#normally i am not the biggest fan of comparing the backstory of a woman to the backstory of a man because of.

[demonio-fleurs]

This is another one of those moments where knowing what we know ahead of time allows me to add an extra layer to my character analysis, and this time it’s Sanji who’s getting that treatment.

Sanji knows what it’s like to have a past that the rest of the crew doesn’t know about, and that he feels they don’t need to know about. So I can see him putting his trust in Robin when it comes to what Aokiji said, but also being concerned here for her because what if her past is catching up to her? I can imagine that Sanji is also questioning how he would feel if Judge or Reiju were to appear and do the same thing to him, which is part of where the worry is coming from.

[murasaki-murasame]

Thoughts on Fruits Basket 2019 Episode 12: “You Look Like You’re Having Fun”

My brain’s still kinda fried from the Sarazanmai finale, so my thoughts might not be super coherent or detailed this week, but I still wanna write up my thoughts on this new Fruits Basket episode, especially since it was even better than I expected it to be.

Thoughts under the cut. [Spoiler warning for the whole manga]

I think I’ve said before that by this point we’re in the midst of a fairly good stretch of episodes where the reboot is going to be very similar to the 2001 anime in what material it covers in each episode, and that continues in this one, as I figured.

This episode covers chapters 19 and 20 of the manga, which is the same as what episode 13 of the 2001 anime covered, and from what I remember of that version, the two versions are pretty identical in how they just adapt the manga 1:1, so there’s nothing particularly noteworthy there. I think episode 13 of the 2001 anime was one of the relatively few times where I think they actually did a good job of preserving the emotional depth and darkness of the manga, but I still think this episode did an even better job.

I’m kinda meh about the whole first half [since I’ve never really been the biggest fan of the part of the manga to begin with, which I’ll get into in a minute], but the whole second half with Akito was fantastic. It had been heavily teased at in some of the PVs we’ve gotten, but it still managed to be even more disturbing than I was expecting. It’s not like they added in anything that wasn’t in the manga [aside from a short flashback to that one time Akito had a mental breakdown and painted Yuki’s room black, which I don’t think had been hinted at this early in the manga], but it just executed the material really perfectly. [Though I think the bit at the start of the episode with Tohru seeing Akito’s car pull up at the school might have been a new scene]

The improved voice acting and animation really help drive home the extent of Yuki’s trauma in particular. Even though this is like the billionth time I’ve seen this scene in some form or another, it still kinda shook me, lol.

This whole part also really goes to show how important Tohru is as a person to Yuki, and also to all the other zodiac members in general. She’s someone that’s willing to stand up for him, and to give him happy memories to help outweigh his bad ones. Especially with his whole monologue near the end, I think the badminton scene is probably where he first becomes at least subconsciously aware of how he’s seeking out a mother’s love from her.

Come to think of it, it’s kinda funny how recently we’ve been in a bit of a pattern of going from a fun episode to a more dark one, and so on. It’s not a complaint or anything. I think it does a nice job of not spending too much time in a row on a particular emotional tone. And that sorta pattern should hold up with how the next episode is gonna be Ayame’s introduction, and after that we should get Momiji’s backstory and the grave visit.

And on the note of Ayame’s intro being the focus of the next episode, I’m still curious to see if they incorporate the part where Tohru and Yuki visit his shop in chapter 36 into it, or if they’ll just stick to adapting chapters 21-22 alone, and leave that other chapter for later. I don’t think it’d change much one way or another, but still.

Anyway I guess I gotta address the elephant in the room and say that I’m just not really a big fan of the material covered in the first half of this episode. I don’t hate it, but I just don’t like it as much as like 99% of the fandom seems to.

For one thing, that one Tohru-Kyo scene has always stuck out to me as being a little too . . . generic shojo romance-y for my tastes. It’s one of those few moments where the series unironically indulges in Kyo’s Bad Boy Aesthetic [tm] and it just doesn’t work for me. But I obviously get why lots of people love it.

The part that I’m more annoyed at is the whole sequence with Haru and Momiji’s outfits, and I feel like it’s something that I need to add a whole list of disclaimers to so that people don’t misunderstand me, lol. I just feel like it’s a really good example of how Takaya’s heart is genuinely in the right place when it comes to some of the more progressive sentiments in the series, but the specific angle she approaches certain things at leaves a really bad taste in my mouth, especially when you think about the story as a whole and how things end up.

