#make it a good overall book

[mejomonster]

i have... a penchant... for getting really into books which are out of print. not cause they’re like first editions or collectibles or whatever the fuck (i went to an antique book show recently and was SO pissed there was like 50 Alice in Wonderlands, but no 1900 printed french books you couldn’t even find in pdfs online... in fact, no foreign language books at all what the fuck :c... and 2 gone with the winds, 50 lord of the rings... like i get it, the target audience of an antique show is maybe? idk people collecting expensive books? but for me? the point was to find out of print old books that may never have been digitized. thank the universe for archive.org there’s so many 1800s learn japanese, 1900s learn chinese books with different versions of romanization and then later different amounts of character simplification, theres the ‘nature method’ textbooks that i’ve only seen back in print very recently and only for a few languages and probably only cause nerds like me can’t shut up about them, there’s so many BOOKS i’m into that just... :c good fucking luck finding them if not for the kind efforts of archivists or random chance)

[saintaviator]

the feeling of being watched or followed

[expelliarmus]

[cogentranting]

The Hunger Games succeeds (and more so achieves sort of mythic effect) because it approaches dystopia through the timeless-- it (and Ballad) brings these universal ideas to a very personal lens and asks questions like "how do we begin to excuse evil in our lives" or "how do you hold on to goodness in the midst of oppression". And because it is so invested in the transcendent it lends itself to very powerful symbols, which give it that mythic feel.

Orwell's books (Animal Farm and 1984) both succeed through a very different approach to dystopia (Animal Farm isn't really a dystopia in the traditional sense but it has a lot of the elements). Orwell succeeds through real perceptive insight into the inner mechanisms of the subjects of his critiques. Orwell has vision that can cut deep into the way that things like propaganda or 'controlling the narrative' work and then, having dissected them, hold those tactics up for all to see.

And I think a lot of dystopias fall short because they get tangled up in the Idea of their story. The "what if" they've created. Either focused too much on the Issue-- too narrowly to be universal, too broadly to be revealing-- or too disconnected from anything genuine. And because they get stuck at that particular point they don't have much more to offer than "wouldn't this be bad?" And if you get a pretty good writer they can make that feel insightful but really it doesn't have much more to offer than whatever absurd YA book comes to mind first when you hear "bad dystopian novel".

[dan-whoell]

i keep thinking about a phandom book club, but i have no idea how to go about organizing it or if anyone would be interested or even where to host it

alternatively is there already a phandom book club i could join? because i would love that

[problemswithbooks]

BNHA Ch. 429

So, I guess Toga is dead, and people are losing it.

I get why people liked her--she was actually queer, being pan/bisexual. She was representation for them and that's rare in shonen manga. But here's the thing--she was bad representation at best and insulting at worst. Nor do I think she was made queer because Hori really wanted to represent a queer girl. Himiko was always the author's poorly hidden fetish--she just was. She liked girls as much as boys because Hori wanted to draw a girl touching sexually on another girl. You can see this in how he draws her and Ochako in solo pics together.

I mean, people seem to understand this when it comes to Momo and her outfit being overly sexual or that both Himiko and Hagakure's Quirks either leave them naked or they have to be naked to use them. These are excuses to draw girls in a sexual manner. Himiko being into other girls is the same thing and that's the kindest interpretation.

Given how Himiko acts and her Quirk being heavily coded sexual desire, and therefore her use of it against someone unwilling being sexual assault, it could just being playing into harmful stereotypes of predatory gays.

As a queer person myself I just found Toga insulting. She was designed to be overly sexual and give the male author a female character that he could draw being suggestive with his other female characters. When he did flesh out her character, her backstory was eventually the trope/fear of straight people, that gay people will be so overcome with their lust that they end up sexually assaulting them.

In the end Ochako accepts this part of Toga and says she'll giver her blood forever, but as much as a lot of readers took that that as some deep lesbian confession, for me it really fell flat. Hori never really gave any of the main kids time to actually learn about their villain or show how that changed their minds toward them. Shoto only works because Touya is his brother (even though he admits he barely remembers him). But Ochako goes from not thinking of Toga at all pre-first war, to one thought about her during her speech, to suddenly caring about her so much she--given how Toga's quirk is coded, is willing to essentially fulfill Toga's kink for the rest of their lives.

It's weird and it comes out of nowhere. It's made even stranger because Toga doesn't actually change or show remorse for anything she did, which included personally hunting and murdering people before she joined the LOV. None of the death and destruction she is also partially responsible for is brought up either, something that Ochako was rightfully upset about during the first war when less people and property had been destroyed. Ochako just accepts everything about her suddenly and her past serious crimes are forgotten so they can cuddle and cry.

