and there have been a few exciting developments. Firstly, a movie adaptation of the first book was released in 2014, directed by Mark Waters and starring Zoey Deutch as Rose Hathaway. While it didn't receive critical acclaim, fans of the books still enjoyed seeing their favorite characters come to life on screen. More recently, it was announced that a TV series adaptation is in the works, produced by Peacock. The series will be a more faithful adaptation of the books, with author Richelle Mead serving as an executive producer. Aside from adaptations, there have also been rumors of a spin-off series focusing on side characters from Vampire Academy. While nothing has been confirmed, fans are excited at the possibility of delving deeper into the world of the series. In 2020, Richelle Mead announced on her website that she is currently working on a brand new series set in the same universe as Vampire Academy. The series will follow a new cast of characters and take place in a different part of the world, but will still feature familiar elements such as Moroi and Strigoi vampires. it's an exciting time to be a fan of the Vampire Academy series, with plenty of new adaptations and spin-offs in the works, as well as a brand new series from the author herself.

Ratings

If you're curious about how the Vampire Academy series measures up in terms of ratings and rankings, look no further than this section. The series has a dedicated fan base on several platforms, with Goodreads and Amazon being two of the most popular sites for book reviews and ratings. On Goodreads, the Vampire Academy series has an overall rating of 4.22 stars out of 5, based on over 500,000 ratings and more than 23,000 reviews. The highest-rated book in the series is Shadow Kiss, with a rating of 4.40 stars, while the lowest-rated book is Bloodlines, with a rating of 3.98 stars. Amazon also has a large number of reviews for the Vampire Academy series, with the first book alone having over 3,800 customer ratings. The series has an average rating of 4.5 stars out of 5 on Amazon, with many reviewers praising the fast-paced plot, strong character development, and witty dialogue. In addition to these two sites, the Vampire Academy series has also been reviewed and rated on other book-related platforms, such as Barnes & Noble and Book Depository. While the ratings and rankings may differ slightly from site to site, it's clear that the series has a loyal following and continues to be popular with readers of all ages.

Book Notes

The Vampire Academy series is comprised of six books, each with a unique plot and character developments. Here is a summary of each book: The first book in the series introduces us to the main characters: Rose Hathaway and Lissa Dragomir. Rose is training to become a guardian while Lissa is a Moroi vampire princess. The book follows Rose as she protects Lissa from the Strigoi, a violent and immortal breed of vampires. Along the way, they navigate their complicated feelings for each other and the dangers of the vampire world. In the second book, Rose and her friends travel to a ski resort for their winter break. However, they soon find themselves in the middle of a Strigoi attack. Along with the danger of the Strigoi, Rose must navigate her feelings for her mentor, Dimitri, and her friend, Adrian. In the third book, Rose continues her training as a guardian and begins to experience strange and eerie dreams. She also discovers a shocking secret about her mentor, Dimitri. Meanwhile, Lissa is dealing with her own struggles as she becomes a powerful member of the vampire court. In the fourth book, Rose sets out on a journey to find and kill Dimitri, who has turned into a Strigoi. Along the way, she is helped by a new friend, Sydney, and reunited with her old friend, Adrian. The book explores themes of love, loyalty, and sacrifice. The fifth book picks up where the fourth book left off, with Rose and her friends facing new dangers and challenges. She also begins to explore her feelings for Adrian and reconcile her feelings for Dimitri. Meanwhile, Lissa is making bold moves in the vampire court that threaten her safety. The final book in the series ties up all loose ends and brings the story to a satisfying conclusion. Rose is framed for murder and must clear her name, while facing her biggest enemy yet. The book explores the themes of redemption, forgiveness, and the power of love. - Vampire Academy - Frostbite - Shadow Kiss - Blood Promise - Spirit Bound - Last Sacrifice Each book in the Vampire Academy series offers unique themes, plot points, and character developments, making it a fulfilling read for fans of young adult, vampire, and fantasy literature. Read the full article

[emmxax]

Types Of Story Endings

https://www.scribophile.com/academy/how-to-end-a-story1. Circular ending

Sometimes called a tied ending or a full circle ending, a circular ending brings the story “full circle” back around to where it began—with subtle differences that show how your characters have grown within their world. Most stories that follow the Hero’s Journey story archetype have a circular plot structure. The protagonist goes on a grand adventure, learns and experiences new things, and then returns to the life they once had, but changed.