Specifically I just have issues with how Momiji’s cross-dressing is handled. The part with Haru is fine and I definitely appreciate the whole point of how whether or not someone wears jewelry and piercings and stuff has no inherent bearing on their personality, though the whole bit with him dragging Makoto off to the bathroom, uh . . . maybe hasn’t aged well, lmao. But anyway, I feel like the whole thing with Momiji seems perfectly fine on the surface, but the more you think about it in the context of the whole story, the more it feels uncomfortable.

The message that he should wear whatever he feels comfortable wearing is completely valid, but I just dislike how the story goes about it by saying that ‘it’s fine because he looks good in it, and he’s going to dress normally when he grows up anyway’. There’s a lot going on between the lines here, but I just think it’s really shitty and deceptively regressive that they justify it by pretty much saying ���don’t worry, it’s just a phase, he’ll grow out of it and dress like a “normal man” later on anyway’. Which is bad enough on it’s own, but then we actually get to see him grow up later in the manga and he definitely does seem to unceremoniously switch to more conventionally masculine fashion because . . . it’s what’s expected of him, I guess? It’s not like he ever seemed to lose interest in wearing feminine clothing, he just stops wearing it after he hits his growth spurt, and it’s framed as something natural and inevitable.

Even the sentiment of ‘he looks good in it, though :)’, in the context of the series as a whole, carries this uncomfortable undertone of ‘it’s fine because for the moment he’s short and looks sort of “like a girl” but once he gets taller and looks more “like a man” he’ll obviously start dressing like one’. It’s the sort of thing that seems like a genuinely progressive and accepting message about how we shouldn’t judge people for the clothes they like to wear, but if you look closely there’s an asterisk and a whole paragraph of fine text at the bottom of the page about how it’s actually only acceptable to cross-dress as a man if your body type, height, etc, make you look ‘like a girl’ in the first place, and that once you hit puberty you should dress like a man because feminine clothing ‘doesn’t fit you anymore’.

In general this series has some weird recurring hang-ups about the specific idea of ‘men wearing girl’s clothing’, to the point where it comes up in different ways with at least three different characters. I know it’s something that a lot of people in the fandom don’t like hearing negativity and complaints about, but I’m not gonna shut up about this, lmao. Y’all just have to deal with the fact that this series isn’t perfect and that I’m allowed to criticize it while also really liking other parts of it.

And on the general note of how the series kinda drops the ball when it comes to pretty much everything to do with gender presentation, this episode brings us another round of the fun game known as ‘the Fruits Basket fandom is in shocked-pikachu.jpg mode at the fact that pretty much every new fan immediately “““figures out”““ that Akito’s a woman’. I wonder what gave it away? Was it that unavoidably female voice? The feminine/androgynous character design that’s explicitly compared to Yuki who’s already meant to look like a girl [apparently]? The fact that we’ve only ever seen Akito wearing either the sort of kimono that at least from a Western perspective would seem very feminine, or this tight-fitting turtleneck sweater? The fact that she’s had romantically/sexually charged moments with at least one or two dudes, which for better or worse ends up making most people view her as being feminine? The fact that like 90% of the dialogue referencing Akito ends up not even using gendered pronouns in the first place? I wonder what could have possibly lead to people naturally assuming that Akito’s a girl and glossing over the, like, five lines of dialogue thus far that even use he/him pronouns toward her, lmao.

One way or another, Akito being a girl has always been the biggest non-twist of the entire series, and the fact that it’s so obvious and that the only reaction new fans have to it is pretty much just ‘oh ok I didn’t really think it was meant to be some kind of shocking surprise or anything’ really just spells out how it’s not even meaningful or interesting as a twist anyway, and that knowing about it from the start does absolutely nothing to hinder anyone’s enjoyment of the series. It’s honestly hard to even tell for new fans that we’re even meant to feel convinced that Akito’s a man, with how little effort the series ever puts into ‘hiding’ her true gender.

I probably sound angrier about this than I am, but mostly I’m just baffled that even though the manga’s been over for like 15 years, people still don’t realize how incredibly lame and shallow this whole plot point is. Like seriously, y’all, what could the reboot have even DONE to actually lead to it not being super obvious that Akito’s a woman? Unless they outright changed her character design to be a lot more masculine, the only thing they could have done would have been to give her a male voice actor, which was almost certainly never going to happen for obvious reasons. I guess what I’m saying is that it’s not like it’s the reboot’s fault that things turned out this way. There’s only so much they reasonably could have done. And even though I haven’t heard much of Akito’s new dub voice, I think Maaya Sakamoto actually does a very good job at sounding androgynous/masculine, and in general her voice work in this episode was really effective and disturbing. I think she’s one of the most masculine-sounding female VAs they could have gone for [aside from maybe someone like Romi Park or Megumi Ogata, but I don’t know if they would have fit Akito very well]. I guess it mostly just bugs me that people are blaming the reboot for something that’s 90% just them following the manga.

