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autumnslance · 3 years ago

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I've got a writing question that's been on my mind for a while: how do you keep your OCs from becoming self inserts? Every time I think of developing an OC I realize that it's attributes that I

Oops, you got cut off! But in general: all your OCs are going to have traits of yours; it’s inevitable. Sometimes big things, sometimes small things. It’s how we relate to them, and also just natural, I promise. We write what we know, and we know how we interact with ourselves and the world.

But there is a difference between sharing some traits with a character and making them a self-insert. It’s letting their life, their community and culture, their experiences, also influence their traits and thinking, in ways that might be different from how you would respond in a similar situation. Even if you share those attributes.

This is me so let’s go behind a cut shall we?

Dark Autumn is as introverted and solitary by nature as I am; she can and does interact in professional and friendly ways with people (as I try to do), but needs alone time to recharge. However, Dark also has a very different outlook and relationship with her family than I, since her family is large and supportive, very close knit. If family is a lottery, I got the $50 scratch off prize while she hit the Mega-Millions. So I take that into account when thinking of her relationships not just with family, but with friends and potential romantic interests; Dark sees things through a lens of positive, low-drama familial relationships that I can barely fathom. This also means she has a support network and resources myself and other characters don’t, so gets some wish fulfillment of working through issues with care and grace instead of remaining in unhealthy places. She is my “comfort OC” so gets a lot of good things I wish I had—which shapes how she responds to others, like taking care of a FCmate and becoming something of a big sister figure for him, or the responsible older sister figure of my group of OCs. Which is me, really, idealizing my own older sister tendencies into this giant woman who’s better at it.

Aeryn was written to be on the ace scale; not my first character to be so, but the first written that way as I began to realize where my own orientations lie and wanting to examine that through fiction. That she fell for a certain rogue in the process of playing through MSQ again was not at all intentional. I like Thancred as a character—he hits a lot of tropes I enjoy—but in my own mindset, he’s a frustrating younger brother. I didn’t think I’d do NPC x WoL shipping. But there it is, because in determining Aeryn’s own experiences and how those shaped her, it ended up working out that way (and I spent the better part of 2 years writing the characters separately to figure that out and if it could work before writing them together because it’s not something that comes naturally to me).

Aeryn’s internal anger is something I have a difficult time with; it’s outside my own nature to carry things like that. I have my angers, certainly, but they are different from hers. I tend to need a lot to set me off and then it burns out hot and quick. Aeryn’s more of a long boil she keeps bottled up. I’ve gotten a few things through various fics, I think, but it’s why I do things like reference arguments but rarely depict them. Being non-confrontational myself (I’m meek and have hangups thanks to my own life) it’s a challenge. Aeryn responded to childhood traumas (that I never dealt with), bullying (that I did), losses (that I haven’t yet), and the responsibility she’s been given (thank goodness I don’t) far differently than I. Maybe I’d be more volatile, too, if I had her life. But I understand where her anger comes from sharing some of the reasons, I just shape it differently than my own.

There’s a lot of things about Dark and Aeryn that are accidentally similar, just due to the timing of their character generation and other RP OCs made for other games along the way; “Oh I haven’t done X or Y in a character in awhile” sort of thing, but how each approaches those similarities and why—their quietness, their issues with using magic, their tendency to “adopt” others as family—all come from different places and resolve differently, too.

C’oretta comes from a part of me that doesn’t quite want to grow up. That wishes I had been more of the peppy, active, cheerful, risk-taking, live it up stereotypical party kid, that “popular girl” archetype I felt so often on the outside looking in about. As my second character, I wanted her to be different from Dark Autumn—visually, emotionally, mentally. Where Dark is steady, C’oretta is flighty. While Dark is people oriented, C’oretta’s a bit selfish (like I often feel). Dark’s introverted, C’oretta’s extroverted. Much of C’oretta’s attitude is a deflection against the hurts in her life, a way to fight back against some terrible things. It’s a way I could never react. But I also can’t get away from a character who loves to learn and wants to try new things—but where other characters gain the ability to stick with and see them through, C’oretta gets my easy frustration and boredom, and then the “ooh shiny” of a new interest. There’s a history of ADHD (or whatever the acronyms are now) and even autism and learning issues in my family; it’s possible I have some undiagnosed ND stuff going on, and people have noted these things in C’oretta that I’ve based on my own experiences and those of people very close to me.

Many of my characters have traits I wish I had, or were better at; patience, kindness, consideration, convictions, courage, thoughtfulness, and so on and etc. They’re good at skills I haven’t the knowledge in, or the ability to do. They’re certainly more active than I am, or could be! Because I can take the time to think and plan and research and write those things out better, and just maybe along the way not only learn something myself, but try to practice it better myself. I can even sometimes let them teach me what I can possibly do or be, not just imagine it as an ideal that’s out of reach.

I try to let my characters make mistakes I wouldn’t—or in some cases, have in my past, and that’s OK. Especially if I learned from them, but maybe the character does not. Maybe they do but it takes awhile, or repeated instances until it sinks in. Maybe I let them make errors I still make, as a way to puzzle out better solutions I should probably entertain for myself.

Character voice is something I’ve felt I struggled with in keeping my OCs distinct. Do characters ‘sound’ alike, in dialogue and prose? Having distinct ways of speaking helps; C’oretta’s breathless chatty run-ons are certainly different from Dark and Aeryn’s quieter tendencies. I have to remember to trim down Aeryn’s dialogue more often, say less aloud, add more gestures and facial expressions. I tend to be a talker, an over-explainer (if you can’t tell), while the only times she gets like that are specific. Dark’s somewhere in the middle of those two, like I am. A lot of the reason I like writing NPCs and try to keep them close to my interpretation of canon is to practice distinct character voice to get better at it in my OCs, so they don’t sound like me!

And something I’ve never admitted to before is that I think for me, it helps that from the time I was a kid watching various series of Star Trek, I always have had an in-my-own-head-only self-insert. She’s always a support character (that’s what I’m best at). She has cool and unusual abilities to help the actual heroes, cuz heck it’s my internal fantasy and that’s fun. She has traits I want to be better at or wish I had, developed over time with more energy and focus than I can actually muster in reality. As time’s gone on, she’s become more of a mentor and Mom Friend as I’m now older and see a lot of protagonist characters as “my kids” now. She appears in nearly every story I’ve loved over time, in one iteration or another. And because I have a headspace character where I can say “this is what I, ideally, would say and do and be capable of in this situation…” My other characters that I actually write about can vary between doing something similar (if it suits them) to doing something completely different (cuz darn kids never listen) as I can compare them to the self-insert and decide where to diverge.

So it’s a mix of myself and my traits and knowledge, but taking into account how each character would respond and use those same attributes differently than I do or would. Write what you know, write who you are—and then add in some wish fulfillment, some what ifs, some bad choices, some good choices, and shake things up. Give the characters tics and tricks different from yourself and let that shape them, too, by remembering to take those things into account (even if you have to tape a note to your monitor).

And finally, don’t be ashamed of your self-inserts; I’ve known some great characters that started as self-inserts and grew, through their experiences, into wholly different people than their writers over time. Heck, the epic romance my original WoW priest was part of was with a character that started as a self-insert; his player began the game knowing nothing of the lore or roleplaying, but as he learned the story and how to RP, and determined how his character fit into the world and how that shaped him, the character diverged over time, while still sharing some key traits (some endearing, some frustrating, as people are and all part of that friend). It’s not a bad starting point at all. The rest can come over time and practice, especially if you make a lot of OCs and try to make them different from each other while also being aspects of yourself.

#Writing #Blogging #About me #Lyn Prompts #Character Development #Self Inserts #Original Characters

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grimmseye · 4 years ago

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Tandem

Read on Ao3 Here

Rating: Gen

Fandom: She-ra

Relationships: Hordak & Entrapta, Hordak/Entrapta (pre-relationship

Chapter Characters: Hordak, Entrapta

Chapter Tags/Warnings: This is just 1500+ words of Hordak’s thoughts about Entrapta, Pre-Season 2

(Disclaimer: remember that Hordak is both an imperial soldier and a cult survivor. This is also before he and Entrapta have really started building their relationship. His narration is told through that lens. )

— — — — — — — —

Years of sifting through the Horde’s administrative detritus had not made the job any more bearable for him. Even when Shadow Weaver had been keeping operations smooth, there was a certain portion of work that had to fall on his head, plans and projects needing review before they could be dismissed or approved of.

It was aggravating work, with one new exception. When he reached the file with telltale oil smudges on it, he could already feel the weight of his armor ease. There was a quickness to his movements as he flipped the file open — certainly not eagerness, but anticipation. For once, the weight of the file pleased him rather than had Hordak biting back groans.

Entrapta’s projects were the only things that brought him any mental stimulation these days. He took a cursory flip through the first packet, ears perking as he spotted the first draft of her blueprints. For once, she wasn’t offering new weapons to deploy, but rather a more espionage-focused design: something small that could scope out their targets before they sent any troops to seize new territory.

It was delicate work, and deeply time consuming. He settled in to read in more detail, making a note to himself to grant her a more direct line of contact to him. From now on, Entrapta’s projects should be sent through communication pads, to be vetted by the only person in the Fright Zone who could offer worthwhile criticism. Two pages in, he could tell notes from those who had reviewed it before were utterly worthless, all questions and conjecture with no understanding of what it was that they demanded. It was worthless to insist she work faster if there wasn’t a method to do so.

There was one, potentially, but not a single of the previous readers had mentioned it.

Hordak created a document on his communications pad and set a stylus to the screen. He got several lines into his writing before he had to stop, giving a faint sneer. His armor weighed his limbs, making his writing sloppy, and regardless...

He tapped his nails along the edge of his throne. As excellent as Entrapta’s reports were, she did not receive the same work with enthusiasm. Audio recordings were her preferred means of reference if he recalled correctly, remembering a delay in her work when she'd first began working on his bots. When he'd inquired about it, she'd mentioned something along the lines of struggling to digest the information. A vocal repetition and a recording of the instructions had been enough to get her back on schedule.

A moment’s deliberation sent to the security feeds, ensuring Entrapta was in her lab before he flicked on a monitor. Through his screen, it gave an overhead of Entrapta at her workbench, looking to be setting up to get to work. Good. He wouldn’t be able to interrupt her if she were doing something delicate.

He lifted his chin before announcing himself with a call of, “Princess Entrapta.”

She straightened up at once, head swiveling before she caught sight of the monitor, gawking for a moment before breaking into a smile and calling out, “Hello!”

She’d forgotten to bow. Again. He pushed a breath through his teeth, finding that the urge to demand proper respect felt oddly diluted for Entrapta. Whether or not she bowed had yet to compromise her work. Instead he skipped to the point: “I received your newest blueprints. The design is promising, if… inefficient.”

Entrapta clapped her hands together, looking excited before the words caught up with her. “Oh, I know. I’ll need to develop a prototype to get a real sense of what materials I’ll need and how much time it’ll take —” As she spoke, her words grew quick, almost snappish. “— But right now the estimated time per drone is much longer than I’d like, let alone viable for regular use.” Her hair frizzed out, bristling not unlike a cat’s. A clear sign of displeasure.

He lingered in that for a moment, then spoke. “I have a suggestion,” He said, appreciating how she perked up at once. It was gratifying to work with someone who knew what they were doing, and even understood what he was doing — at least as far as an upbringing on this planet allowed. “There is a synthetic compound we produce here in the Fright Zone that may work as a substitute for what you intend to use: adamantine. It should have the strength to support this device even in sheer pieces.”

She listened to him speak, interrupting only once to ask if she could run a recorder. Once again, he found satisfaction in that. He rarely had trouble with being listened to — with the exception of Entrapta, all knew to bow in his presence, to not speak while he was speaking. He had fear, and respect, and obedience, he had created a facsimile of the true Horde, successful in his emulation of Horde Prime. And yet, while Princess Entrapta did not fear him or even always obey him, she heard him in a way no other creature on Etheria had before. She challenged him, even, and as irritating as her insubordination could be, there was value in an alternative perspective.