You can use themes, settings, literary devices, or turns of phrase to link your beginning to your end and create a circular story. This is sometimes called the “Bookend Effect.” In a short story, it’s an almost foolproof way to give the reader a sense of completion. For instance, you could open with your main character coming in out of the rain, and then close with them snuggling under the covers listening to the rain fall. The image of the rain “bookends” the story and makes the reader feel they’ve reached a satisfying conclusion.

In larger works, such as a novel, your bookends can be a place where your story starts and stops, a thematic idea that your character was working to understand at the beginning of the story, or a metaphor that has taken on new meaning.

2. Resolved ending

A resolved ending ties up all the loose ends in your story. Shakespeare was a big fan of resolved story endings; so was Jane Austen. Readers of the romance genre have grown to expect resolved endings, which usually involve everyone living happily ever after (except the villain, who slinks off into obscurity).

Your resolved ending doesn’t necessarily have to be a happily ever after, but it should give the reader a sense of fulfillment. For now, at least, everyone’s story has reached its finish line and there’s nothing left to say. This means tying off all your artfully crafted subplots, addressing all of the dramatic questions raised at the beginning of the story, and ensuring that any lingering secrets have been laid to rest.

Giving your story a resolved ending doesn’t mean that your characters’ lives won’t go on beyond the last page in the book. It means that this particular chapter of their lives has come to a close, and now they can embrace a blank slate from which to begin a new one.

3. Unresolved ending

The unresolved story ending leaves loose threads so that the story can continue after the book is closed. This is especially popular with books in a longer series. When you end your story on a cliffhanger, your readers remain engaged with your story until they get a chance to read what happens in the next one.

Even when you use an unresolved ending to close your story, it should still have that essential sense of completion by the end. You wouldn’t finish the entire book the way you’d finish a chapter. By the time you reach the ending to a story, the major, central conflicts of the plot should be resolved and your characters should reach a resting place between battles. However, an unresolved ending will leave some questions unanswered, and raise new ones about the future of your characters and their world. It’ll always give the reader the feeling that the story continues after the last page.

4. Ambiguous ending

The purpose of an ambiguous ending is to make your readers think. Like an unresolved ending, the ambiguous story ending leaves some lingering questions at the end of the book. The difference is that with an unresolved ending, the reader needs to wait to get the answers from the writer later on. With an ambiguous ending, the reader can reflect on the story and look for answers within themselves.

The best ambiguous endings offer two or more equally conceivable possibilities. For example, your story may end with a separated couple agreeing to meet for coffee. Do they get back together? Or do they get the closure they need so they can move on? Both are within range, and it’s up to the reader to decide what they believe the real truth to be.

Ending the story ambiguously is also a great way to bring your readers together. It will make them want to compare ideas in forums, discussion groups, or with friends. Ambiguous endings engage the reader in a creative and cognitive way.

5. Unexpected ending

Commonly known as the “twist ending,” this ending gives the story one dramatic, final turn as it reaches its close. This works like a literary sleight-of-hand—you tell the reader, “Look, here, at this perfectly incongruous hat!” while your story mechanics are working to create something much more powerful and surprising.

Even though your story ending may be unexpected, it still has to make sense within the world you’ve created. This means laying the groundwork in bits and pieces through plot, character, and setting in a way that slips beneath the reader’s notice, but that they can easily refer back to in their memory as they consider the ending of your story.

This type of ending is the cornerstone of mystery novels. Through genre convention, readers have grown to expect an ending that will shock and delight them, but in a way that feels like a natural progression of the story. Done skillfully, the unexpected ending can pack a huge emotional punch and secure you a fan for life.

