#obviously some characters are worse than others

[eenochian]

the way this fandom treats characters is astounding. like y’all do realize that every single character is shitty, right? literally every last one. your blorbo is not an exception. no, “but my fave—” no exceptions. literally the only character that i can’t think of any issues with off the top of my head is farah.

[onaperduamedee]

I don't know if it's show bias, but I struggle to understand the reading of Moiraine as someone who is so driven by her mission that she doesn't care.

From the get-go, she flees the White Tower for fear of ending up Queen of Cairhien and as cruel a leader as the rulers in her family, although it would have meant control and power;

Getting knocked down and unable to channel, she stabs a former teacher to stop her from killing innocents who have little to do with her mission;

She rushes to the Blight to bond Lan and keep him from basically killing himself, even if again it is a gamble, and later on, the bond transfer is about saving him, albeit cruelly;

She uses her body as a shield to hold off a Forsaken in order to help Rand, sustaining serious injuries in the fight, although her sacrifice is mostly useless considering how overpowered she is;

Many times, she heals villagers, soldiers, Aiel, wolves, sometimes until she is on the brink of passing out;

She fights Shadowspawns in Tear, in the Waste just as bravely as Lan, despite not being battle Ajah and often being surrounded by Aiel who can do the job by themselves;

She tackles Lanfear, toppling with her inside a collapsing ter'angreal, effectively dooming herself and cutting herself from the narrative, to help Rand, Egwene and Aviendha.

Obviously, you could argue that each of these actions would bring her an advantage and in acting so, she was only playing her part in the pattern, without a care for the people she was helping, but that's such an ungenerous reading of the character given what the text provides.

Her mindset is utilitarian and pragmatic, but to see her ever-present doubts, her growing despair and raging hope in Rand and still interpret her as uncaring is mind-boggling to me.

Her whole speech in TSR regarding "People [fighting] for you who do not know it, any more than you know them" tells of someone who believes saving the world will require a lot of collaboration and awareness of each other, not merely machinations and control.

She is a hard woman, but uncaring she is not.

[rxttenfish]

Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.

[fistfightinganxietyandlosing]

I love media where all the characters are shitty people. There is no good guy because everyone is flawed as fuck and I think that's beautiful. I really wish there was more of it.

[vonkarma2]

ultimately my enjoyment is hampered because it is low key sexist bc it takes place in an alternate universe where Sigmund Freud is real. though I did still like it for the most part but I hate Sigmund Freudddd Utena better

[lisbonsteresa]

knees weak, arms are heavy

[charlesemersonwinchesteriii]

🔥 BJ Hunnicutt

My opinion on BJ Hunnicutt is whatever one of my mutuals last posted about him. My opinion on BJ Hunnicutt is whatever will get me notes. My opinion on BJ Hunnicutt is whatever Mike Farrell said in whatever his latest interview is because that man has so much love for this show and this character and his longstanding support of the queer community means so much to me and I like to think it meant a lot to Mr. Stiers too if it’s not too parasocial to say so and his interaction with MASH fans even decades later is so kind and sweet and the way he played his character even when the writers admitted he didn’t have enough to work with textually still has such an impact on so many viewers and I think that’s really powerful especially when you think about how it’s contributed to the recent boom in the general MASH fandom economy which no matter what I absolutely consider a net positive to the legacy of the show and to the world in general and even just to me personally given the way that being a part of this small community has changed my own life.

But mostly my opinion on BJ Hunnicutt is just. Whatever.

[doppelnatur]

to a certain degree i don't think there is such a thing as purely internalized and internally directed bias. i don't think directing bias at yourself is morally much better than directing it at others it's just a lot harder to stop. that said, as soon as your self cruelty begins to affect anyone else it's just cruelty. a gay man being homophobic is not any more justifiable than a heterosexual man. then again, maybe this entire way of thinking shows a lack of compassion for myself and is a form of bias.

[femmefaggot]

genuinely very very happy about maya still Do Not get me wrong. I simply wish... the world was better and less cruel. and that I was not complicit in that cruelty. and that honorspren in shadesmar werent such hypocrites.

[huayouzi]

every time i see sexy blue archive stuff on the dash its like theres some pretty major issues here like 1. every single character in that game (except from wakamo and the adult antagonists) is a minor and 2. every single character in that game is too neurotic to be conventionally hot like sure, a lot of them could be but like they wouldnt do those generic horny pinup poses. she wouldnt be in the club she would be committing acts of domestic terror

[girlkomaeda]

thwy added the yuri and the other gay guy in devilman crybaby to make up for this

[allpiesforourown]

Superstar Luo Binghe au. All the directors beg him to be in their movies because his fame will immediately assure success for anything they make. He’s handsome, charming, dedicated, and most of all, extremely talented. He even does his own stunts!! Women love him, and men who say they hate him will still watch his movies so they can figure out how to be more like him. 