Truly, she was impressive. Despite being a princess, Entrapta had taken well to life in the Fright Zone. Everything he knew of the Etherian princesses suggested inordinate wealth and luxury that would not lend itself to the Horde’s lifestyle. The primary kingdoms were disorganized and self-serving, lacking unity and loyalty to any but themselves, excising that which they found displeasing and then stuffing their castles with unneeded opulence. Here, closest thing to luxury Entrapta had been provided was her own room, something all ranking officers were granted. And yet he’d heard none of the anticipated whining, just a snippet of her voice from Imp about the brown nutrition bars being unfavorable in texture, even once cut into smaller cubes.

He wasn’t sure he could count her among the ranks of the princesses at all, and that was entirely favorable. Dryl had such organization and stability that even in their princess’ absence, the small nation ran like clockwork. It seemed almost entirely self-sufficient, and what necessary trade was denied to them after allying with the Horde could be supplemented.

Again, he berated himself for not considering Dryl’s value. It seemed that like the other nations of this planet, he’d vastly underestimated its value, and Princess Entrapta’s value most of all.

At some point, their conversation drifted off track, to the materials Dryl itself mined and then stories of what Entrapta had found beneath the earth, the First Ones’ tech she was so enamored with.

“Their power sources are more efficient than any Etherian technology I’ve seen,” Entrapta breathed, her chin cupped in her hands. “One crystal,” she framed her thumb and forefinger approximately an inch apart, “could have enough energy to fuel one of your Skiffs for a full day of flight, longer if you stop to let it replenish — because that’s what makes them so amazing, they don’t run out of power. I think eventually they might exhaust their capability for storage but I have yet to prove it, but in the meantime they seem endlessly capable of recharging their own energy, potentially by harnessing the latent magic in Etheria’s atmosphere.”

Sometimes it could become difficult to keep up with the pace of her voice, when her words began to run into one another and she took great gasps as she ran out of breath. And yet, the subject held his attention, ears perked forward with fascination.

“If we were able to collect such crystals…” Even that much energy would be insufficient for his portal machine, but to collect a great quantity —

“That’s the trouble,” Entrapta sighed, deflating. “I’ve rarely found these crystals intact.”

Disappointment weighed heavy in Hordak’s chest, then curled into anger. He’d hardly known about it for a moment, and already his hope —

He slammed his fist down on his throne. Hordak glanced at the clock, realizing half an hour had slid by without his noticing. This entire thing had been — “A waste of my time.”

“I disagree!” Entrapta’s rebuttal made his eyes narrow. Still, he knew to listen to his officers when they spoke — even to Shadow Weaver, who had to walk through elaborate metaphors and tangents before she ever got to the point. Though perhaps he should have listened less to her. The very premise of her arrival should have served a warning — seeking revenge did not sow loyalty.

Unlike Entrapta, who worked for her discoveries, for possibility rather than vengeance on the fools who had left her for dead.

So he did not silence her as she continued, “Your input was quite valuable! If you could have some of that material sent to my lab, I’ll be sure to attempt a prototype using it and see if it will be a good substitute.”

His ears relaxed from their flattened position. Hordak glanced away from the screen for just a moment, taking a breath to calm his frustrations. “Of course. I will see it is done.” He hesitated for just a moment before saying, “That is all. You are dismissed, Princess Entrapta.”

“Okay!” She smiled. “It was nice talking with you! We should do this again!”

His finger hesitated over a button. Hordak inclined his head, half of a nod before he ended the transmission.

The quiet that followed left him with a strange feeling: reluctance to continue his work, the want to shift it aside and perhaps pull up his records on Dryl to read more on what Entrapta had told him. Instead he took his pad, putting in two orders: one to deliver a shipment of adamantine to Entrapta’s lab, the other opening a direct line to her own communicator.

Just in case she wanted to consult his opinion once again.

#Entrapdak #Entrapta #Hordak #spop #spop fic #entrapdak fic #my writing

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fallenrepublick · 4 years ago

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INFJ chiming in here, a billion years too late: What makes you think Maul is an ISFP? I've always perceived him as a strong J. I'm interested in an INTJ point of view. 😉 Also, I used to see him as a mild T, but thinking about it, I've gotta agree he's a Feeler. TL;DR. I think he's an ISFJ. Thoughts?

Oh boy oh boy oh boy now this is the type of conversation that I live for.

As I was coming to my conclusion about his type, determining whether he was a Judger or Perceiver was probably the most difficult to decide of all his functions.

The fact that he’s Introverted was fairly clear-cut. Many might claim that he would be Extroverted because of his ability to rally the Mandalorians. Looking deeper into it, though, solitude is a key component of his character, and while he may be surrounded by others, there are only a couple people that he allows access to who he really is, instead of simply the role he plays. As a Sensor, his mindset is rooted in both the past and the present, making decisions based on what he sees in front of him and the experiences he’s been through. He isn’t a “dreamer” per-se, simply because he sees potential in the world in front of him. He sees potential through the lens of what he already knows to be true, and what is practical in his situation. I understand also how he could be typed as a Thinker, considering the ways he reasons through situations. However, his emotions are functionally what drives his decisions and choices. A Thinker would most certainly seek progress and development of their own goals and needs. A Feeler, on the other hand, would most certainly be revenge-seeking. He wraps himself up in the ways he’s been wronged and his personal values, clinging to his anger connected with his opponents, be it Sidious or Kenobi. To that end, I decided that the most important aspects of his personality and the way he makes the most important choices in his life align with the Feeler function most of all.

And then came Judging versus Perceiving. Judgers, as they’re most well known, are the systematic types. Most typically, they are the organized ones, the people with a clear cut plan, ready and willing to carry it out the moment they have the control necessary to do so. They have a vision, and by god they’re going to stick to it.

At surface level, Maul could fit this description. After all, he orchestrated the Siege of Mandalore to draw out Anakin. He made countless plans and opportunities for himself to gain power throughout the times we see him. Surely, that means he’s the organized, coordinated Judger, always here with a plan, right? No.

Perceivers, as we know them, are... less so. Some assume that Perceivers don’t make plans at all, because they believe that functions that can be exchanged for each other are polar opposites. However, this isn’t the case. Perceivers are flexible, spontaneous. They make the plan and are ready to go through with it, but they are masters of change. Plans go awry, and they’re prepared to change with them if need be. If it serves the purpose, they’ll put off plans and preparations for so much later, because they know that not everything’s going to go the way they expect them to. Their stubbornness about their goals can vary depending on their other functions, but they aren’t married to the way they get there, and the journey matters less to them than the results.

Now let’s look back at Maul’s past. As always, The Siege is the best example of these functions, because that’s where we see his internal processes the most out of the whole series. It’s pretty safe to say that this event didn’t go the way he’d worked it out. To begin with, Obi-Wan didn’t even show up, even though this entire thing was for the expressed purpose of catching him and Anakin in one fell swoop. But even still, he adapted to Ahsoka’s presence, gathering as much information about her as he possibly could given the small opportunity he had. During the throne room conversation, he used what he had learned to pull her to his side. When she denied him, he had left the possibility open for her to make that decision, ready to fight her regardless of the fact she had done the opposite of what he was expecting. At the end of that battle, he had a mode of total escape. He hadn’t prepared for any of this to begin with, yet he changed the situation entirely to benefit him and insure his survival.

There are plenty of other examples, (such as his changeability during Rebels when Ezra arrived with Kanan on Malachor), but I’ll spare you the analysis, because this became much longer than I’d anticipated. Although, keep in mind, these are only my personal findings, and if you have any counterpoints, I’d be interested to hear them.

#rant

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rosaguard · 4 years ago

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summer waxes poetically about her favorite aeris gainsborough ships:

i never reblogged that five ships meme because...well i don’t have five aeris ships i care about lol. however, i was challenged(tm) so here is something close to it. i do feel like it is fitting to make this post on here since aeris was actually the first muse i truly started writing a ship on after asking someone first ( and i had been writing on tumblr for like...5 years on and off before that for context. anything before that was just..maybe flirting - nothing i felt invested in ).

aeris & happiness.

the most important ship. the OTP. no other can compare. i think the biggest tragedy of aeris’ death is that so much was taken from her. she had so much to live for, so much to do, and her life was brutally and suddenly ripped away when she was finally getting the chance to figure herself out and rise to her full potential. i don’t want to aeris to die in the remake ( especially because everything about the whispers would’ve felt like a waste of time if nothing significant changes and aeris living is probably as significant as you can get ) but if it happens, it happens - i’ll just be really sad and disappointed by it lol. i’ve always been very clear that aeris’ death is not a bad one despite my blog canon essentially retconning it. there’s a reason she dies and it’s not to further cloud’s man pain ( he had enough of his own trauma already ); she dies because she’s a legitimate threat to sephiroth’s plans. she’s actually an example of a character death, especially a female one, done incredibly well, especially compared to SE’s recent output ( serah, luna, etc. ). also anyone who says she was created just to die is also wrong. barret was originally written to die first and they decided to change it.

anyway, the point of me bringing all of this up is that i didn’t decide to do away with her death because i think SE sucks and they hate women. i did away with it because a lot of aeris’ character development ( her learning about the cetra at cosmo canyon, figuring out what the white materia does, etc ) is implied / off-screen since we never know her point of view and then well...she dies. i wanted to explore what her feelings would be if she woke up alive after being attacked while meteor is slowly drawing closer to the planet. how would she handle that? how would she feel? would she feel like a failure? would she be angry? what would she do after meteor is destroyed? would she travel the world? join the w.r.o? tell everyone to fuck off and then move to a cottage in the middle of nowhere and live the rest of her life in peace? these are the questions i wanted answered when i thought about aeris living. i don’t care if she ends up with cloud, or zack, or whoever because they don’t matter: aeris matters. she’s her own person with goals, desires, wishes, and more. no one talks about what she would want and do if she had lived. all people care about is what ‘man’ she belongs to as if she’s a prize to be exchanged between them.

the second reason is simple that she fucking deserves it. she deserves it after living in a lab for 7 years and watching her mother die just trying to get her out. she deserves after having to deal with being stalked by the same company responsible for a lot of her suffering. she deserves to finally be around friends that make her feel loved, accepted, and cared for. she deserves to not feel alone, or like an outcast, or a freak because of her powers. she deserves to be able to go to icicle inn too and see footage of her father for the first time. she deserves to be able to go back to kalm and see her mom again. she deserves to live happily just like everyone else gets to do. her life has been filled with so much tragedy and pain yet she never lets it define her. she blooms in the face of adversity. she keeps smiling even up until the end of her life. she deserves happiness as her end-game and if i don’t get it in canon, i’m going to create it here myself.

aeris & cloud.

i disliked this ship for a long time. it actually wasn’t because of the ship itself but due to some of my experiences with the shippers. i won’t go into my fandom experiences but i ran an account dedicated to ti.fa for almost six years so i’ve seen how...unpretty both sides of the 'ship war’ can get and it turned me off. a lot. when i decided to write aeris, i immediately started a replay of the the original game with an ‘aeris-lens’ ( analyzing her character, her relationships, making sure i got her date, etc. ). it made me look at her relationship with cloud in a different light since i had never really paid attention to it as heavily before since i avoided the ship tbh. i ended up enjoying their dynamic a lot. they have a natural chemistry with each other but there’s also this unspoken distance between them which is fully intentional - she has her own walls up and he has his.

they have a very ‘tragic love’ since well...she dies before anything can fully go to the next level. their relationship in canon is a very ‘what if’ and as a result, i often see people who don’t like the ship claim that they wouldn’t work because aeris wouldn’t be able to ‘deal’ with cloud and would’ve left. to be blunt, this a bad take considering supporting one another is prevalent throughout their relationship:

aeris: i learned a lot. the elders taught me many things. about the cetra... and the promised land... i'm...... alone... i'm all alone now... cloud: but i'm...... we're here for you, right? aeris: i know. i know, but... i am the only...... cetra. cloud: does that mean we can't help?

cloud: ...i gave the black materia to sephiroth...? wha... what did I do... tell me, aeris. aeris: cloud... be strong, ok? He writhes and clutches his head. cloud urrrrrrgh... what have I done!? aeris: cloud... you haven't done anything. it's not your fault.

cloud: yeah, I hear you. sorry for what happened. aeris: don't worry about it. cloud: ...i can't help it... aeris: oh... then, why don't you REALLY worry about it? and let me handle sephiroth. and cloud, you take care of yourself. so you don't have a breakdown, okay?