Anyway, in spite of my gripes [which are more about the fandom and the series as a whole], this episode was still super good in and of itself, and had some of the most effective voice acting and music that the entire reboot’s had thus far. It’s very obvious why new fans in particular would really really like this one, and for the most part, I do too.

Also, Haru t-posing when he sees Yuki and running over to tug on his shirt is still the most Iconic [tm] thing ever, don’t @ me.

[skarletterambles]

Pirates of the Caribbean 5

I just got back from seeing Dead Men Tell No Tales.  I have thoughts.  Quite a few of them, actually.

I should preface this review by giving a bit of background on my involvement with this franchise.  I saw the first PotC movie in the theater seven times.  I saw Dead Man’s Chest three or four times and loved it.  I saw At World’s End exactly once, hated it with the passion of a thousand burning suns, and never saw it again.

I was--and am--a hardcore Sparrabeth shipper.  The canon status of Willabeth only explains part of my disillusionment with the franchise, however.  My biggest problem was how Elizabeth had an amazing character arc over three films, going from a prim-and-proper governor’s daughter to the ass-kicking Pirate King, pursuing her dreams in defiance of society’s expectations, outwitting both the EITC and legendary pirates, leading an armada in battle...and then had it all stripped away at the end of the third movie, where she is left literally barefoot and pregnant to wait for her man to come back.  I was--and am--livid.  I felt betrayed, both as a fan and a feminist, to see one of my favorite characters do a 180 like that.

So I have very strong feelings about these movies.  I’ve tried to get over it in the years since AWE, with limited success.  Against my better judgment I did see On Stranger Tides in the theater, and thought it was mediocre.  Since Elizabeth wasn’t involved I could just ignore its existence, for the most part.

Then the fifth movie was announced, and Will was going to be in it.  I had hoped that maybe, just maybe they could try to rectify some of the mistakes (read: character assassination) of the past.

They didn’t.  But they still came up with a pretty good movie.  Honestly, I’d even give Dead Men Tell No Tales four stars out of five.  I was riveted to the screen for most of it, and it was thrilling to hear the theme music and see the familiar faces.  It was exciting and entertaining, the special effects were impressive, and there were some good laughs.  Plus, zombie sharks!

Do I have issues with parts of it?  Yeah.  And I’m going to ramble at length.

**** MAJOR POTC: DEAD MEN TELL NO TALES SPOILERS BELOW ****

Sequel creep is definitely at work, where each installment has to be bigger and zanier than the last.  The gags are broader, the willing suspension of disbelief gets even more strained, the stakes are higher, and it becomes almost like a Saturday morning cartoon version of itself.  

Thinking back to CotBP, we had to buy into the curse turning Barbossa and his crew into undead, but other than that the world operated on fairly realistic terms.  Yes, there was movie logic involved as far as coincidences, travel times, fast wound recovery, and all that, but it still felt more or less like the real world.  Stakes got higher with each sequel, until we have whatever the hell that “bank robbery” was in DMTNT.  

Don’t get me wrong; it was an enjoyable action sequence, but it felt more like a cartoon than anything that could happen under the laws of physics as they exist in our world.  That’s not inherently a bad thing, but the tone was noticeably different compared to the earlier films.

Moving on, I was glad Captain Salazar didn’t have that slurpy, blood-drooling voice through the entire film.  When I first heard that in the early trailer I was both grossed out, and concerned that he would be hard to understand.  Instead it was just that one scene, and he spoke normally the rest of the time.  He was a great villain, from his badass and scary entrance through to his delightfully ironic death.  He was genuinely threatening, which was kind of surprising considering the cartoony feel of some of the action scenes.  Javier Bardem killed it.  Thumbs up to him!

The legend surrounding the trident, and the map to find it, seemed cool until you thought about it for more than two seconds, and then it didn’t really make any sense.  Calypso is the Sea Goddess in this universe, so where did Poseidon come in?  How can his trident override curses that she put in place?  If it could be broken by a single sword blow, how did it stay intact under the sea for (presumably) thousands of years?  I mean, sure, maaaaaagic, but...eh.