6. Expanded ending

Also known as an epilogue, this is a second, smaller story built out of your story’s ending. This gives the writer space to explore what happens after the story’s close, and to address any last questions the reader may have. Do the hero and heroine ever see each other again after they save the world? Does the little girl really grow up to be a doctor like she always wanted? Does the misogynistic young pilot ever grow out of his flaws and become a better person? These are all things that you may not have space for inside your story, but you still want to share with the reader to give them a fuller understanding of your story world.

The expanded story ending gives your readers a little more time with your characters before they have to say goodbye. As readers, we understand that their story goes on even after our role of observer has ended. This isn’t meant to be a resolution to your plot, but rather a window into what the next chapter of life holds in store for the characters we’ve grown to love.

7. Reflective ending

A reflective ending happens when the protagonist is able to look back at their experiences and consider them through the lens of their growth over the course of the story. They may ask themselves, “Was it really worth it, in the end? Did I do the right thing? How different does the world appear, now that I know the things I do?” This creates one final, intimate connection with the reader as they explore these ideas together.

This reflection might happen if the character is looking back at an event from their youth, or if their circumstances have changed dramatically through the events of the plot. This type of ending is popular in fantasy and science fiction—for instance, if the character returns to the “real world” after a period of intense fantastical experiences—as well as in creative nonfiction, where the author may be reflecting on some formative events in their life.

SOURCE:

https://www.scribophile.com/academy/how-to-end-a-story

[darlington-v]

the subtext surrounding c!dream is important

and im complaining bc im impatient.

word count: 2k (just so you can decide if you wanna read this whole thing lmfao)

yesterday i complained about the stuff i took issue with in dream’s lore video, and i was going to let this response rot but i've decided against it. So here is that response with a few tweaks and the intro missing. For context, someone had replied to my post saying that c!dream wasn't a sympathetic character to begin with, that the lore had confirmed a handful of things, and that there was tons to be excited about.

A summary of the intro, to the best of my memory, was essentially: the post wasn’t about if c!dream is sympathetic or not, but that i would not be excited over lore until there was some form of progression with the subtext surrounding c!dream.

the theory and belief is supplied with a lot of clips and evidence on top of just word of god stuff. like dream says himself that cdream is a gray character. wilbur confirms that.

and i think he is sympathetic. i think it is incredibly sympathetic to go down dark roads with good intentions. it's human, even. and i've not necessarily given up on the idea, either. i'm just tired.

i'm tired of having to defend my case against people who have more evidence provided by character actions with my only defense as the small but significant amount of evidence of subtext behind the character and his actions. it's irritating and it doesn't feel like it’s enough at times. subtext is important, but the meaning behind it has to be backed up by more of those actions and displays, especially more blatant ones. there has to be a little bit of give, and i feel like we just haven't really been supplied with enough of it.

i understand that there is the possibility of him being a very cruel character who is a villain, but that doesn't get rid of the subtext that was already supplied. what are we supposed to do with that? why has the narrative continued to sidestep or obscure the subtext?

i'm tired of the narrative wringing my hands for giving it the respect to consume the story critically, for breaking down character motives, actions, literary elements, and devices that would be used to tell a good story.

(rest + TLDR under the cut)

EDIT: PLEASE do not respond if you don't read this whole post or are of the complete opposite belief. it's long for a reason and i don't feel like debating.

i was really hoping no one of the opposite party, people who think dream ISN'T sympathetic, would respond, because i don't have the energy to debate. it's just rubbing my nose in it. i don't want to have to explain for the umpteenth time about why i think he is a sympathetic character and why i find sympathy in his story.

because the narrative has largely only supplied us with a few actions and then the majority of it are implications and hints. but ultimately, that's not what the post is about.

i'm not talking about IF he is sympathetic. i don't care for that debate. i don't care to discuss it because at this point. better worded analysts than i have broken it down so many times and it's just not enough for some people. and that's fine!

but that's not what i care about nor am i talking about. it's about the subtext that has hinted at a deeper meaning behind dreams character, that points towards there being a twist to his darkness, and it kind of just getting steam rolled by his actions yet still hinted in the narrative. hints and implications are just not enough to thrive on. especially for me, i'm tired.