the remake only reinforces everything i like about their relationship: their banter is great, aeris gently takes his hand during one of his ‘moments’ and supports him, she confides in him about talking to her flowers, and he never treats her differently ( which is a big deal when just two nights before, he told someone to ‘get help’ when they claimed they could hear the planet lol ). they have so much in common as well: they both have struggled with loneliness, being an outcast, and not having a lot of friends. i’ll always find it incredibly interesting how cloud is repeatedly not invited to be apart of group functions in the remake ( he wasn’t allowed to celebrate with avalanche and had to sit outside jessie’s house as the others ate pizza ) until he met aeris and she invited him to have dinner with her and her mom. despite the ‘bodyguard’ dynamic to their relationship, they always feel like equals to me.

aeris: today’s special!!! cloud: why? aeris: because i met you, you dumb binch!!!

aeris: *says cryptic stuff and tells him that they can’t fall in love* ( i’m saying they because apparently in japanese / other languages she says ‘we can’t fall in love’, not just ‘you can’t fall in love with me’. ) cloud: uh....how about i do anyway??? also i’m saving you so...see you tomorrow at 11. bye.

me: their relationship never gets to a serious level because the opportunity was taken away from them de to unfortunate circumstances.

also me: they’re just just...dumb and in love!!!! i’m sorry, that’s just the way it is!!!! she literally tells him that meeting him again was special to her and the silly boi doesn’t get it!!!! one of the composers of the game even said a tracks that plays with them is meant to have a romantic vibe!! when she pulls away from him, he reaches out for her because he doesn’t want her to let go!! the lyrics of hollow is literally ‘this time i’ll never LET YOU GO’ AAAAAAAAH!!!!!!!!

anyway, i’ve also noticed this weird trend in the fandom where it feels like cloud is never allowed to just has his own dedicated feelings about aeris - and i’m not even talking about romantic feelings. i feel like whenever there is talk about cloud’s relationship with za.ck or ti.fa, no one inserts aeris into it. they’re allowed to have their individual relationships with him yet with aeris it feels like you cannot talk about how much she meant to him and vice versa without other characters being thrown in. i don’t know if it’s because of shipping and people don’t want to acknowledge that like...characters can have feelings for multiple people or what but the reality is that cloud did feel something for her. she did mean a lot to him; so much so that he slept in her church two years after she was dead and went to her burial place alone. he missed her. maybe it was just as a friend, maybe it was because of something more but i really dislike how their relationship and importance to each other, regardless of whether it’s platonic or romantic, is constantly invalidated.

aeris & gene.

when kas / @castershot first created channels for gene and aeris in our rp server last year, i honestly did not think these two would have a serious relationship at all. i figured maybe they would have a fling or something at best / aeris would be the equivalent of a filler character in a few episodes of the show and then they would go their separate ways. ...that didn’t happen but i’m glad it didn’t! i didn’t know a gosh diddly darn thing about outlaw star but i’m very good at researching and aggressively reading wikis so i was able to whip up a verse ( and someone who watched the show thought i had actually watched it after reading my verse so i guess i did a darn good job! ). anyway, i feel like when writing aeris it’s very easy to...hmm...fall into very certain dynamics and considering gene’s line of work ( doing odd jobs, being a bodyguard for hire, a general jack of all trades ), i didn’t want it to be the ‘he’s a bodyguard, she gets protected, blah blah blah’ dynamic but in space. so their relationship ( at least in my head - there’s a lot going on in there tbh!!! ) basically became somewhat of a deconstruction of cl.erith + ( bad ) stereotypes about aeris in general:

what if the helpless flower girl that needs saving from the big bad corporation is actually a liar who works for said corporation and was sent by them to retrieve something important(tm) and eliminate anyone that gets in her way? what if aeris, a secret member of the turks, has become so desensitized when interacting with other people since she is constantly wearing a mask and she can’t tell if she’s genuinely falling for someone or if her acting is just so good that even she can’t tell what’s real or fake anymore? what if i took all those bad takes about aeris knowing she would die, flip it, and actually make it so that she does know and still goes alone anyway because she wants to save lives for once instead of being the person who takes them away!!

me: imagine the drama!!! the angst!!! kas, casually: [redacted name b/c of spoilers] would just bring her back to life. me: WHAT?! >:(

apparently one character in the show is casually just GOD and can revive people so they can come back like:

my bubble was BURST. dreams DASHED. plans CRUSHED. dramatics aside, i still kept the idea of her dying because i do like the take of a more secretly jaded / not as ‘pure’ aeris that works for shinra and has to basically relearn how to trust / care about others again + i live to attack kas and all of her muses. ¯\_(ツ)_/¯. anyway, the point is that i love them and they’re a dynamic i’m very invested in the more times passes. they’re both so stupid and passionate and loud ( the first in character thing i wrote when i remade this blog was them screaming at each other in an argument ) but they’re also sensitive, don’t open up to others easily, and have trauma!! oof x 100.

me: this ship won’t be serious lol the ship, months later: may or may not have a thread with them going on a date. may or may not have gone to ti.fa and cloud’s wedding together ( where kissafist’s tif.a may or may not threaten to smash his balls in if he doesn’t treat aeris right. *smash em, rip em plays in the distance as aeris aggressively laughs nervously* ), they may or may not get married and have twins that may or may not be named ren and rose. me: clown putting on make up.png

so yea, they’ve come a long way(tm).

the end.

#❀ . ━ ❛ take your time ❪ ooc ❫ .#god i cried a bit when writing the last bit in the first section #i love her so much

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crystallinevessel · 4 years ago

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hewwo just curious:do you have any fav ships for your muses? luv ur blog

hello, sorry i took so long to answer this! and thank you for liking this mess of a blog!

so, i do have some fave ships for my muses, and some which just does not have any ships set.

Sinbad

i don’t actually have a favorite ship for him, I’m partial to sinbad/serendine, but that one needs to be planned out well considering how messy and complicated it is. but this is one of the few times i’ve seen sinbad have any possible romantic inclinations towards anyone male or female in canon.

i’m very open for him to be with others, regardless of their gender, the problem is if he can develop romantic feelings, it’s very rare in comparison to physical or intellectual attraction.

Noctis

oh! i’m a complete sucker for promptis, the strong connection between these two is so important. prompto cares for noctis, not because he’s a royal, but just for himself. in one point of the game, noctis explains to prompto how he wises to bring down the walls and accept everyone into his kingdom to make it better along with prompto.

luna of course, that’s a given, she’s a very strong individual, and between the two she probably has the strongest will. although the oracle, i feel like she was more king than noctis was at times, and noctis more than likely would not feel ashamed about that. instead, he’d feel proud, he cares deeply for her.

ignis, oh sweet ignis, if anyone else besides prompto who has seen noctis at his worst and at his best-- it’s this man. i am w e a k for this ship, of course, when i say ship i mean platonic or romantic, and that goes for ALL of my ships. i like their dynamic, how ignis keeps noctis centered, and how noctis can pull him into doing silly or fun things. and the man’s puns, they’re gold l ol

gladio, listen, this ship is underrated and underappreciated both as friends or more. i like the idea of them not just being workout buddies, well, as much as noctis can work out lol. he’s not weak, but he’s not strong as gladio. anyway, i like the idea of them just chilling together, like maybe gladio introduces him to new books, bc he’s such a bookworm, or even read out loud to him. this ship has the potential to be soft and i feel like that should be explored more.

Shuichi

kokichi, i like this ship pregame or ingame, and postgame. my postgame verse consists of it actually being a VR so that opens a fair amount of possibilities. i think, overall, they do complement each other well, tbh, is kaito and maki weren’t so hard on “don’t like to kokichi”, i think shuichi could have connected with him moreso or tried to understand him more. it’s just a fun dynamic.

kaede, this is classic, i feel, romantic or platonic, she’s bright and sure of herself and that’s something shuichi needs either in or out of the game. while i’m away that pregame kaede is not the same, she still has a stronger will than him, and i think it could give some balance.

kaito, specifically ingame or postgame,

Ayato

shipping with ayato is difficult to being with, mainly due to how he perceives people and his own personality. he behaves more now, but he still has that uneasy feeling around humans that potentially makes it awkward. this is stronger the younger he is, generally i rp him during his 18-20 ish time. still, im open to plotting with him in the regard and crossovers, even ocs, it doesn’t need to be canon.

Judar

i thought ayato was difficult, this guy here is even more prickly, maybe, not i lied. anyway, i don’t have a super favorite for him in particular, if they click then they click. i do like hakuryuu, kougyoku, and a couple others, but generally-- chemistry is needed for this pesky child.

Barry Allen

iris west, like they fit each other, iris and barry are that couple, so it’s kinda of hard to not like this ship. lol

leonard snart, a true weakness, barry and len are married in one of my verses so that goes to show how much i like this ship lol.

Kougyoku

judar, idk why-- it just makes me smile at the idea for some reason. maybe i’m weird. this can also be seen as platonic, like all my ships, im good with just platonic or even antagonistic relationships.

aladdin- eh, only when he’s older, mainly because it seems like he’s genuinely interested in him. but like not high on my list.

alibaba-- i love, love their friendship okay? someone feed me this lovely duo

Byleth

okay, okay i’m gonna lie, i am WEAK for byleth with dimitri, but in general im okay with this muse going with almost anyone. mainly bc... well... you can in the game, i’m partial to lindhart as well, but like i said. i’m cool with almost anyone for this bean. as long as there is chemistry, i’m down.

Haydez

my oc, of course, has no ships since he is an original character of mine.

Othello

the same goes for othello, they’re an original character, therefore they have no ships.

#Anonymous #II;; special delivery for a whole bag of idiots ( asks )#II: I'm the cutest embodiment of depression you'll ever see ( PSA )#this got longer than i wanted lol

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lizzybeth1986 · 5 years ago

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Quick Thoughts on TRH Book 1, Chapter 3

• I'm hoping that if I have this chapter out early enough (doubtful, because compiling and organizing my screenshots takes time, and my drafts often don't save which means there are times I will have to replicate whole paragraphs from scratch. But fingers crossed!), I might try and do revisits of the first book. I did four of those chapters last year, and I think now - when we're looking at some of the stories told to us in Book 1 from a new lens - is a good time to explore that first book again.

• I hope the read more issue is resolved by now. It made posting quite hard the last time. In the meantime these are the tags you can block: #long post, #trh quick thoughts, #trh qts, #trh qt reblogs.

• Thanks a lot to @pixieferry for her Hana playthrough, @thefirstcourtesan for her Drake playthrough screenshots and the Abhirio YouTube channel for the Maxwell playthrough screenshots. Not much of those are up, because of lack of space to put up the pictures and the fact that this particular chapter wasn't specifically LI centric.

• Title: Your Kingdom Awaits.

Alternative Title: Tell Me What's Gestating in My Womb Today, Cordonia! A Cordonian Ruby? An Autumn Glory? A Granny Smith?

• Three chapters in and I'm getting more and more baffled by this story by the day. There's stuff I like. Some of the characters I still love. I have fun looking at the little hints, the bits of symbolism, the callbacks. I love theorizing what we'll be doing next! But all of this needs to be glued together by a coherent storyline and this just isn't it.

• Even if we push aside the gross inequalities in balance (re: character development), there's still so much that just doesn't make sense. Why is there so much rush. Why is everyone in this country (and outside) so invasive and entitled over this one noble's child? Why are we doing such insane scales of prep over a process that is in itself is so unpredictable? Why am I learning about Cordonia's allies/potential enemies in such a vague and shoddy fashion? And most of all what kind of bullshit Royal Council is this???

• But I'll elaborate on all those questions later. For now let's move on to the chapter!

• If you didn't buy the corgi in Book 2, they ask you if you'd like to buy it now at the beginning of the chapter. Possibly that may affect the entry of the second corgi in some way? Idk.

• Esther, the Queen of Cordonia is also still the queen of winging it. You'd think they'd have planned a look for her (esp given the amount of time they could spend on the train) and gotten her ready by the time they reached there, not scrambled around for an outfit the minute they reached Valtoria.

• The LI tells the MC that they're fixed an appointment with the best obstetrician they could find, and we will be going there to ask our preliminary questions plus get a check up. I was wondering if in Hana's case they would be going to a fertility specialist instead.