And why did Will get all barnacley anyway?  Elizabeth waited for him, so that part of the curse shouldn’t have kicked in.

And what will happen to the souls of the dead without the Dutchman to ferry them to the afterlife?  

And what happened to Bootstrap Bill?  Did Will figure out how to free him and let him move on to the afterlife?

And if breaking the trident cancelled all the curses related to the sea, how did Davy Jones appear in the after-credits scene?  (Assuming it was him.  The gait, crab claw, barnacles, tentacley silhouette and the music box theme all pointed to it being him, anyway.)  I could almost buy him coming back to life when the curse was broken, but as a normal human again, not ol’ squidface.  The mythology makes no damn sense at all!

This review is coming across pretty negative so far, but I really did enjoy the movie.  I thought it was much better than OST, and felt like a return to the original vibe of the series.  I thoroughly enjoyed watching (almost) every minute of it, and I left the theater grinning and humming the theme music.  As a summer popcorn movie, it’s pretty great.  It’s just when the adrenaline wears off and I start thinking and analyzing that I see the issues.  And, like I said, I have a long history with this franchise, so overthinking it is what I do.

There were definitely some surprises, although I saw a couple of the twists coming.  The instant I realized Carina was Hector’s daughter, I was like, “Well, he’s going to die saving her somehow.”  And I was right.  It was sad (and that damn monkey gave me more feels than any creepy little primate has a right to), but at the same time I’m delighted at how his character grew into so, so much more than he was originally planned to be.  He was supposed to be a one-shot villain in CotBP, but Geoffrey Rush is so damn awesome, and he and Johnny Depp brainstormed a history between their characters, decided his first name was Hector, and one thing led to another and here we are, genuinely mourning him in the fifth movie.  It was a worthy sendoff for a memorable character.

One of the themes that got raised over and over in the earlier movies was the idea that it’s possible to be a pirate and a good man.  Bootstrap Bill Turner was.  Jack is.  Was Hector Barbossa a good man?  I don’t know if I’d go that far, but he wasn’t 100% evil, either.  And he was a lot of fun to watch.

Henry definitely reminded me of Will.  He had the same wide-eyed earnestness about him, as well as the tendency to charge into danger because it’s the Right Thing To Do without thinking through the full plan first.  Elizabeth’s legacy is a bit harder to see, except in the first two scenes.  Keeping a secret stash of pirate memorabilia and legends?  Totally Lizzie.  Back-talking authority figures?  Yep, Lizzie’s genes are in there.  And later, in the jail, taking Jack’s ego down a peg by scoffing at his legendary reputation in comparison to the reality of a scruffy, rum-soaked pirate?  Also from the Swann side of the family.  So I think they did a pretty good job of making Henry his parents’ son. 

I just wish we had more information on how he was raised, and where.  I always imagined him scampering around Shipwreck Cove and up the rigging of Elizabeth’s ship(s), the mischievous pirate prince.  Based on the house Elizabeth is living in at the end, and the fact that he was enlisted in the royal navy, I don’t see that happening in canon now.

When Carina was introduced I had a couple thoughts:

1.  “I wonder if she’s related to any existing characters...  No, don’t be silly.  This isn’t a fanfic.  They’re trying to move the franchise forward into the next generation.”  (Or not.) 2.  I don’t want to like her because no one can ever replace Elizabeth Freaking Swann the Pirate King as the best female character in these movies.  And that’s still true, but she definitely grew on me.  She had a fairly good balance of “smart woman who can take care of herself and doesn’t need a man to complete her story” and “too perfect to be likable or believable.”  I could have done with a costume that didn’t draw quite so much attention to her heaving bosom, but I suppose there’s some vaguely historical style going on.

Honestly, there’s a reason her backstory could have been lifted from a story on Fanfiction.net circa 2004:  those kinds of long-lost relative reveals can be a hell of a lot of fun.  Especially when you have Jack there to tease “daddy” Hector mercilessly.

I’m glad they didn’t have her be Jack’s daughter, though.  That thought crossed my mind, too, and that would have been...not good.

Pity Hector never got to introduce himself to Elizabeth and Will as the father of their potential daughter-in-law.  Awwwwwkward!  Bwahahaha!

Speaking of the dreaded Willabeth...  Jack saw them smooching in his spyglass, made a face, and announced that it was a revolting sight.  Same, Jack.  Same.