Am I shocked Toga died--a little. I didn't think Hori would have the guts to kill off a young girl character, especially one that he clearly got a lot of joy drawing in sexy poses. But at the same time, once he killed off Shigaraki and ended Touya's story with his slow death, I'm not surprised he went the same route with Toga.

This isn't Naruto--Hori isn't really kind to characters that do something wrong, especially if they don't try and change. Enji, Bakugo, Hawks, and Aoyama all sort of got punished for what they did. Enji is the worst off, being permanently crippled, missing an arm and burned everywhere. Bakugo's hand is damaged, his heart weaker, plus he feels bad that Izuku lost his Quirk so they can't compete the same way he wanted them to. Aoyama, despite doing way less wrong and even helping his class during the forest raid, still leaves school because he doesn't feel he earned being there yet. Hawks lost his Quirk and even though him running the HPSC could be seen as good for him, Hawks always wanted a break, but now he has one of the most time consuming and stressful jobs out there.

So, if this is what characters who actively did good things and even changed and fought to be better get, what would characters who never changed and never did anything positive for anyone but their friends/themselves get?

Before the last Arc started, when so many people said the LoV were 100% going to be redeemed I had doubts and always thought it wouldn't make sense with how the story presented redemption or treated other non-LoV villains in the past. That if the main LoV did get some happy ending where they were bffs with the main cast it would clash with how other characters had been treated.

That doesn't mean that I think how Shigaraki, Toga, and Touya ended up in the manga was well done. I think their endings fit far better then a last minute redemption would have, but at the same time you can feel how rushed everything has been since the end of the first war arc. Hori was done with this story months if not years ago, yet he was contractually obligated to finish it. Because of that I think he left out as much as possible. As much as I think he's written some pretty obsessive stuff, particularly towards women, I can't really fully blame him cutting corners or the story being shit at the end.

We know Manga authors, particularly those that work with Jump are treated like shit. That they suffer incredibly long hours at times not even getting to go home for days. We've gotten messages for Hori saying he's sick quite a few times. On top of that, weekly story telling is not a great way to tell a cohesive narrative. Ideas probably change week to week or at least month to month and you can't go back and change the last chapter no matter how much you need or want to. Then you remember he also gave a lot of ideas to the people who made the movies, which would also change his plans for how he wanted the main story to go.

The story is bad--it has been for a while, but I think a lot of people put their hopes on their favorite characters getting a happy ending, even when there were signs that probably wasn't going to be the case. I know how much it sucks when a character you love gets a shitty ending (Stain was my fav, but he got an absolute dogshit ending) but at least, knowing what I know about the industry I can't really blame Hori the way I see some other people doing. Criticize it, sure, but saying Hori hates his readers or is horrible writer isn't true. BNHA was popular for a reason--he's great with characters and the beginning of the story had some great pacing. We'll never know, but I wouldn't be surprised if BNHA could have been amazing if Hori had been treated better and the story hadn't needed a chapter every week.

If anything BNHA has taught me how much a story suffers when authors/artists are treated like crap and forced to work past burnout.

[camelspit]

this series is so long that theres time for incredibly written and beautiful character arcs to take place. the problem is that everytime there is one, shannon reverses it for petty drama that no one cares about.

[rotisseries]

rick riordan dickriders on here will be like "why are you complaining about the pjo tv show, go watch the movies and see what a bad adaptation really looks like" ok well listen to the musical watch it on youtube and see what a good adaptation looks like bitch. it can be done. as a fucking stage musical. what did that 15 million per episode do for disney that chris mccarell couldn't

[kashilascorner]

Okay!! Done with The Count of Monte Cristo. That was a ride. I did not enjoy the ending in itself much. The final chapter felt a bit disjointed and while I can understand Edmond was trying to teach Morrel and Valentine a lesson that's more important than any treasure, I think keeping them apart was unnecessarily convoluted and, frankly, cruel, especially keeping Valentine in the dark about her family's demise.

That being said, compared to the 2024 movie, which was my gateway into the book (spoilers for the movie ahead):

I still think it was very well adapted and I generally enjoy the changes made.

In particular, Benedetto/Cavalcanti's storyline in the movie works wonderfully and his relationship to both Eugénie and Haydée was cute. I do prefer this Cavalcanti over book!Cavalcanti because he feels more rounded. However, the movie cannot top Villefort's demise in the book. It's extremely good and heart wrenching.

The movie utilizes Albert and Haydée in the end in a vaguely similar way to Morrels and Valentine in the book, which was appreciated. They close the circle their literal or adoptive parents started and Edmond sails off on his own and I think there's a lot of beauty in that too.