Almost all of the scenes that select fans have claimed are solutions and answers, are all implied "solutions and answers." which, they can be a temporary solution or even a just more vague solution, but i'm personally tired of the answers being implications and, potentially, just a vague solution.

like, the scene between ranboo and dream does NOT confirm the theory that ranboo set off the tnt. why? because it is not said DIRECTLY. it may be implied, but it is not addressed directly. and until it is directly acknowledged by the narrative, it remains a red herring. like the ranboo and dream scene is not a confirmation of ANYTHING because there's no dialogue, there's no context for the scene. it's a surreal portrayal of... something! likely his prison visit, or maybe him setting off the tnt, but we are not provided CONTEXT to sufficiently answer what it even means. like yes, there's tnt, there's blocks from the prison, there's the explosion. but that is all symbolism and metaphor.

and a metaphor is not a direct acknowledgement .

it's not confirmed that ranboo is in the enderwalk when bad gives him the papers and it's not confirmed what those papers are because it is all implied.

that is my issue. almost every answer we get is an implication. which is fine, sometimes implications and hints are enough; but in this case they are not confirmations because they have no context to give those implications weight. there's nothing being acknowledged here, only hinted at. the most context we have is how we expect the story to naturally progress given those implications. but, that is what’s important about mysteries: they contain red herrings and subversions of expectations.

so nothing we saw is a solidified confirmation of a particular theory until it has more evidence and weight to that conclusion, until it is addressed in a direct manner by the narrative.

like we can analyze and theorize all we want but we do not have a complete solution and until we do, we won't actually know. this is why there tends to be discourse surrounding any media that has a vague conclusion or that may never blatantly address what the subtext provided in their narrative means. like... there's no correct way to interpret subtext because it is subtext, where you read in between the lines. there is no direct meaning to subtext because it is always implication or hints drawn by the usage of literary elements and literary devices. there may be the likelihood of an intended interpretation, but because things can be interpreted in so many different ways, because there is not a confirmation from the author nor does the narrative directly address it, there cannot be a "correct" interpretation or a "confirmation" of subtext.

it's why critical thinking and analysis is important, though. there can be more compelling interpretations, theories, and analysis because those theories utilize and acknowledge certain usages of various elements of storytelling and writing. we can guess at what the creator's intent was by breaking down the usage of such things, and we won't always be right but an attentive reader may get close.

like, do you get what i mean? (this is a genuine question btw). like, a decent amount of people denied the theory that dream planned and intended to be locked in prison because they did not believe it had enough evidence in terms of character actions and surface level statements from c!dream to be true. and then it turns out, he absolutely did plan it. he put himself in prison. c!punz and c!dream confirm and canonize the theory during the jail break.

so the existence of subtext isn't inherently a solid solution or a complete confirmation, until the characters or narrative itself directly address the mystery.

people who theorized that dream staged his imprisonment had evidence for that. the evidence was a mix of actions and words from dream and other characters on top of subtext. the subtext gave context to those actions, and changed what they mean. and it still was not a "confirmed" theory, because the mystery at hand of whether or not he had planned being locked up was not addressed directly until c!punz and c!dream confirmed it the day of the prison break. it was a likely theory and a compelling theory with remarkable evidence to back it up (clearly), but no one knew for sure until it was coherently and directly solved by clear actions and blatant acknowledgement in the narrative.

it is now an undeniable fact of the canon because it was directly addressed.

my issue is that that is one of MANY mysteries surrounding c!dream. and a lot of them just keep piling up instead of being solved in increments. like the prison theory was an increment, but that was over the span of like almost a year? clearly, there were real life issues that got in the way, sure.

but i don't understand why you're going to pile more questions and plotlines on top of already unsolved ones INSTEAD of putting forth the effort to actively move previous plotlines forward, and introduce those new plotlines in increments along with it. like i'm complaining that i feel like we haven't received any more direct acknowledgement of established subtext from dreams character. which is why the post isn't for people who don't already contextualize his actions with subtext. it's not something one would relate to or understand, because it's not what they believe or agree with. it's not something they think about often.

it feels kind of ridiculing and unsatisfying to have more contradicting actions pile up against already established subtext, because as a fan you put forth the mental effort and give the narrative a significant amount of respect to formulate these ideas and theories but the narrative never really pays that off.