Therein lies my biggest complaint about the movie, and, as I mentioned above, it’s just the latest sprout on a tree of dislike that I’ve been nursing since the ending of At World’s End was leaked.  How in the seven hells they thought it was an appropriate, satisfying, logical plot development for Elizabeth Freaking Swann the Pirate King to end up standing around passively on a beach in a frilly dress and a fucking corset, waiting for the menfolk to do the important stuff, I will never, ever understand.  It’s a slap in the face of everything her character arc was over the first three movies.

“Sure, little girls, you can have adventures and play pirate for awhile if you want to, but in the end you still have to get married, grow up, conform to society’s beauty standards, put aside those dreams, and take care of your husband and children.”  Fuck that with a rusty garden trowel.

And here, when they had the chance to redeem that travesty, when they could have showed a glimpse of her at the helm of her own flagship, or holding court with the other Pirate Lords, or just simply wearing pirate-type clothes and carrying a sword, for the love of all things holy, did they do any of those things?  Oh, no.  No, they doubled down and had her be so passive that she didn’t even get to speak.  (Doesn’t that mean they don’t have to pay Knightley as much?)  Literally all she’s there for is to be a reward for Will upon his homecoming, and then sleep with him--on land in a fancy house that could have been in Port Royal, for all we know.  Any journey her character had is moot.  She’s back to square one, and it makes me want to throw things.

Oops, I was going to keep that rant short, and failed.  Oh well, it’s a sore spot, obviously.  I have never felt so betrayed by a franchise as I did when they did that to Elizabeth in AWE, and it still stings after all these years.

My ire didn’t even stem from my shipping preferences, although that certainly was salt in the wound.  If they couldn’t give us a series of movies with Jack and Lizzie, the best pirates in the world, having amazing adventures while flirting like they did in DMC, at least they could have given us a sort of open ending, where she, Will and Jack all sail in their separate directions, knowing that their paths would cross in the future in any number of entertaining ways.  I’m never sure if I should blame the writers, the studio, or the actors, or all of the above, but I would have bought, like, ALL THE TICKETS to see those movies.

But, alas, that’s not what we got.  We got OST and DMTNT instead.  OST was quite forgettable, but DMTNT packed a pretty good punch and I wouldn’t mind seeing it again.  I won’t say it totally redeemed the franchise for me, but it’s got its head above water for the first time since DMC, so that’s progress.

Should you see it?  Yeah, I think so.  If you enjoyed the precious PotC movies, or just like pirate movies in general, it’s a fun couple hours.  Just don’t think too hard about it afterward (like I did.)

[especiallyeva]

The Wise Man’s Fear by Patrick Rothfuss

If you’ve read The Name of the Wind and love it as much as I do, you’re not going to believe what I am about to tell you; this book is better than The Name of the Wind. I know. But just trust me. 

What makes it better than the first one? 

Spoilers below.

Fantasy generally becomes more enjoyable as you go along. You know the characters, you know the world, you don’t have to learn a lot of new information. A sequel always feels like coming home. Since there was less world building in this book, we finally had the time to explore Kvothe’s friendships more and I started to genuinely care for Wilem, Simmon and Fela. I began to enjoy reading about their interactions and their friendships felt more realistic. As a result, this book was a bit more light-hearted and funny at times. The scene that stands out most the me was the one where they set Ambrose’s room on fire. That chapter was everything I could have asked for. 

The feud between Kvothe and Ambrose is another thing I absolutely loved in this book. It’s so dramatic and petty and frankly, Kvothe wouldn’t be a proper hero in my eyes if he didn’t have a ridiculous arch nemesis. Interactions with Ambrose make Kvothe a bit less serious and more human. Normally, I’d complain that Ambrose is just an underdeveloped enemy that has absolutely no depth but in this case, it works. Isn’t that what it’s like sometimes? If you hate someone, they’re 2D in your eyes. I also don't need a tragic backstory for Ambrose to justify why he is the way he is because he’s not the real antagonist. He mostly just seems funny compared to the Chandrian and serves as a reminder that Kvothe is only 17. Or somewhere around that age since he’s lost track now. I’m glad I don’t know how old he is. Because I’m 17. And my biggest accomplishment is learning how to parallel park (in an empty parking lot, that is), while he’s out there saving lives and battling demons and getting patents.  

But there’s more to love about this sequel! It even has female characters that are interesting and relevant! I genuinely enjoyed all the scenes with Fela, Devi and Mora, particularly when I overlooked the parts about the emphasis on how beautiful Fela is. But at this point, the narrator is a teenage boy so I can let it slide. 