• In any case, Bertrand volunteers to help us with an outfit for the last time in a short while, because he's traveling to Texas to prepare for their wedding. (we're going there too, but later. I'm not looking forward to another round of Savannah-worship - possibly with an added side of Bianca-worship - no thank you).

• Bianca's ranch is called the Walker Ranch, after Jackson's last name. Why Jackson's?

• Our OOTD!

Electric blue with a gold belt and a black and white border on the neckline, accessorized with a necklace (I think it's pearls set in gold?) and a brooch pin in the shape of a crown.

I kinda like this one and knowing the way this team operates when it comes to outfits most of the time, I'm pretty sure the colour scheme was chosen on purpose. With this outfit, the MC is presenting herself in the national colours, with a tiny signifier of what her future role might be. Either as Queen or as mother of the future heir to the Crown. This is an outfit that would send a message during Liam's announcement, whether she is (symbolically) wearing that crown or not.

• I'm obviously not very comfortable with the implications that would go with that outfit (esp if she is not the Queen), but I can't deny it does its job.

• The MC can opt to go for either being poised, acting like a diva or being very casual in her approach. Whatever she does the crowd pretty much worships her.

•

So everyone except Liam has someone (media, a fan, common people) approaching them as a way of showing how famous and revered the entire group has become in Cordonia. Liam doesn't need one coz he's anyway getting his moment with his big speech in front of the Valtoria manor.

Drake - Donnie Brine from the CBC speaks to Drake, positioning him as a man of the masses, the person that the Cordonian people see as their representative. Drake is woefully unprepared and freezes, blurting out that "things are great" which probably might end up becoming a meme on Cordonian internet later. Random Cordonian Woman from Applewood saves him by confirming this statement even though her trees have yet to grow and the tax problems are pretty much making her life "not great".

Maxwell - Where are Jiro and Camellia from Applewood? I like little Marco and Valerie but I hope they're not the only kids PB is going to be showing every time they need to show children. Marco approaches Maxwell and the MC both to sign his copy of Maxwell's book, and Maxwell takes care to do a dramatic signature that will not "obscure the picture of his face". I'm giggling at that image.

Hana - Valerie approaches Hana with a handmade flower necklace, presumably with a pattern made from "the Lee family crest". Now either Lorelai's family in Cordonia have the same surname as Xinghai, or Xinghai got himself a house crest for some reason. Either way, to toss out a detail like that so casually (a family crest is something that passes down through generations, esp in noble families) without even thinking of the logistics of it...(when an entire book of yours has been dedicated to sigils and crests) is pretty lazy.

BUT. In good news this means that my longtime speculation that Hana's mother's house had flowers as part of their court of arms is correct! (I was also right about a couple other things, like Maxwell's ancestors and Liam's mother being alive when Olivia was brought to the palace. YAY! 😁)

• We now move on to Liam's public announcement. Which sounds kinda weird whichever way you look at it. A married Liam announces that he and his wife are on a mission to enjoy babymaking and a single Liam announces this:

(Screenshots from a Hana playthrough by @pixieferry)

I will translate what both Liams are saying into Cordonian:

Married Liam: We don't have an apple cinnamon bun in the oven yet, but we're definitely having fun kneading that dough nudge nudge wink wink.

Single Liam: I'm neither making apple buns nor kneading dough. I'll leave that to my friends the bun-making experts here. I'm just gonna park my butt outside the oven door along with the rest of Cordonia.

Sounds weird? You're welcome. It was meant to sound weird.

• Esther finally reunites with her corgi Joy! I wonder if at some point she'll meet up with her horse Celestia and red pandas Hansel and Gretel too xD

• Mara tells me safety checks have been done, but...it's Mara saying that, so I'm not sure I'm quite convinced. The alternative is Bastien, so...we're kinda screwed I guess.

• The group then discusses the future foetus, and Liam takes this opportunity to hint at their childhood history. You know what that means? DIAMOND SCENE!!

•

(Screenshots for Asian Liam from my playthrough, Black Liam from @pixieferry and White Liam from @thefirstcourtesan)

LOOK AT THE WEE LITTLE KIDDIES AND LIAM'S MOM OMG AAAAAA.

As far as I can tell, among the kids the sprites for all three Liams and Drake are very much new, and the rest come from variations and changes to different faces. Maxwell's face is a copy of Simon from THoBM (only the mouth is slightly different), Hana's has a lot of similarities to young Kenna in TCaTF, but with pigtails instead of tiny buns. Olivia's is a little harder to place but I think there are plenty similarities between hers and RoE Camellia's face. For Queen Eleanor they used Young Mary's (MC's mother) sprite from D&D in accordance to whichever Liam you chose. Perhaps the only Mary sprite not used here would be the brown/Indian one, because Liam's ethnicities mainly feature White, Black and Asian. She even wears Mary's opera outfit (that incidentally Mary also ended up wearing to her wedding lol).

• Somehow they forgot that Maxwell was supposed to be a cute chubby little hippo who was loved by his mother.

• I'd like for Black Liam to grow more hair on his head because the curls on his younger self are lovely 😍

• Since most of the childhood tales revolve around the experience of growing up in the palace, this build up to the diamond scene begins with the MC asking questions about each of the boys (Liam, Drake, Maxwell).

- Little Liam and His Crown: Liam claims he only wore those during state occasions, but Maxwell (who admittedly didn't see Liam as much as Drake did but saw him often nonetheless) saw him practically sleep in the thing, and Drake has pictures to prove it lol.

- Grumpy Drake: Maxwell and Liam agree on Drake becoming grumpier as he grew older, but disagree on what metaphors to use to describe it. Maxwell favours "scratchy bark on a secretly loveable tree", and Liam claims he is "whiskey maturing in its barrell". ("oh", I want to ask Drake, "so that's what they call 'old grain mash' these days?" 🤣 This is my revenge for him referring to wine as old grape juice back in Book 2). No prizes for guessing which metaphor Drake liked better.

- Banning Maxwell from Palace Rooms: Maxwell's lucky he has a king for a friend because apparently before Liam jokingly and unwisely decided to give the man a royal pardon Maxwell was banned from all the good rooms 😅

• Hana clearly hasn't lost her touch when it comes to epic savagery. "I imagined you guys like the Three Musketeers, only...less French". 😅😅

• This diamond scene is split into three parts. You have the fun 'adventures' of the little boys (and later Olivia) at the palace, split in between by a slightly more sombre tale of little Hana's loneliness. The narrative voice in all three is very much that of a child, and focuses on Liam's and Hana's imaginations, so as to make their childhood stories more real to us while still providing us background information about the country's recent history (the "recent history" bit doesn't apply to Hana, though, since she is in China at the time).

- Pirate Adventures at The Palace Courtyard: Liam, Drake and Maxwell pretend to be pirate kings, battling rivals on the palace courtyard. After rescuing Maxwell from being stuck on the branches of a tree, the trio decide to continue their adventures on the gardens that are his mother's brainchild, but are stopped by a palace guard. Liam is briefly saddened by this, but is comforted by Drake and Maxwell. The boys then decide to continue playing in the palace kitchens. This scene begins by focusing on the antics of the little ones, but is really about the changed atmosphere in the palace that the boys themselves were too young to notice at the time.

(We also find out which place in TCaTF the Beaumonts originated from, since young Maxwell refers to himself as a pirate from Panrion in both scenes that he is in *cue Lizzy looking very very smug because I've been saying the Beaumonts were from Panrion/someplace in Ebrimel since way back in Book 2*)

The MC has options to respond to this tale (either about whether they were always this naughty, or about the increased security in the palace). In response to her question about the three of them, the boys tell us that Liam was known for being a free spirit and would skip many diplomacy meetings before he even met the other two (again, Constantine, Liam was A CHILD). If you ask the question they want you to be asking, however, about the increased security in the palace, Drake and Maxwell will tell you the security wasn't as strict earlier, and Liam will explain that the royal family had recently received threats at the time, and his parents were a lot more tense and on-edge than usual. Either way, you either get to know a bit about the political atmosphere at the time, or realize that little Liam wasn't the heavily burdened one we met on that first night in New York.

- Pretend-Teatime with a Young Hana: Hana continues on this thread of conversation by focusing on the bond between the boys, commenting on how she never grew up with that kind of experience. To which Drake and Maxwell have these reactions:

@Drake, pls fall on a cactus.

@Maxwell. Honey. She said this to you yesterday. She's probably said this more than once. You've seen her parents!! Wtf kind of friend are you if you can't even take what she said seriously the first time?

@Hana pls get yourself better friends 😭

Like @callmetippytumbles said in her response to this scene, I have no patience for this kind of selective stupidity.

So Hana's scene is technically a call-back to something she once told the MC back in Book 1 Chapter 6, when they were on their way to the post-Derby tea party with Queen Regina. At the time, Hana spoke of her parents not allowing her toys because they thought them frivolous, and how she had to make do with whatever was lying around instead. We actually see this happen in reality here. We see her PoV of what her inanimate objects do, we see her practicing court etiquette on these objects with her tea set, and we see her leave space for her asshole mother even though Lorelai doesn't deserve that much respect or consideration. There is a lot to unpack in this scene and I want to do that in my General Thoughts section later on...but for now I'll just say that it broke my heart, and not just in an "oh poor Hana" way.

- The Attack from Lythikos: I love this sequence too, not only because it shows us Olivia, a younger Constantine and Liam's mother Eleanor, but because the narrative framing in itself alludes to what happened between Lythikos and the Capitol earlier through the pirate story. Liam and Olivia still speak in the language of their story, but the sequence actually plays out what happens in their real lives. Olivia attacks the pirates, but is left desolate, sword broken, at the end of it (just like her parents tried to, and died in the process - leaving an innocent Olivia alone without support). Liam offers her terms that would give her safety and protection, and in return, she asks to be Pirate Queen and for Drake's sword - which he reluctantly gives.

Constantine mistrusts Olivia and attempts to limit her natural abilities and instincts, but it is Liam's empathy, support and validation of her pain, that eventually makes her the steadfast ally that she becomes as an adult - not Constantine's paranoia. Had Liam followed Constantine's lead, the chances of Olivia falling into the trap of subscribing to her aunt's beliefs would have been much much higher, and Constantine would have found himself at the receiving end of a self-fulfilling prophecy. The narrative may also be implying how deep Eleanor's own impact on her son must be, long after her death, since the narrative frames him as adopting her way of dealing with situations often.

In any case the narrative allows us to see the children as they were before their individual tragedies changed them (except in Olivia's and Hana's cases - where they were still struggling to survive the situations they were in), and allows us to see what shaped them into the adults they are today.

The MC then gets to ask one of two questions: either why Constantine treated Olivia so badly, or about the arguments his parents were having. We learn from these that this incident was shortly after Liam became friends with her and his parents brought her to the palace (this references both Liam's conversation about Olivia to the MC in Book 1 Chapter 7, and Lucretia's complaints about Constantine "keeping Olivia hostage" in her diamond scene in Book 3).

• Possibly this may not be the only scene of its kind we will see. Possibly the next few may be Drake-centric, since we may actually meet Bianca in a few chapters. But these scenes may definitely have an impact on dialogue later, just like how learning of the assassination attempt in Drake's Italian Restaurant Scene and Eleanor's death in Liam's Fydelia Balcony Scene in Book 2 are referred to later (if bought) in the hospital scene with Constantine.

• In any case, we leave the past in the past (for now), and move towards Valtoria's throne room. Where we meet Penelope, just back from her first canine fashion show, Kiara who tells us she has everything kept under control (you always do boo 😍) and Madeleine who is all up our uterus.

• She mentions King Bradshaw from Auvernal and his "impossible to control" wife, then mentions a Queen Amalas immediately after without bothering to tell us where this person is from. WTF? At least tell me the name of her goddamn country if she's another person!! You'd just have to say Queen Amalas of ChickenFeetonia and I would understand.

• ...you're telling me the Queen of this country (in my playthrough) has barely looked at a map of the place she's ruling or checked out who rules what?? You're telling me that the Royal Communications Director is STILL going to give her a gazillion flash cards to read something that she could sum up in five minutes, at the very last minute? Bitch what have you been doing this entire time? Touching up your manicure??

•

@Penelope: No you're not.

@Kiara: STOP ENABLING HER, KIKI, AND GET YOURSELF BETTER FRIENDS.