like as silly as it sounds, it makes me feel like i'm going crazy. and maybe i am. maybe i was completely off base. but, that's why i'm tired: because i feel like i've been sent on a wild goose chase i understand the subtext may never be addressed, but given the evidence of how important it may be, it makes no sense to me to never address it. like... i don't even need the answer to if dream is inherently sympathetic. i would love the narrative to simply acknowledge some of the subtext it has supplied us with. Some of that subtext is c!dream yearning for unity or his friends, c!dream directing everyone back to their homes after the prison visit, c!dream actually caring about attachments.

The stressful thing about being a fan who breaks down the subtext surrounding c!dream is that all of it points in the opposite direction of his actions, which are often read at surface-level. Which, isn’t rare or even that worthy of a complaint; the issue is that the acknowledgement of the subtext ekes in too slowly to be satisfactory. anticipation is one thing, but with the pace that storylines are advanced at, sometimes it feels like a direct address from the narrative will never come.

these are all my opinions, though, and i’m someone who has a tendency to get pessimistic at times. This isn’t “i hate dream and i think the writing is bad”, this is me lamenting that we haven’t got direct acknowledgement for the work we’ve continued to put into the story as viewers.

If you’re excited then, i’m glad. you should be, there's tons to be excited about with this video. i wish i could be, but it’s hard to get past this. and like, that's my own issue. i'm not saying the narrative should cater to me; i'm just voicing my frustrations in hopes that maybe someone can relate or maybe someone who believes in the same stuff can provide subtext i haven't picked up on.

TLDR;

the post was not about why people find the new lore exciting, but why i personally am not excited by the new lore and that i am frustrated.

further more: metaphor, subtext, or implication is not a confirmation of any theory or expectation because it is not directly acknowledged by the narrative; which is relevant to what i take issue with.

i am frustrated by most questions and mysteries the narrative poses being answered with only vague nod or hint to what the conclusion may be.

TLDR 2;

i'm impatient

[beautifulscreaminglady]

you, a humble fan: omg I love enemies to lovers!

me, a snob and an English major: it’s the literary device of the foil for me

[gallifreyan-heart]

OUAT 01

Thanks Anon, with pleasure!

Replying to this ask post 🤗 Favorite character: Rumplestiltskin/Mr.Gold

Least Favorite character: Jekyll&Hyde

5 Favorite ships (canon or non-canon): RumBelle, CaptainSwan, OutlawQueen - that's really it tbh.

Character I find most attractive: Oof, have you seen the men on this show... how the Hell can I choose?! I'm going with Jefferson cause I've loved Sebastian Stan since The Covenant.

Character I would marry: Mr. Gold

Character I would be best friends with: Ruby

A random thought: I think Rumple/Gold got shit on the entire time for basically doing the same damn thing that the 'heroes' did to protect their family and loved ones. So him constantly labeled the one in the wrong just got extremely redundant/annoying/lazy to me.

An unpopular opinion: IDK if it's unpopular, but I feel like they tried to do too much and it kind of ruined it. Adding in all these non-fairy tale literary figures on top of an already overcrowded cast and then the majority were pointless? Waste of time. Especially when they are so obscure that you literally have to have the character 'in natural conversation' name drop what the Hell book they are even from...(looking at you Violet)

My Canon OTP: Rumbelle all the way! 🌹

My Non-canon OTP: Red & The Huntsman

Most Badass Character: The Dark One (Rumple)

Most Epic Villain: I didn't find any of the Big Bads to be all that "Epic" really. I suppose in terms of being a massive a-hole, I'd probably go with Hades.

Pairing I am not a fan of: oh God, GoldenQueen 🤮 just...WHY

Character I feel the writers screwed up (in one way or another): I think it was lame that Belle was just kind of there to do grunt work or be a plot device to get at Gold. I would have rather had more of her and less of the Charmings.

Favourite Friendship: Emma & August

Character I most identify with: Regina - but only on the level that, I too have just absolutely terrible luck when it comes to love.

Character I wish I could be: Belle