Since we were able to spend a bit more time with Devi, I have decided that I would definitely read an entire series about her. She’s funny and intimidating and strong and witty and I fear her as almost as much as I admire her. I’m sure reading about her time at the University would be great. 

I also want a series dedicated to Elodin. Every time he appears in a scene, you immediately know that things are going to be weird in the best possible way. He’s hilarious, unpredictable and so unapologetically himself, it’s strangely inspiring. I love the contrast between all the Very Serious Masters and Elodin, who’s out there pushing students off roofs and poking them with riding crops. I want to see know how he even managed to get the position he has and why everyone lets him get away with the things he does. Maybe I just have a fondness for Elodin because I will probably end up a bit like him. Alone, mysterious, at a job he probably shouldn’t have and achieving things through methods that can be called questionable at best.  

It was hard to leave characters like him behind when Kvothe went on his ‘gap year’. Don’t get me wrong, I was interested while Kvothe was trying to figure out who was killing the Maer. That was all good. But leaving all these characters after having just started to love them was a bit of a disappointment. However, since I have also begun to genuinely like Kvothe, I was grateful that we were able to expand Rothfuss’ universe a bit more and place him in a new, unfamiliar environment.

But then the Maer plot was resolved and still, the ‘gap year’ went on. And on. And on. And in a way, the storylines outside of the University were simply an interruption that left me feeling as though everything I love about the series was gone and we all we were left with was Kvothe and a bunch of strangers wandering through a forest.

And then we finally get to leave the forest. But then we follow Tempi. And BOY, I could not care less about Tempi and his culture. And the Lethani. If I need to read that word one more time, I’m going to scream.

Some parts were just dull. It felt like in the middle of the book there was a lot of beautiful writing about nothing at all. I didn't care about the forest parts, Tempi’s home and backstory and I skipped the entire Felurian thing. I don’t need to read about some idealized, docile version of a woman. Yes, she’s mythical and powerful and all that but it just felt weird to me. There was just a tiny bit too much emphasis on just how attractive she was.

They all just felt like irrelevant subplots so, quite honestly, I skipped a hundred pages or so. I probably missed some details that will be important later on and there was significant character development and all that, I’m sure, but the book was so long. There comes a point where I’ve had enough.

Nevertheless, Kvothe leaving the University was important for his growth and while I am not a huge fan of all of it – especially the entire Felurian thing – the fact that he’s a bit more mature now is definitely playing a part in me liking him and Denna’s interactions more. By the end of the book, he’s less like a lovesick, pining puppy and it began to feel like their exchanges were even wittier and more fast paced than before. 

The entire scene in the stream with them was such a delight to read. I’m slowly starting to be invested in their relationship now that it’s more complex than “I like this girl but I’m not going to tell her.” The way the tension between them was written was just out of this world. For instance, giving the ring back was so disappointing. She has no idea what he went through to get that ring and we’ve been dying to see him return it and then he did and it was very anti-climactic. It just crushed our expectations and I think we felt the same disappointment as Kvothe. But that’s just what it’s like sometimes.

I also support the ‘gap year’ because it was so rewarding to see Kvothe – who we have watched struggle for so long – to come home as a hero. It never even occurred to me how much of a relief it would be once he has money. I never really thought about how much of the anxiety he feels the reader feels too.

The moment we were back at the University, things were wonderful. Leaving and coming back is what made us realize that Kvothe has built a home for himself. Returning to Simmon and Will and Devi and Fela and Auri and the woodshop guy whose name is escaping me and Elodin and his classes and Ambrose’s pettiness truly felt like coming home. 

Essentially, The Wise Man’s Fear ended up being exactly what I was hoping for. Except for the detour in the forest and the Tempi storyline. But that’s okay. 

And now we wait for the sequel, I guess. 

Theories? 

Most importantly, the letter he sent to Ambrose will backfire in some way. Everything relating to Ambrose seems to go wrong eventually.

I’m definitely not as confident about any other theories; I think the book will catch up to where Kvothe is telling his story and we go on an adventure to destroy whatever evil forces killed the guy in the beginning.  

I just can’t see Kvothe living his life as innkeeper waiting to die forever. If that’s what ends up happening, that would be a very bold storytelling move. Though I could appreciate that sort of literary confidence, Kvothe has become more important to me than I’d like to admit. I want to see him succeed badly now. Very badly.