@Madeleine: Pls fall on a cactus.

• Madeleine hasn't been here for even five minutes and already I've had enough of her entitled ass. "Little apple gestating in your womb"...just...I can't. Ugh. Get your nosy nose out of my oven!!

• Remember how I told you guys about how apple analogies may be used to denote fertility? (mostly because RoE spoke of this apple cutting ceremony and it was a very obvious indicator towards apple metaphors being used to describe pregnancy and childbirth).

• I facepalmed when Kiara agreed with her but she's also probably thinking "well see this is why they call me the smart courtier. I don't have to deal with this shit anymore and now you do" (she isn't wrong).

• WELL HELLO OLIVIA.

• She informs us that we're expected at the solarium. I have a solarium?

• Apparently it was Mara's honeymoon gift to us. More like her "sorry Bastien and I screwed up last book" gift, I'd say.

• So wait where was this roster Liam was speaking about in the last book's epilogue? I see one Cordonian noble and one Englishman who until my wedding wanted to have nothing to do with Cordonia, and who's now bleating "our country, our kingdom, we're under attack" like a panicking patriotic nanny goat.

• Why can I not see Emmeline here, who is clearly the expert on her duchy? (I mean like. Landon is nice, but I'd really like to see more women in this Council too). Also does Kiara's inclusion into the Council cancel out the presence of her father Hakim, who is a seasoned diplomat and might possibly have some really good suggestions for dealing with these foreign powers (and seriously he'd be a better option than Godfrey anyway).

• Now Esther has a suggestion! Let's see what it is...

• A royal ball, apparently. Which...given the company, I'm sure it probably would be appropriate but I'm pretty sure we'll need to have more than that in place. I'm pretty sure the people in this council should either be finding out whether the person making these suggestions knows anything about these issues or whether she is simply talking out of her ass. This was a problem last book as well. The MC rarely feels the need on her own to explore these situations more, is okay with just learning things last minute and rolling with it and has the same solution to everything. It's either tours or balls but very little actual exploration of the situation. (I mean there is even a point where she barely shows any empathy at Portavira - even though they're still reeling from a bunch of natural calamities - and thinks it's appropriate to tell them to come for her wedding anyway. No wonder Liam panicked and started giving her diplomacy lessons, stat!) I'd actually take the MC seriously if she were doing her research and her suggestions weren't so shallow and one-note.

• Hana is grinning and giving justifications like this suggestion makes sense. STOP. ENABLING. HER. HANA.

• I especially want to know what Liam's experiences with these dignitaries have been. Both last chapter and this one, I'm seeing him in a position where he is defiant and digging his heels into whatever ideas he is having, but I don't know the context yet and would like to make sense of that. From whatever I've read so far...Liam took the year following Leo's abdication to familiarize himself with taking the front seat in negotiations, and probably may have been familiar with this kind of situation and the kind of people involved even before he became Crown Prince. It makes me wonder how difficult negotiating with them has been, and I want to see why Liam is so done with these people, so fed up. We're missing some context here and I think learning at least a little more than these scraps would have been better for everyone.

• I like that they remember Kiara as the only one outside of the charmed six to get a seat in this council (Kiki deserves the best). I also liked how succintly she summed up Drake and Hana's points about what the heightened taxes are doing to the people as "a reminder that we're not just here for ourselves".

• I find the entire idea of Drake Walker being the sole commoner representative in the Council laughable, especially in a narrative where every other commoner barely has a face, hardly has a name, and almost never has a voice. A man who has spent a huge chunk of his life in a palace, and who I've hardly seen even interacting with a commoner in the story...I'm expected to believe he will have great insights on commoner issues?? Even in this meeting, it's Hana who does a better job explaining this situation (she's the one highlighting the tax issues) than he does. Then again this Council also somehow gave a seat to Duke Karlington - a man who literally never had Cordonia's best interests in mind last book, and who only ended up attending our wedding because we had to be brought in as family counselors to settle HIS family disputes (I mean lol Godfrey how can you call this wedding a disaster when it caused you to magically become so "patriotic"!)

For God's sake, I want to see other commoners on this council. I want people who are actually living these experiences highlighting their issues. This is an issue I have with the MC too. She started out a commoner herself a waitress who wouldn't even flinch at the sight of rats in a dumpster. For someone of that background and who has possibly lived under the worse circumstances than some Cordinians themselves, you'd think that she'd have questions and show interest in how the people who aren't owning lands and are regular individuals on the street live their lives, and whether things are okay for them. But she's so immersed in the world of nobility that she rarely ever even tries to come out.

• Before Liam takes into account everyone's points and comes to a conclusion, the MC has the opportunity to give them her opinion. She can either say that we can't trust anyone, which Godfrey agrees with, or that an alliance would be good for Cordonia, which Godfrey views as naive, OR (and I didn't expect to like this response but I actually do) that she's a waitress from the States, and wouldn't know all that much about this situation. To which there isn't much of a reaction as such, but that's kind of what seems different about this book compared to the others.

• Once the meeting is wrapped up, our LI and Maxwell/Hana whisper in a corner about a surprise they have in store, and take us upstairs to show us what it is. If you're marrying any of the other three, Maxwell is the one who has arranged and picked out themes and colour schemes for the nursery. If you're married to Maxwell, Hana takes over this role.

• Ooooh. New (I think!) baby music! Nice. Very lullaby-like.

• Every design has these basic components:

a crib with a pillow (which I think will be updated later)

a couch nearby, likely for comfort when the mother wants to breastfeed (the updated versions seem to have a footrest)

a table with a lamp

three empty frames (also to be updated. I'm guessing for one of those "my first hand/foot impression" kind of thing and maybe even photoshoots etc)

a ceiling lamp/chandelier

a hook, also on the ceiling.

The two updated versions have footrests, updated lamps and ceiling decorations, additional carpet and customized designs (except for the crib and the pictures and the hook, which I think will be updated later). The Royal Glam theme is all reds and golds, very luxurious and very Valtoria. The Fairytale Forest theme has more whimsy, with bears, foxes, leaves, flowers and apples on the wallpaper, wood paneling, a beautiful golden lamp. Very pretty. Both seem to reference the MC's journey in TRR: her being either a Royal and the closest thing to one, and her journey being very fairytale-like (remember, the same logic was used for Hana's "something blue" gift for the MC's - where she views her as Cinderella).

• Only problem is...who exactly buys a nursery before they have a baby! Especially considering how unpredictable pregnancy and childbirth can be.

• We now meet Dr Ramirez for an appointment. I'm not sure about her suggestion that prenatal vitamins etc they will deal with after she has conceived. I know a number of people who did pre-pregnancy appointments and vitamins and folic acid were on the top of the list of things they'd start a routine with.

• As expected, all the appointments go roughly the same, with the usual answers to the usual questions (one about sushi, another about morning sickness and a last one about potential complications). The MC and LI are in the clear, and can start preparing - but apparently shouldn't stress. LMAO. Thank you doctor, I'm sure that will be easy to do in this country 😂

• Hana's goes differently, and it's clear this doctor's visit was primarily written to address her situation with the MC. The tests go differently, the suggestions given to them are different, the questions the MC asks (one about choosing donors, when they should start, and who should carry the child). The bombshell that immediately follows this is:

Wow. Seriously. Wow. You couldn't find a more temporary reason for why the MC has to be the one conceiving? It has to be something that would make her overall ability to conceive almost impossible?? (and this we find after one test? No follow ups?) I recall someone putting up/reblogging these screenshots with a caption about how the narrative pretty much took Hana's entire ability to conceive from her, and it's so true - and so disturbing when you place it in the context of how they've dealt with her issues so far (more on this later).

• In Hana's playthrough, she struggles with implications of this news, but constantly tries to veer the focus back to "well at least one of us can is able to have this baby". Twice, she is shown moving away from her pain to ask about the other possibilities for the MC.

• Anyway...we now move to the next morning, when the couple wake up to bad news - and it's concerning the pictures taken during their honeymoon. Given that Maxwell/Hana is holding a magazine when they tell the MC they found out who was responsible...I wonder if it's one of our news outlets. Or whether it's a foreign media rep.

• So I guess this complicates things at our Ball, since we're already on thin ice and this news would have spread to those other dignitaries as well. So we're going to have to deal with whatever implications come with those pictures (perhaps a spin on the royal gang having fun while Cordonia is in a national crisis? Who knows. It would be hypocritical of Cordonians and people from other neighbouring countries to judge the couple over the babymaking that they themselves were enforcing on these two!)

• In any case...royal ball this week. And in the universe of PB's stories that usually means some shit will go down.

General Thoughts and Observations:

• The funny thing about the MC's responses now is that her heightened position now seems to allow her to get away with a lot more than she used to. Now if she gives a joke response, the media and people laugh with her rather than at her. If she is a diva, the crowd will lap it up. I'm guessing what the book is trying to imply is that these are the people she has won over and doesn't exactly need to worry about, and now the ones she will have to convince are from other, more powerful countries - ready to back Cordonia into a corner anytime.

• As you can tell by now, I absolutely loved the childhood sequences. They sounded like children, most of the narrative lines up with what was already said in the previous series, and there were some interesting narrative devices used here.

• I think the third sequence especially drives home the point about what Liam did right, even as a young boy, and what Constantine refusing to look past Olivia's lineage to see her as an individual could have cost him. Constantine's ruthlessness and lack of genuine care for his bonds/friendships (eg. Hakim) had him in a position where he was unable to relate to anyone beyond his own tiny bubble (even his own wife Regina was taking countermeasures to make the best of his horrid plan), and had him make decisions that did more harm than good. For instance, take what he did to the MC, for no fault of her own other than that he didn't think she'd be a good Queen. Not only was what he did utterly disgusting, but it also would have made his own family a subject of shame in the country (which is why Constantine practically begs her never to expose him, because then Liam would be paying the price). Imagine what would have happened if Constantine didn't agree with Liam and perhaps Eleanor, never brought Olivia to the palace, and Liam had never shown her his constant support. Liam's genuine empathy in this case pretty much ensured the safety of his own line.

• I also love the implications of that sequence. Constantine is so wrapped up in his fear that he tries to break what Olivia considers most precious (Zenobia the sword in this case, but this could allude to her parents' deaths and later, her possible marriage to Liam at his Coronation). Liam attempts to fill that gap by taking her in, caring for her, and giving her the tools to continue being the Lythikos fighter she has always been.

• There are a few TCaTF references in the palace scenes: Maxwell mentions Panrion twice, and Olivia calls her sword "Zenobia" in honour of her historical hero (she still speaks of Zenobia with something akin to worship during the Winter Festival in Lythikos).

• Olivia's dress is also modelled on Zenobia's, with the same colour and bodice embroidery. In fact most of the clothes are very similar to their adult garments: Drake still wears denim, Maxwell favours dark colours (still should have been chubby though), Liam's clothes are similar to his casual wear minus the ascot, and Hana wears pink, with flower designs on the skirt.

• What I like most are the narrative voices for both Liam and Hana, who are the ones narrating these stories, and how rooted in their imaginations the scenes themselves sound. But there are significant, heartbreaking differences in how we see their imaginations play out:

Here are a few samples of narration I've managed to save from Liam's PoV. Notice how Liam and his friends are so into their little game that they find adventure in everything? Notice the language they use to describe themselves and what they are doing? Once-defiant topiaries shaking in fear at their antics. "Liberating" chocolate tarts. "Conquering" the upper floors. These boys are playing out their dreams and showing us the kind of men they would want to be. The heroes. The victors. The ones everyone looks at with awe and reverence.

This is also not a story Liam is creating alone. Drake and Maxwell happily join in, sink into their characters and display their heroics alongside him. Olivia also joins in and holds her own, and when Liam's father tries to break her spirit, Olivia shows Liam her trust and faith in him by using the language of the game.

On the other hand, here is what the narration technique in Hana's tea scene looks like:

There is a lot to unpack here. A lot. There is perhaps more in this one scene of Hana's than there is in all of Book 3, where she was pretty much pushed to the sidelines.

We were told in Book 1 that Hana had to get creative because she wasn't allowed toys. This was told to us in a rather matter-of-fact way, by a person who was normalized in this way of life and who hadn't yet realized just wrong her upbringing was or how damaged her self of self was. It's perhaps easy to forget this bit of dialogue if you were reading it for the first time because at the end of the day it's spoken of without much gravity.