The only weird thing about Binghe as an actor is that he refuses to star in romantic films. He won’t kiss anyone, won’t pretend to date someone on screen, won’t even let another actor take over his role for the scenes he doesn’t want to do. His reason? He’s completely loyal to his husband.

Everyone thinks it’s stupid, obviously. You aren’t “cheating” by pretending to love someone else, it’s literally your job! Luo Binghe still refuses and says even he’s not good enough an actor to make anyone believe he could ever love someone other than Yuan-ge.

His fans hate this mysterious Yuan-ge. Because of his (probably insecure and jealous) spouse, all of Binghe’s fangirls cant see him sweep some y/n character off their feet. It’s even worse because they don’t know anything about this guy. Whenever someone asks to see or learn about Binghe’s husband, the star says he’ll never reveal Yuan-ge to the public, because he’s too beautiful and he doesn’t want everyone falling in love with him. 

People kind of run with the idea that obviously this guy must be a total weirdo who Binghe is embarrassed to be seen with. That has to be the explanation, because no matter how perfect someone is, how can they have such a chokehold on THE LUO BINGHE??

Then, one day, years after Luo Binghe’s initial rise to fame…. He goes on a talkshow. With his husband Shen Yuan. 

Obviously EVERYONE tunes in. No one uses TVs anymore bc of the internet, but just for this show, viewer ratings are the highest theyve ever been. Everyone wants to know what the fuss is all about with this guy to have Luo Binghe so down horrible. 

And Shen Yuan isn’t a weirdo. He’s also not some pretty yesman. He makes jokes that make the audience burst into laughter. He’s opinionated, which is really refreshing when every other celebrity stays neutral on every topic to avoid losing fans. He’s polite, but he’s not a pushover. He’s likeable, but he’s not a try-hard about it. Referencing memes makes him an instant hit with the younger generations, and the calm gentle way he talks makes him a hit with the older ones. All of a sudden everyone is going, okay we see why Luo Binghe is obsessed with him. 

Except… while shen yuan was making jokes and charming everyone, Luo Binghe was at his side, pathetically pawing at his husband for attention. The actor keeps whining every two minutes to be reassured yuan-ge still likes him. Whenever Shen Yuan compliments the host, Binghe looks like he’s about to cry. Whenever Luo Binghe jealously wraps his arms around shen Yuan everyone watching just rolls their eyes. Seeing them together people realize… shen yuan is the one that’s out of Luo Binghe’s league.

In just one hour public opinion goes from ‘no one can be worth binghe acting like that for’ to ‘luo binghe is so annoying, let shen yuan talk!!’ 

The next day someone finds shen yuan’s twitter and it blows up. He has his own fan pages now. There’s no pictures of him online other than the footage from the talkshow, so the fan accounts just post that over and over again. Shen yuan retweets a post about him with the caption “i never realized she was holding a plate of corn in this scene” and everyone loses their mind. Everything he says immediately goes viral bc that’s luo binghe’s attic wife.

People start nagging Binghe to post about Shen Yuan bc theyre so attached after his one and only publicized appearance. Binghe is super possessive, but yuan-ge tells him not to worry, so he relents and posts pictures of him and shen yuan on vacation. They’re together, holding hands… but shen yuan’s face and body are blurred out. It’s HORRIFYING. He looks like an eldritch monster bc luo binghe refuses to let anyone look at his yuan-ge in a swim suit, go away you perverts!! His instragram is now just full of pics of shen yuan where his eyes are blacked out so noone else can see how pretty they are. It’s nightmare fuel

Shen Yuan is unfortunately too unbothered to post pictures of himself. Everyone’s tired of Luo Binghe for “hogging shen yuan all to himself” when Shen Yuan is practically an internet celebrity now. 

People go to watch movies and their theatre conversations sound like this:

“Oh, Luo Binghe’s in this one!”

“Who?”

“You know Shen Yuan’s annoying husband?”

“OH THAT GUY..”