I disagree that the changes made to Haydée's character in the movie reinforce the orientalism. The movie did not even try suppressing (or addressing) the orientalism, I do agree with that, and believe things could have been handled better. But Haydée's seduction game is entirely premeditated. She's not alluring as a walking oriental femme fatale, she is rather explicitly made to look that way. She and the count play with that as part of the trap they are laying for Albert. This mirrors Cavalcanti's trap too. It is similar to the way "Sinbad the Sailor" metaphorically seduces Franz d'Épinay in the book when they first met. I'm not saying it was perfect though. I'd say the orientalism in regards to Haydee has more to do with casting choices, costumes and treatment of her background than with the narrative use made of her in the movie. Sorry, but revenge-seeking willing to seduce her way to her goals movie!Haydée that still has a filialish role to the Count is definitely more appealing to me than submissive (literally a slave), love-sick book!Haydée who most of the time only waits and pines. She does testify against Fernando on her own accord and free will and shows an absolutely amazing strength and I love book!Haydée for that but it's not often that she gets to shine like she deserves.

Making Edmond and Fernando childhood friends is actually good, I loved that! But making the Mondegos an already affluent and well positioned family by the beginning and making Mercedes/Edmond lowkey forbidden because of class difference was not so good. One of the most interesting things in the book is getting to see just how much their status improves -with Edmond being the price to pay.

The movie does go much easier on Mercedes, WHICH SHE DESERVES. The aspect of her being "unfaithful" is moderately prominent in Edmond's discourse in the book, even if Edmond tells her to her face she's a saint. Given her ending, I think the book narratively does punish her for that so-called infidelity which I personally believe to be absolutely unfair but. 19th century right.

Other book things I prefer over the movie: Fernando's ending. The final battle was super fun to watch but sorry. Fernando offing himself because his family left him adds a whole other layer of tragedy and gives him a sort of redeeming quality (even if in the book they don't really put it this way). In the movie he has no redeeming quality lol

Also. I get why Noirtier was not much there. Same happens with the Morrels and Valentine. But Noirtier is one of the characters from the book that fascinate me the most so I'll miss him

[bigcats-birds-and-books]

Books of 2023. VILLAINS by V. E. Schwab.

Time for a NaNo Prep Reread! I love Victor and this vicious little family with my whole chest. This'll be my second time rereading VICIOUS, but only my first time rereading VENGEFUL.

[freaky-flawless]

https://www.tumblr.com/freaky-flawless/758894466381840384/what-did-book-clawd-do-and-which-book-are-you?source=share

I was looking at the post you reblogged about someone calling Clawd annoying and you said , “Book Clawd can choke” in one of the replies.

It might be an old reply though

Ohhhh yes.

I was referring to the Lisi Harrison books!

The third one has a focus on Clawdeen, and in it we see him and Draculaura get together and it seems pretty cute and sweet, and all around he's fine character wise, with the caveat that he's kinda sexist. Tbh the book portrays that as being a commonality in werewolf culture (which is....infuriating) But in the fourth one, which focuses on Draculaura, the two are actively dating and he suuuucks.

He's portrayed as being too embarrassed to be seen with her in front of his friends, so every time the two are together, it's just him brushing her off. Meanwhile she's going through a wicked hard time, because Dracula also sucks in that book and puts a shit ton of pressure on her. And book Draculaura is such a sweetheart, and kind of a pushover, so it's extra hard to read.

So yeah...book Clawd (and Dracula) can still choke lol.

[rosefires20]

Im-

I just finished the final book of the Earthsea Cycle and oh my god. There are no words to describe that ending or how well it fit. It settled so perfectly and so neatly. It went exactly where it meant to go and no I do not have the words to describe what exactly that intent or path was just that it existed.

Genuinely, the Earthsea Cycle is one of my all time favorite series. It's just so curious and so deep but also not at the same time. The lessons of the series are so fantastic and ones that I believe are impactful no matter your age. The exploration of being a woman in a world dominated by men is incredible in this series as well as the process of finding your place in the world and sometimes acknowledging that it isn't what you thought it'd be.

Each book I love more than the last. The Other Wind is so damn good. I love Alder as a character. I love Irian. I love Azver. I love the Kargish princess and her own character development. Lebannenn's character growth as well. Like just. It's so incredible. It also makes me appreciate Tales from Earthsea more because it's shocking how much each of those short stories truly contribute to the world building and conclusion of the series.

The way the story just slowly built up to the events of The Other Wind is also just incredible considering the time between the books being published especially in the second half of the series. The consistency is incredible and you really don't actually know where it is all going until the end yet everything pays off still.

Just god. I love it so much.