It's when you see it play out in front of you, in little Hana's voice, from an adult Hana who will now view this entire sequence very, very differently, that the tragedy of it all really hits you. At such a young age she is forced to make do with the little she has: the little she has in terms of things to play with, the little she has in terms of relationships. What the MC says after that sequence is half-right, it's sweet how Hana used her imagination in spite of her parents' rules and strict lifestyle. But what that misses is the burden experiences like that would place on a child in her earliest, more formative years. What stand out to me the most in this sequence are these:

- The most obvious: the use of a 'tea party' to teach herself etiquette and diplomacy. In the present, Hana tells the group that "a lot of what I learned about courtly negotiations, I learned from the tea table". This is the level Hana chooses to focus on after telling her tale, to soften the blow of the story itself.

- The fact that despite her mother's treatment of her, Hana still leaves space for Lorelai. Still wants to believe the best of her, still wants her involved in her life. Lorelai denies her her support and comfort, which is the initial layer to her injustices against Hana. In a lot of ways, even now - Hana is still leaving space for Lorelai, giving her chances to improve, trying to educate her on respecting her boundaries better. It's a long, exhausting process, and Lorelai doesn't deserve the many chances Hana keeps giving her, but Hana is also a person who struggles to completely cut off from the people in her life, controlling and emotionally abusive though they may be.

- At the end of the day, the objects she is giving a life and a personality to, are inanimate objects used for other purposes. Not toys, not real friends. Every last one of them. Miss Doily is kind and caring, Princess Sinckerdoodle is jealous and gives a damn about etiquette (I like how you can see allusions there to Olivia and the MC in the Bakery Ball dialogue!). But they're essentially all objects that cannot move the way her narration describes them as moving. Even dolls and toys, inanimate though they are, are made for the express purpose of allowing a child to participate in pretend play. They can be given a voice, their limbs can be moved, the child can easily turn such a space into an active space with the use of her toys. The doily, the napkin, the sock...these are things Hana will have very little actual control over. They will not be able to move the way she wants them to, do the things she wants them to. Everything has to be happening in her head and there is very little outlet for her other than the few things she has at hand (a similar example of of Hana using scraps we will also find in Book 2, where she draws whiskers on a rock to replicate a toy mouse).

Look again, at the differences in the way Liam narrates his tale and how Hana narrates hers. Liam's is also a fantasy, also uses inanimate objects. But supporting him in building this imaginary universe are his friends, and the parents who both don't stop him from immersing himself in this imaginary world, and have a safe normal (for now) life to return to when those "adventures" are over. On the other hand, Hana has to do the heavy work...in every way. She has to imagine not only the background of what is happening, but also what the objects in front of her are like, what they will do, how they will interact with her, how they will interact with each other.

If I had to replicate such a scene into film, the loneliness of this sequence would perhaps hit harder. A large, empty room. A tiny girl. A tea set and several strange items - and none of them actually move. She is sitting alone, in the dim light, in the silence, talking to these objects that will never respond so she pretends they do, just to chase away that yawning, aching feeling of not having a single friend. All she gets in return is silence. All she finds in front of her is space, and more space. The kind of space that could swallow a child in its emptiness.

And in the center, is a seat left empty. For a mother who doesn't believe her daughter is worth the time.

I think there will be very few who will appreciate the strength it takes to survive a lifetime of that, and that's sad.

• The little Hana sequence reminds me of the animated film Cinderella, particularly in how the main character uses dreams and imagination as an escape from her life of drudgery and the abuse she faces daily. Particularly the song "Sing Sweet Nightingale", where Cinderella's dull world bursts into vivid colour through the soap bubbles that emerge from the washing bucket.

It's a beautiful, soft, almost surreal little sequence...but when you strip it all down to its basics, what you're essentially seeing is a woman so abused by her family and so trapped in this life she does not deserve, that she has to grasp at straws to find joy. Or in this case, soap bubbles.

What Hana faces in her home is perhaps a little more similar to Rapunzel's situation in Tangled than Cinderella's, but there are definite similarities in the way both characters use their imaginations to soothe and comfort themselves. She is forced into a situation where her imagination - and these things that can't respond to her - are all she has, and the only ways she can keep herself safe and happy. That's way too big a burden for a child so young to bear.

• I wonder if there will be more than the memories. Perhaps documents, news clippings, research material that the MC can use to dig further into what's going on in this country. It's possible, but it's also possible that memories will entirely be how we unravel this mess. I was speaking to @thefirstcourtesan the other day and she mentioned that Bianca and Bastien would both be pretty good sources for finding out more - Bastien, after all, had a lot of respect for the second queen and was close to Jackson, and Bianca would have heard certain things from her husband or witnessed something at the very least (and if they were friends, that angle too). I probably would add Lucretia and maybe Anton (if we see them and if they cooperate), Bertrand or someone new who knew Bartamely (if we can find out more about the Beaumont house that would be lovely!), the Lees, and...Francesco? (I still haven't forgotten that Bertrand mentioned him as being a friend of Liam's mother). I also want to see what new information Olivia got from the last time she did her research on any hidden deals or laws that could endanger the kingdom. There are quite a few possibilities in terms of what we could find and how it can be presented, so I'm looking forward to that. This scene was a good start.

• Having said that, this was something they should have been addressing the previous book. If they hadn't spent so much of their focus on all the wrong things, we wouldn't have as much ground to cover as we do now. And I'm not sure they've learned their lesson enough that we will not see the same mistakes repeated this time.

• Why is the system in place to inform and update the MC on what's happening so poor this time. At least earlier, we'd have a fairly good idea of what would be happening next, even if some important stuff was done last minute. Now the explanations themselves are poorly formed and done without proper thought on whether the MC/readers might understand what's going on or not. It doesn't look good on the story, nor does it look good on those characters esp the MC. This is stuff she could have maybe gotten away with as a suitor. But now she is Duchess/Queen, and an influential figure. What looked good in her days as a suitor won't look so good on her now.

• The Royal Council could be a way forward - for the nobility and royalty-heavy narrative to something that shows us more perspectives from the people who really form the backbone of this country - the commoners who actually populate Cordonia's lands and duchies, whose hard work likely keeps the economy running. Just one Drake isn't adequate for that kind of representation - not when he very rarely addresses their issues in the first place. Please tell me there will be more in that Council because the Council as it stands is in no way an improvement on the status quo.

• I've said more than enough about how bizarre and downright OOC Liam sounds, but I do think we should not ignore the context - the fact that every single individual involved is making these demands of the MC and expecting her to save their country through her child without really checking if she has basic knowledge or other resources in place (such as information about the rulers she is meeting). That includes the LIs. It's very easy to make just a character or two a convenient scapegoat, but let's not forget that there isn't a single person in this entire narrative that is bothering to examine the implications. Not a single.

• What really got me angry...was the Hana doctor sequence. Maybe two books ago it would have just hurt - but more on the level of "it hurts to see Hana like this but I have hope for her". Hope that she would have the space to grieve something she had lost before she could ever even have it, hope that the narrative would validate her pain and encourage her healing. But I can't even hope for that anymore.

This is a very very painful, complicated situation to put a person in. And yes, sometimes those are things you want to talk about and finding out you can't have children when you've always wanted to have them is a very real, very difficult situation - and there is a lot you can explore in terms of how a person with these conditions would feel. But the thing is...Hana has already been on the receiving end of multiple tragic storylines. I have already seen enough and more of her in pain. What I'm not seeing is a good - or even adequate - payoff that validates her painful journey and allows for a release of those emotions. I'm constantly seeing more tragedy, less triumph. I'm not seeing enough satisfactory resolution to those many many issues, and I've spent three books just watching her hurt be brushed aside both by the people who bully her AND the people who are supposed to be her friends (let's be real, they're doing it even now). And now is supposed to be a good time to pile up another difficult situation on her???

• Whenever Hana has been forced into situations that hurt her, her emotions and thoughts have always been pushed to the sidelines - unless and until it was to elevate the MC to a pedestal in Hana's eyes. Hana has rarely - if ever - been given the space to speak out against injustices done to her, has rarely been allowed to have an opinion on people who have harmed her.

When the narrative should have been validating what Madeleine put Hana through, they opted to create sympathy for Madeleine instead...and had her completely minimize what she did to Hana ("I'm sure Hana will be willing to let bygones be bygones").

When the narrative should have been allowing her to discover what her sexuality was, they opted not to talk about it at all. They opted to make her MC-sexual instead. Even with the "alternative LI" they planned for her (*pukes*), they focused more on Madeleine's feelings than Hana's.

When the narrative should have allowed her the space to explore what her parents did wrong and arm her against their faulty arguments about her being the "delicate flower" who cannot survive without them, the writers opted to push her into a 'solution' that was still centered around her usefulness, not her emotional state. Her 'happy ending' with her parents involves constantly educating them on how to treat her with respect, a suffocating, draining process for a child with her background.

When the narrative should have - at least - given her a good wedding, after showing us what dreams she had for it, a wedding where she was treated like a bride, not a bridesmaid, her writers did exactly the opposite. She is more skilled than the MC yet it is the MC that gets the duchy. She is the creative one who comes up with the polo moves yet it is the MC that gets the credit. She is the one that didn't have a chance to fully plan her own wedding the way she wanted earlier, yet the same MC still treats her like her wedding planner rather than a bride. In not one of these situations is she ever allowed to vent about or even speak of what this is doing to her.

Maybe they will give her a chance to explore this difficult journey, maybe they won't. But how dare they push another tragic, difficult (to her) truth such as this, when they have barely allowed her to voice discontent or pain on a host of other issues!

Piling more pain on top of the pain a character already has, isn't going to make your character better developed. Allowing them the space to feel and show those feelings to others will. Thinking of worthy resolutions to those issues, will. If you want to be fair to Hana, center her in her story. Expand on her origins. Focus on story not skills. And validate her pain goddammit!!

• Sigh. Until next time, folks.

#long post #the royal heir #trh quick thoughts #trh qts #king liam #hana lee #maxwell beaumont #drake walker #olivia nevrakis #trr kiara #trr penelope #trr madeleine #bertrand beaumont

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gorogues · 5 years ago

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belphegor1982 replied to your text post: On the 1st season Rogues - OH THIS, so much this. I remember how freaking EXCITED I was when I reached the Len & Mick episode, with Lisa's cameo at the end - I thought, YES, here are my dudes, NOW we're talking! And then it just... petered out :-/

Exactly. We were all so hyped and things were going great, and "petered out" is precisely the phrase I'd use. Like I said, I wonder if such a big supporting cast turned out to be too expensive or unwieldly -- they probably couldn't afford to sign all the Rogues, even the major ones, to guaranteed contracts to keep them available and ensure the actors are always around when needed, and maybe that was a logistics headache (for example, you write a Rogues script with Axel in it, and for some reason Devon Graye wasn't available so you have to rewrite it). If they said that, I'd accept that explanation. But you'd think we could at least get semi-regular appearances of various Rogues even if they aren't always together in the same episode, and we aren't getting that, so who knows what the reason is.

secondratevillain replied to your text post: Oh gosh I got such a giggle out of some of these :'D I'm having a hard time picking a favourite.

Tyrant Of The Twirly Toys will always be my favourite because it is so ridiculous and would clearly embarrass him :>

smoakiism replied to your text post: felicity calls them all these things

Definitely seems like something she'd have fun with! Cisco too!

ianxfalcon replied to your text post: So... much... alliteration... gahhh

I know, isn't it great? ;D

sammysdewysensitiveeyes replied to your text post: I'll always be annoyed at how the show dropped Hartley like a hot rock. They played up PR about "Look, an openly gay super-villain!" then gave him a half-assed redemption via time travel, and tossed his character out the window. I'm glad they made him good, but there could have been so much more interesting development there, especially seeing his reactions when he and Cisco realized that "Wells" was using them both.

Yes, there's a painful amount of missed potential in him and frankly most of the Rogues. I wonder if they had plans for Hartley after the Flashpoint timeline change but they got dropped for some specific reason, because that is a weird thing to introduce and then forget about. And it's a weird way to handle his redemption, as you say. Very unsatisfying, but at least it sets up potential episodes with him around and helping Team Flash...and then he was forgotten.

waterwindow replied to your text post: I'm pretty sure Batman called Digger an Obscene Outbacker in BATB

I went back and watched it, and you're right! Plus, Kadabra gets called "Most Malevolent Magician" in the episode, so I've added those to the list. Thanks for the tip!