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[branwinged]

dany is an interesting character because her acts of violence routinely get framed as worse and more concerning than every other character whom one would label as 'perceivably morally good' in asoiaf. some of it is probably misogyny and some of it is strictly boxing dragons in the nuke metaphor category because "angry teenager has three nukes" does not result in particularly flattering readings of the character; but the rest is because revolutionary counterviolence often gets portrayed as just as bad (worse even) as the every day violence required to uphold an oppressive institution as a way to make some point about all violence in itself being evil. now the reason i don't believe asoiaf buys into that rhetoric is because dany's adwd story arc is basically her agreeing to one concession after another until the fighting pits are re-opened, she's married to a slaver, and the yunkish are slave trading right outside her city walls. i don't know why people are reading her choosing drogon in the fighting pit as her running away from her problems because i've always interpreted it as a rescue, she's a princess in the metaphorical tower, shackled to a peace the price of which is the continuation of slavery and the dragon is her rescue, the dragon is her knight, the dragon is her and the dragon is the truth she has been avoiding the whole book, that the choice she has to make in slaver's bay is not between war and peace but between war and slavery.

now the way she reaches this conclusion is kind of bad and concerning, "dragons plant no trees" is not the ideal thing to internalise but obviously that's a low point in her character arc, the way sansa believing littlefinger's philosophy of "it's all lies" is a low point in hers. and neither are whole truths. which is something that will get addressed later, because that's how character arcs work!

[backwardsbread]

Hazbin Hotel Characters:

Forgetting an anniversary

A/N: This is my first time doing anything like this, so if anybody wants to see more, feel free to ask! The Hazbin brain rot is real—

Warnings‼️: Established relationship, character x reader, fluff, but also some angst?, swearing, gender neutral!reader, mentions of alcohol.

Not really proofread

I didn’t mean to write that much for Alastor but here we are—

Lucifer:

To be fair this guy is the literal KING of hell, (the devil from, THE BIBLE) so to say he’s a busy man is an understatement.

This dude is also MAD depressed making him constantly disassociate, so he’s prone for losing track of what day it is.

You kind of figure he’s forgotten the day is coming up when he’s not hyperfixated on it.

For birthdays, planned dates, special occasions, this man usually goes ALL out.

He tries to keep what he has planned secret, but he’s usually bouncing off the walls the days before, and ends up letting his plans slip.

So when he’s not talking your ear off the day before your anniversary, you suspect the date might’ve slipped his mind.

When the day of your anniversary comes along and you’re not woken up with kisses and cuddles, possibly breakfast in bed, you KNOW your partner has forgotten.

However, you don’t tell him or remind him of the date. Since your partner had a busy day ahead, you didn’t want to force him to focus on you when there much more important things to be settled.

You kind of wallow in your own self pity, while you wait for Lucifer to return to the castle.

Lucifer had plenty of things scheduled for the day, but he can’t shake the feeling that he IS forgetting something.

(And he is)

He checks his schedule, triple checks he didn’t miss any meetings, makes sure he has his lucky duck in his suit pocket.

All seems well. But he still can’t shake the feeling that he’s forgetting something.

It’s not until he gets home later in the evening and SEES you, that he remembers the date.

This man is ON HIS KNEES, profusely apologizing to you. The king of hell is practically begging for your forgiveness.

“Why didn’t you tell me?? You’re more important than some stupid meetings! I’m so sorry, I won’t let this happen again.”

Despite if you say it’s alright, he calls off anything he has scheduled for the next week. Treating you to the prettiest and fanciest places every inch of the pride ring has to offer.

This man usually goes all out for your guys’ dates and such, but this is extravagant. He’s treating you like the royalty you are to hopefully become. (If he ever gets the gall to ask you-)

Vox:

Similar to Lucifer, but even worse in the sense of his schedule is ALWAYS booked. It’s not easy being the face of all tech in the Pride Ring.

This man gets ZERO days off, working 8-12 hour days depending on what’s going on.

He’s got meetings, interviews, paperwork, you name it. This man might as well be the living embodiment of stress.

The thing he usually looks forward to is going home to you. Finally being able to relax and rant about his day.

(Finally able to stop his fake ass smile that’s usually imprinted on his face)

So when he gets home to find you already in bed, fast asleep when you usually would stay up and wait for him, he’s a little peeved.

He tries to be understanding, not really knowing what you might’ve done in the day. Perhaps it could’ve exhausted you. Or maybe you were feeling under the weather.

He then almost throws a full blown hissy fit when he sees blanket and pillow on the couch

A silent demand from you that he is to sleep there for the night.

His screen glitches in silent rage, as he grumbles to himself about how childish you were being for no apparent reason.

The two of you had obviously gotten into fights/arguments, mostly about his work schedule.

But it was rare that those arguments wouldn’t end in the two of you talking it out and ending the night in a cuddle session to make it up to each other.

(Vox refuses to really apologize for his work, his pride won’t let him apologize for something he doesn’t think he did wrong.)

Vox kind of accepts your demand, not wanting to piss you off more. You could talk about it with him tomorrow.

Vox wakes up early the day after your anniversary, going to work as usual. Velvette is getting him in ready in a new suit she designed. While she’s getting him ready she asks;

“So how was your night? Did you have anything planned?”