[carnivalcarriondiscarded]

i only just found your au and i need everyone to have a happy ending so badly im gonna cry ;-; sally is gonna be so freakin upset when she wakes up for real and sees she decimated barnaby.

oh, Barnaby already has his arm stitched back on when she wakes up! and really, even if he didn't, that'd be the Least of her worries. she wakes up into a Real nightmare - partially of her (unintentional) making

[teatitty]

Okay so I'm generously calling this the Dandy Guardian AU until I think of a better name but essentially this is the rundown [had to put this under a cut because it got long WHOOPS]:

In the book version of events, Dandelion isn't present when Geralt is in Cintra and calls the Law of Surprise, but he does know about what happened. I can't recall if we ever see that convo in text or if it's just background knowledge but that's not important right now

When the Fall of Cintra happens, Dandelion already has his ear to the ground, the walls and the crowds to follow Nilfgaard's movements - Oxenfurt's bards are the best bet anyone has for gathering information about the invading armies because they are spread so wide around the continent and have so many connections

Dandelion's first thought is not to send word to Oxenfurt about Cintra's fall. His first thought is Geralt, and his blasted Child Surprise. He starts tracking his way to Cintra, hoping that he might be able to cross paths with Geralt in the surrounding territories to assure himself that his friend didn't get caught in the middle of that Fall

Meanwhile, Ciri knows she has to find a Witcher by the name of Geralt. She knows he is her destiny. She has no fucking idea where to start looking for him, but she's on the run from Nilfgaard, terrified and anxious and stressed, and in her bag, to her surprise, she finds a well worn copy of a hidden book of Dandelion's poems, all of which are to do with Geralt's adventures. Mousesack had given it to her in secret when she was six, and it had been one of her favourites ever since

She quite forgot she had it in her bag

Cirilla has no idea where to find Geralt. But Dandelion might. Dandelion, she thinks, is her best bet to track her own destiny

And of the two of them, Dandelion isn't a very hard man to find. His bright plumage and singing laughter leaves an easy trail of rumours and tracks to follow. Curiously, whenever she asks about where she might find him, people don't tend to question her. They look at her with sympathy - and sometimes pity - and ask if she has anyone else she can rely on

"No," says Ciri, sombre and trembling. "I only have him."

It's not a lie, exactly, and she's gotten quite good at hiding her aristocratic accent. They point her to when they last heard of his presence. They ask if she needs any help. She thanks them for it, because she is still polite, if angry and confused and oh-so-very lost, but she declines any further company

She goes on.

Every night, she opens up that little book of poems, and tries to imagine what the man described in them is like. It's the closest thing she has to knowing Geralt the Person rather than Geralt the Cursed Witcher

Cirilla is three weeks' worth of travel out from Cintra's borders when she finds Dandelion. It's a little more accurate to say she's dragged over to him - apparently, a blonde, freckle faced child asking about such a famous bard is a quick titter of gossip in the grapevine, and she quickly discovers why it is that nobody ever asked her why she wanted him, and always looked with sympathy or pity at her plight:

Dandelion's hair is blonde. Hers is paler than his own, but he is blonde, like her, and his eyes are bright and clear. His face, though worn and tired, is fair and freckled just like hers, and he is just as surprised as she is when she finds herself shoved in front of him and announced to be his "illegitimate daughter"

"Whoever you got unlucky enough to knock up," says the other minstrel who guided her, "the poor lass seems all alone now. From what I heard, you're the only thing she's got left in the world."

Whatever the minstrel says next is lost to her - for a few aching moments, Dandelion looks panicked. And then something shifts. His face softens. "You look dead on your feet, darling," he says. "Come on, lets get you upstairs and clean you up a bit."

Cirilla doesn't trust strangers. Oddly, Dandelion doesn't feel like one. Perhaps because she has spent so many nights reading his work. Or maybe it's because he's a friend of her destiny. Either way, she quietly follows him up to his room, and when the door is closed, he says, "You don't know where Geralt is, do you?"

Ciri does not.

Her lip trembles. Her shoulders shake. When she finally heaves a sob, Dandelion does not crowd her. But his hands are gentle when he moves her cloak from her shoulders. His voice is soft as he brushes her hair and hums a quiet song

Dandelion never met Pavetta in person. But he once saw her in a painting, and he's seen plenty of Calanthe's likeness over the years besides. Ciri looks a spitting image of them both. Privately, he's impressed at how well she could hide her accent. But she is still just a child, and Dandelion has much more experience with putting on such a performance. He's worn many a different mask with many a different voice over the years, and he had heard traces of her native Cintran beneath the roughness of her croak

Cirilla is alone. But she is also alive, and Dandelion knows, with a confidence born of years by Geralt's side, that his Witcher would never let himself die before finding this girl safe

When the morning comes, he begins to take her North

[al-luviec]

still haven't moved on from zane in this episode (aka I hit tag limit again and am unhappy about it)

[discjude]

Yeah this is about right (as always my thoughts are in the tags so there's actually kei content there lmao)