#belphegor1982 #secondratevillain #smoakiism #ianxfalcon #sammysdewysensitiveeyes #waterwindow #words

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drink-n-watch · 5 years ago

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It’s the mid season turn and we got a brand new OP and ED for Dr. Stone! Am I the only dork that gets excited about that sort of stuff? I liked the old OP better, partly because I’m really fond of Good Morning World as a song but the second ED is just so gawsh darn adorable.

In fact quite a few adorable moments this week. This is a good thing. My week was badly in need of some adorableness!

What I thought Would Happen

I must have gotten the match ups wrong last week. I thought that Kinro would somehow loose last minute but Chrome would win his match and Kohaku would come back in time and obviously win over Senku. Then Ginro would win as well and we would move on to semi-finals.

I figured Kohaku would win against Magma and sort of get revenge for his evil plans on her sister. However, I figured Chrome would win over Ginro and then Kohaku would let Chrome have the ultimate victory which would be super cute as love would have triumphed but Kohaku would also have played an important role in keeping her sister safe.

I don’t know, I just really wanted love to win in the end and I thought that was the most direct way to get to it. Of course this was all based on very flawed match up table so forget it…

What Did Happen

Kinro’s righteousness got the better of him and cost him the match but everyone knows who won in spirit. This said Magama won the match which I was expecting. Then Chrome won his own match but not through his own merit, too bad and they basically threw the match so that Kohaku wouldn’t make it back in time. Being mere seconds late, Kohaku still got disqualified making Senku the winner by default.Ginro did his usual comedic relief thing but managed to win his own match as well, even if just barely.

This meant that the semi finals started off between Magma and Chrome. The second half of the episode was pretty much entirely dedicated to this fight. Unexpectedly (at least to me) Asagiri also chose the middle of this battle to make his come back! cool.

What About the Characters

Last week I started this sections off with: “Have I mentioned how much I like Kohaku?” and I was legit about to do the exact same thing. Word for word. We only saw a bit of Kohaku but she showed that her kindness extends beyond her sister. In fact, she was o.k. with loosing the Grand Bout to save a friend. After all, as long as Ruri is alive, Kohaku would keep on fighting for her but if Suika drowned then there would be nothing left for it. I agree with this thinking but I didn’t expect it from Kohaku. She’s not exactly the single minded character we’ve been led to believe she is. She’s more nuanced and sentimental. Awesome!

Like I said, Ginro revert back to the manic comic relief character but I thought it worked better this week. Not because the character was better balanced or anything but because that type of over the top slapstick was better suited to this particular episode than any we’ve seen before. This said, there is much potential for this character to become very annoying very fast.

This being a almost entirely action driven episode, there really wasn’t that much time for character development and that’s fine. we’re at episode 14, we know all these guys pretty well. We don’t need to have a big revelation every week!

What I Liked

I hinted about this a lot but the moment between Kohaku and Suika was just lovely. I got teary eyed. It was just such a sweet display of tenderness between all this fighting that brought a sweet tonal contrast and balanced the episode out.

And you know what, it’s sappy and improbable but I also was pretty psyched that love triumphed. I root for Chrome and his love life. And his victories made me genuinely happy. I still liked my weird and impossible set up better but it was not possible. So this is the next best thing. Heck I even enjoyed the tear lens.

Math montage! I do not know why but montages of really mundane stuff where characters don’t actually do much like thinking, reading. or doing math are one of my fetishes. It’s the weirdest thing in the world. Anyways, there was a math montage. I cheered. I may have also taken a drink. This review is fun, weeeee.

I’m super excited to see Gen again. I honestly didn’t expect him to return so soon but I’m certainly not complaining. I think his presence in and of itself is a good source of conflict for our little group and the potential he brings with him is very promising.

Finally, and this may just be because I’m paranoid, but there was something unsettling about how the episode ended. Like it was too good to be true. If their victory is pretty much assured, then why not just take a few extra seconds to make it official. All they need are basically 3 stills. I think the fact that they didn’t means something. Moreover, Senku is still in the running and he’s the only one we didn’t see fight. methinks something is afoot and that’s interesting.

What I Liked Less

The Chrome Magma Fight may have gone on a touch too long?

Oh I know! Senku was basically just a narrator this week. As in he literally stood around an gave explanatory exposition. Don’t get me wrong, it didn’t in fact bother me much but it’s a touch lazy.

We also didn’t see Ginro at all after his own fight was over. I find his character has not been treated well by the show. He seems mostly utilitarian. It’s unfortunate since the little they did establish is quite different from every other character and if the show paid a bit more attention to him, he would bring something unique to the cast.

Closing Thoughts

So for you guys that have read the manga, does it stay at this level? Cause if so, I have no complaints. There were a few shots in the new OP that looked pretty intriguing too. And did we see Senku’s dad in the ED. I mean we’ve never seen him in the flashbacks and the mom was always with her back to the camera but the dad we saw. And we know he sparked Senku’s interest in science so he must be pretty important to him.

I wonder why Senku hasn’t set out to find him yet. Maybe they had a falling out? This isn’t closing thoughts at all, it’s just rambling. Again I had fun and again I want to see next week!

Mood: Believing in a thing called love

Dr. Stone Episode 14 – Math Montage It's the mid season turn and we got a brand new OP and ED for Dr. Stone!

#action #anime #comedy #Dr. Stone #episodic #science!#shonen

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culturechroniclesblog-blog · 5 years ago

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Welcome to Culture Chronicles!

However it was that you found your way here, we’re glad you’re visiting. We have a lot of lofty goals for this blog, so we think a little orientation might be helpful – not just for you, person potentially reading this, but for ourselves, to lay out a little roadmap for where we’re all headed together on this adventure.

What is Culture Chronicles?

Any good piece of media is a product of what came before it. Many special ones will influence the media that will come after it. We feel that to truly appreciate the art forms we care about – for this blog, film, anime, and television – you have to understand how they fit into the greater landscape from which they came. We also believe that a broad knowledge of a form of media is valuable in making sure we can understand the lineage of the shows we care about. Where would Madoka be if not for Sailor Moon and Evangelion? And so, in the interests of learning more about the things we love and striving to call ourselves more “knowledgeable,” we have given ourselves a LOT of homework.

Who are we?

We are Tim and Rebecca, enthusiastic consumers of media and ardent nerds. We have no special credentials with regards to film or media criticism, analysis, or history other than a strong love for the art and a mind to look for patterns and themes in what we see. Basically, we watch a lot of stuff and we really enjoy talking about it. We enjoy discussing character motivations, plot arcs, and story themes in any good movie, TV show, anime, book, or game that we experience. We also enjoy contextualizing the media we watch in the cultural and historical timeline that produced it, which is what has led us to take on the projects we hope to cover with this blog. We’re not really seeking a dedicated audience – this blog is mostly a place where we can centralize our thoughts on what we’re watching. But if you are interested in media discussion as well, and are intrigued by any of our opinions, then you’re welcome to come along for the ride with us! We’re going to be learning as we go and doing our best to expand our knowledge with every post we make here, so there’s room for lots of growth and mistakes.

Our genres, interests, and writing focuses will have a lot of overlap and we aren’t segmenting ourselves into specific categories, but naturally we have our own styles of writing and analysis that will make us stand out from each other. To give you a head start on what to expect from each of us, we thought it would be wise to introduce ourselves individually:

Tim: Hello all! When it comes to taste in media I tend to be pretty diverse, but I learn towards narrative-driven shows, with a personal taste for psychological & character focused media, more experimental media (particularly in animation), and historical or fantasy works. When it comes to my essays I generally look into how the structural elements of media work (or don’t) to build up character, narrative, and so on, as well as look into the meta-elements of the shows, from the production histories and influences of the creators to discussing questions that shape fandom discourse. I may also have a tendency to write very deep dives into minor aspects of shows that go off on some lengthy tangents, which will hopefully at least be a fun ride.

Oh, and my regular tumblr, if it matters, is @centrally-unplanned

Rebecca: Hi! My media preferences are often very similar to Tim’s, which is why we make such good watch partners. I like plot-driven media, but I tend to value stories focusing on character development just as much as I like those that focus on greater archetypical themes. I also enjoy analyzing things that are considered “Important,” as in movies and shows that are considered classics, canonical, or must-see titles. I like works where I can look for symbolism or a deeper meaning beneath the surface interpretation. In terms of analysis, I’m not sure yet what direction I will take things, but I generally enjoy looking for overarching themes that tie a whole piece together as well as ways that a work of media can be interpreted to apply to my own life or that of other viewers. I hope to apply a sociocultural or lens to some media as it feels accurate to me, or try to view media as a work of Art with a capital A.

How it works

Simple – we watch things, and then we talk about them! We’ll be writing our essays independently, so each post will be tagged either as Tim’s or Rebecca’s. We might agree on an opinion and we might not. We might choose to discuss the show in general, or choose a specific topic to focus on. We’re really playing this by ear. Expect a fluid format and changing priorities as we figure out what things we care about most.

We will have a follow-up post right after this on the big projects we have planned, though sometimes we may just see media and decide to write some essays on those as well. These outlines can ideally help you figure out what kind of things we will be covering.

#anime #film #movies #media criticism #intro post #introduction #hello #welcome #effort post #oscars #disney

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ladyloveandjustice · 7 years ago

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Summer 2017 Anime Overview: Re: Creators

Okay, time to review our next batch of Summer 2017 anime. I watched 7 anime this season. I’ve been ranking them from worst to best. Previously, I reviewed what I considered to be the weakest anime I watched this season. Now that we’ve got that out of the way, we’re getting to anime that...well, kinda sits squarely in the middle of this season’s batch as far as “good”and “bad” go. I have a lot of mixed feelings and a lot of things to talk about. So let’s get down to it! This is a review, so it’s gonna spoil a bunch of things.

Re: Creators

Oh, Re: Creators. What am I going to do with you. You had such good ideas. You could have been so much better than you were.

Which isn’t to say Re: Creators is a bad anime. It isn’t. But it’s kind of in the area of “fine” rather than anything great, mostly because it couldn’t figure out how the execute the very interesting concepts it had going effectively.

Re: Creators was a story about writing itself. Basically, a bunch of animanga, light novel and video game characters were transported to the “real” world by a mysterious woman in a military uniform, who encourages them to take vengeance on their creators who made their lives hell.

Like I said, that a hell of a great concept, and Re: Creators does do some interesting things with it. The show is at its strongest when it’s discussing the struggles of writing and the power of stories. It also does really interesting things with how writing functions in the internet age.

For instance, the mysterious military woman character ends up being a very popular fan creation named Altair. A teenage girl named Setsuna created Altair as an alternate version of a character from a story she liked- essentially she was a fanfic. But then her design went viral and she morphed into a character all her own through the internet.

Since Altair is a collective creation of the internet, basically everything the fans on the internet do with her- all the scenarios, all the music videos, all the fanfic and fanart- is accepted into her “canon” which means she’s infinitely powerful and versatile compared to the other characters because she’s not bound to one author or continuity and is constantly being updated. Basically, she’s Hatsune Miku.

And that’s really cool, and shows a real understanding of how storytelling has morphed thanks to the instant and collective communication the internet has. It also shows the negative side effects has- the reason Altair wants to destroy the world is because Setsuna- the one who had the idea for her first place-was driven to suicide by the cyber-bullying and harassment she got as a writer and artist. So Altair’s here to take revenge for her author.

Again, REALLY cool and impactful concept for a story, something that really cuts to the heart of issues creators face in the internet age. And when it comes down to it I think the main issue of the anime is how it fumbled in telling that story. Basically, they felt the need to filter Altair and Setsuna’s story through the lens of a Bland Male Protagonist and that ruined everything. Setsuna’s story was told the point of view of her male friend who felt all guilty because he got jellus of Setsuna for being a more successful creator than him and stop talking to her and he feels that contributed to her suicide and YAWN I really don’t care about his manpain.