“Uhh.. what? Planned for what?”

“Wasn’t yesterday your anniversary?”

“….Fuuu-huh-huuuck”

He ditches his morning broadcast, instead heading towards his monitor room. When he sees you’re awake, and on your phone, he makes his face appear on the small screen.

Which scares the shit out of you— he usually gave some sort of warning when he was going to just appear on your device.

By the look on his face, you can tell he now knows the reason you made him sleep on the couch. You give him a look in return, waiting for his excuse.

And just by the look on your face, he can tell you’re not willing to hear any bullshit he has to spit about his work being a priority.

His screen glitches in a slight panic, as he’s sort of loss for words at first. He could tell you were angry, and he knew only he was responsible for causing that.

To your surprise, he actually apologizes, saying how there was no excuse for his absence and your guys’ special day.

He reassures you it won’t happen again, telling you how he still loves you. He has you pick any place of your choice for the two of you to go to dinner tonight.

(He hacks into the system to be put on the reservation list)

Anything to somewhat make it up to one of the only souls that truly understands him in this miserable afterlife.

Alastor:

He’s not as busy of a man as Vox or Lucifer, but he’s not very big on celebrations like birthdays or anniversaries.

You’re his and he is yours, you both don’t need to prove that to anyone.

But…..it would feel nice to at least acknowledge the stepping stones in your guys’ relationship.

Alastor doesn’t really understand the hints you drop when mentioning your guys’ anniversary.

He definitely knows the date is coming, but once the day arrives, he treats it like it’s just any other day.

He notices your mood is less cheery than any normal day, but doesn’t connect the dots that it’s because of HIS behavior.

(What could he have POSSIBLY done wrong??)

He instead tries to cheer you up by poking fun at you the entire day. Calling you little names like “grouch, stick in the mud, drag”.

Insisting that you wipe that frown off your face and replace it with a similar smile to his own permanent one.

He unknowingly rocks the boat with his behavior, only making your mood turn more sour.

Before he can even continue his banter for the last half of the day, you’re ignoring him. Not giving any excuse to him either, you’re just walking away from him.

He makes fun of your bitter mood? You didn’t hear it.

He asks you a question? Your conversation with Charlie is more important.

He tries to hold your hand or embrace you? You suddenly have something totally necessary to get done on the opposite side of the hotel.

You are determined to push all of his buttons just as he had unknowingly done to you.

And this absolutely gets under his skin.

Alastor is one for control, he needs to know everything, he needs to be in charge of situations. Why you were being so stubborn, this man is CLUELESS. And that irritates him to no end.

Tensions are high in the hotel, with a very grumpy radio demon and his other half who refuses to sooth his anger.

Night falls on Hell painfully slow, as you just want this whole day to disappear and never return. You sit at the bar, swirling around the liquid in your glass.

Husk knew better than to pry at you and your annoyance towards your significant other. He instead kept your glass filled, and offered you a soft smile.

You’re slightly buzzed when your source of annoyance sits in the bar stool right next to you. You feel Alastor’s gaze on you, but you keep your eyes on your drink.

You feel static prick at your skin, making the hair on your arms rise from the chill. You hear the crackle of a very peeved radio demon sitting beside you.

Who did you think you were?? Ignoring someone like him! You were his lover and you were treating him like he meant nothing to you.

(At least that’s what it felt like)

The overlord beside you finally snaps, his voice toned heavily with radio static, his eyes darkening with dial pupils.

“What is with this behavior, 𝙈̳̎𝙮̳̎ 𝙙̳̎𝙚̳̎𝙖̳̎𝙧̳̎? What could possibly be your excuse for such immature actions towards me?”

Maybe it’s because you’re slightly buzzed from one too many drinks, maybe your emotions had been building up way too quickly from your irritation, maybe you felt guilty for treating your S/O like spoiled leftovers all day.

But as you look towards Alastor, observing his anger, your eyes suddenly well up with big crocodile tears, threatening to spill if you even dare to blink.

Alastor notices your expression soften and watches some unwanted tears slip down your face. There’s literally a record scratch as he just watches you desperately try and hide your face from him.

His eyes soften back to their normal red hue and he feels his harsh smile crack at the edges.

(If he could frown, he absolutely would seeing as you were so hurt by his actions.)

He’s quick to comfort you, pulling you in and whispering comforting words. Shooting a glare at Husk to leave the two of you alone and to not speak a word of this to anybody.

The two of you talk out your feelings about the day. You admit how you felt a bit abandoned by his lack of acknowledgement for the date.

He promises to you that for your next anniversary, because he knows you will always be his, he will make sure to make you feel as special as you truly are to him.