Basically, because of this filter, we don’t learn that much about Setsuna as a person, or Altair’s inner struggle, or the relationship between Altair and Setsuna. This makes the actually-really-cool-high-concept ending to their story have a lot less emotional impact than it should.

Seriously, this show well done and interesting resolution to its central conflict(so cool I screencapped it for imgur to show my gf. You can see it here.) It just...wasn’t built up to properly at all. It’s an ending that depends of Altair and Setsuna, but they were barely characterized throughout the show, so it falls flat- and that’s such a shame, because it is the kind of ending that DESERVES strong characters behind it.

I know it’s very easy to say this is “how I would have written” a story after the fact, hindsight being 20/20 and all, but if I’m going to tell you anyway. I would have written this story from Altair’s point of view. I’d have shown Setsuna’s struggle and her suicide from the point of view of the character she created. I’d have Altair enact her plan to destroy the world on her authors behalf, but at the same time she’d be using it as an opportunity to find out more about her author’s life.

She’d spefically attack Setsuna’s friends and loved ones who abandoned her and demand to know why they did what they did to her creator. Rather than it just be one boy manpaining over everything, I’d make it so Setsuna had a couple different writer friends and family members who treated her badly due to jealousy or insecurity over her success, and Altair’s encounters with them, where she used their favorite characters to bring them down, would have been central to the anime.

The story would have been so much more effective if it had actually focused on the characters who were at the center of everything. Instead it just ended up being a show with really good concepts and cool meta shit, but one that didn’t use it’s full potential in executing those concepts, and kind of threw the concept of “characterization” in the trash.

The show has a lot of meditative thought on writing, from the dark side of it- the struggle, the tears, the weird relationships creators have with fans- to the positive impact and powers of stories. “A story has the power to save someone” was a line in the show. As a writer I found it all very moving.

Unfortunately, though, as good as Re: Creators is with concepts- as good as it is when it comes to how it TALKS about characterization and writing and all that, the writing and characters on the show are actually pretty weak. It’s kind of hilarious that a story about the power of writing, a story that does this whole spiel about how the audience needs to be invested in a story for it work....also forgets basic things like “show, don’t tell” and “don’t include more characters than your story can handle” and “carefully build up your character arcs”.

This is an anime that would have benefited GREATLY from having less characters. We’ve got a huge sprawling cast and none of them are developed properly. Altair should have been a great character, but up until the very last episode she was basically a very 2D villain, alternately stoic or cackling, only to suddenly have this emotionally moving finale which would have been way more effective if the show had built up to it properly and explored her point of view more.

The show tended to communicate the character motives, backstories, feelings etc through boring exposition rather than showing them. A good demonstration of this is when one of the characters is making this heartfelt appeal and her writer says knowingly “she’s talking about her dead childhood friend”. OKAY THANKS. WHY SHOULD WE CARE. We don’t know this childhood friend, we don’t know anything about her story. Having a character randomly say “this is Significant” doesn’t make it actually significant.

Honestly it seems such a waste to have characters coming from all different kinds of stories and never showing what their stories they came from are LIKE, aside from a few extremely brief flashes. Ideally, this show would have cut to scenes from their stories, each in a unique art style, and got us involved in where these characters were coming from.

They have characters who TALK about having relationships and feeling all these emotions with these various other characters, but we never see them. One character came from a brutal dark fantasy and is all mad because of that, but the show never shows us a full scene of the story she came from. Who did she lose? What horrible things happened to her?

This really ended up badly hurting the show at a key points- and example is when the main female action hero’s mentor shows up to fite her, it’s supposed to be this big dramatic twist but it makes zero impact because we know nothing about this dude other than she’s mentioned liking him a couple times. The show quickly tells us he feels world weary or whatever and that’s why he’s opposing her and then they have a big fight. But the fight is not going to have any emotional punch if the very REASON for it is just stated hurriedly and randomly at the last second, if this relationship and character have basically no foundation. The anime needs to show the audience actual scenes that demonstrate and build these characters’ relationship, show this mentor character worn getting down by life, at least give us SOMETHING.

If the cast had been cut in half and if they’d given each character the time and care they deserved, this show could have been something really great. But it ended up focusing more on boring government meetings and dull explanations of the battle mechanics.

For a show that focused on writers interacting with the characters they’d written, it didn’t seem to care about its characters all that much when it came down to it. This stung especially because a few of them had some really good potential that was promptly wasted in a needlessly cruel way.

An example of this was the bond between this dark fantasy knight lady (Alicetaria) and a Precure-style magical girl (Mamika). It was one of the highlights of the show for a while and I was pleasantly surprised a show like this was paying so much attention to the friendship between two female characters- then I realized that, the way this show was going, the fact these two characters were getting any attention at all had to be because one of them was going to get killed off so the other character could swear vengeance and yada yada cheap drama.

GUESS WHAT, I WAS RIGHT. And it was even stupider and more manufactured than I expected- Mamika got killed in a totally idiotic way that was the show basically saying “LOOK her magical girl ideals are SO NAIVE she believed she could solve things with friendship and kindness but it just got her BRUTALLY MURDERED” (wow so edgy this has never been done before OH WAIT IT’S BEEN DONE TEN BILLION TIMES will these grown-ass men ever get tired of shitting on shows for little girls for daring to be optimistic and hopeful?)

And the most untrustworthy character on the show just HAPPENED to witness Mamika’s death and then for some reason Alicetaria believed this VERY OBVIOUSLY untrustworthy source when she said it was one of the good guys had killed Mamika and attacked the good guys. It was all so goddamn manufactured and pointless and accomplished nothing.

It led to some storyline where Alicetaria became a double agent and tried to bring down the bad guys from within that ALSO went absolutely nowhere- she didn’t like, weaken their team or get valuable intel or anything, she had no apparent strategy, and the villain knew about her plan the entire time. So she just ended up being killed off like a chump. So, this story about respecting the characters you create...had its character be unbelievably stupid for cheap drama and gave them utterly meaningless deaths. Nice.

Mamika in general deserved a lot better. The idea of a kids show character entering the real world and experiencing shock that things work differently is a cool concept. I liked the scene where Mamika was horrified her attacks made someone bleed because there’s no blood on her show. But I think that sort of story can be told without shitting all over the idealism of kid’s shows. It would have been a much more interesting story if Mamika survived and struggled to maintain her idealism in this harsh world. If it was tested time and time again and she lost hope and broke down and got angry, but in the end realized the world of kindness she wants is still worth fighting for. Killing her off is the absolute laziest way to go about it.

(Also the fact Mamika violently attacked a character who disagreed with her for no apparent reason and this was condemned as if it was something endemic to the magical girl genre made me think whoever wrote that ep had never seen Precure, even though that’s what she clearly based on. Magical girls, especially Precure style ones, don’t attack first and ask questions later. They try to reason with their opponents and don’t fight unless they are attacked or others are attacked. A Shonen hero might respond violently to someone arguing with them/ consider physical fighting the best way to solve a problem, but a magical girl never would. Sorry just a PET PEEVE I had as magical girl fan).

Sigh. I’m glad I watched Re: Creators. It was really moving in how it discussed writing. The ending was very good, even through it wasn’t built up to properly. How it wasted so much of its characters and ideas makes me really sad, but it also inspires me. I want to think of something like these concepts and execute it in a way that satisfies me. And that’s really what Re: Creators was all about- the power stories have to inspire.So while it was a very flawed show I have incredibly mixed feelings about, in a way, it did its job, and I commend it for that.

#re: creators #re creators #summer 2017 anime #anime overview #altair #alicetaria february #magical slayer mamika #setsuna shimazaki #shimazaki setsuna #gifs #this is a LONG post #suicide cw

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brandxspandex · 7 years ago

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How and when did you get into Transformers? What are your favorite characters and pairings so far?

I was always vaguely aware that Transformers existed viacultural osmosis; I saw the toys and car decals and the like around the placeoften enough. When I was a teen I had some friends who were getting into G1,Beast Wars and Armada at the time, and would tell me stuff about it that got meintrigued. The information I got about Armada Starscream was particularlyinteresting to me because this was at the point where I had started to developa fascination with redeemable villains. I saw the first couple of episodes ofG1 with these friends when their older sister took us to her university towatch a screening by the sci-fi club there. It was fricking hilarious; by thescene where some Autobot was rubbing a guy’s back, looking like he was drillinghim from behind, everyone had lost it. I had already lost it by the bit where twoasteroids improbably crashed into each other right near the beginning; for some reason thatwas really funny to me at the time. This was all shortly before the firstBayformers film came out, so I was getting pretty pumped to see it and get aproper introduction to the modern franchise. I went to see the film with the aforementionedfriends, pretty excited to see interesting robot characters embedded infascinating sci-fi space fantasy lore. Then I left having more or less lost myinterest in the franchise.

Seven years later I had another good friend who was gettinginto Transformers who told me some stuff about Transformers Prime and the IDWcomics here and there. It occasionally sounded vaguely interesting but notenough to make me want to investigate it any further. Then that friend hosted amovie night where they insisted on showing the G1 Transformers film, which Iwas actually pretty pumped for because I was keen to relive thatmagical night watching G1 with a bunch of rowdy uni students from all those years ago. Ohboy, the G1 movie did not disappoint on that front. Everything about it wasjust a glorious succession of 80s-flavoured wut.My favourite part was how the 80s power ballads were absolutely non-stopthroughout the entire damn thing. Just…glorious.

My friend took my enthusiasm over the utter ridiculousness ofthe film to be enthusiasm for the franchise itself, so they decided to make mewatch Transformers Prime, which I was initially kinda grumpy about because Iwanted to keep watching Space Dandy, but then that first Vechicon appeared and Iwas just “oh well hello there 👀”.Then Starscream showed up with that voice, and those legs, and heels,and claws, and that scene where he transforms mid swan dive, and thoseexpressive animations (which only got better when they started making his wingsemote), and his general ridiculousness interspersed with moments of genuinely cool/terrifyingbadassery and hints of character depth. I loved him. I think I was somewhatpredisposed towards being interested in Starscream from the get go because of theseeds of intrigue that were planted when I was a teen, but even though myfriend told me that this version of Starscream didn’t go through the redemptionarc of his Armada counterpart, he happened to hit pretty much every other villaintrope I loved anyway. Also, he may have remained a villain, but he did havesome interesting moments that suggested that there was more to his character.

Starscream is definitely my favourite character in TFP but Ilove pretty much all the Decepticons. The Autobots are good too, but man, Ilove me dem ‘cons; they look evilly gorgeous, all have magnificent voices, andare all their own special flavour of ridiculous. My favourite stories are usuallythose with complex characters and plots, that stray far away from black andwhite portrayals of morality, but I’ve gotta be honest, sometimes I just reallywant a completely ridiculous, over-the-top tale featuring utterly absurd andnutty villains, and that’s the main button TFP hit for me (that and thosegorgeous robot designs). That being said, like TFP Starscream, TFP itselfshowed a lot of hints at a potential to be more complex and interesting than itwas, which was both super intriguing and super frustrating. Ultimately there area lot of things I loved about TFP, but I could never bring myself to call it a great show overall, because it wastedway too many great opportunities in terms of both plot and character development.If it had taken half of those chances it could have been amazing.

My favourite ship in TFP is Megatron/Starscream, initiallyfor the same primary reason I enjoyed the TFP Decepticons in general - just theridiculous, campy, over-the-top villainy of their dynamic. If you view theirrelationship through a lens of realism, then yeah, it’s absolutely horrendousrather than entertaining, but if you view them as villainous archetypesinhabiting crazy vaudevilleland rather than realistic people, then it takes ona very different flavour. That being said, again there were suggestions of amore complex element to their relationship that once more got me more deeply intriguedwhilst leaving me frustrated at canon’s failure to plumb these depths. I alsoreally enjoyed Knock Out and Starscream’s relationship, although I think I’multimately more interested in it as it as was portrayed in canon, rather thanas a ship. The show itself laid groundwork between Megatron and Optimus that Ibecame interested in when it was explored in fanfic, and I gotta admit thatAirachnid and Arcee’s relationship intrigued me if only for how thoroughlyfucked up it was and how pretty they both were. But honestly, if there’s a TFP shipthat involves Decepticons being ridiculous then I’d probably be somewhatinterested in it.

After I finished TFP I was hungry for more Transformerscontent, which I went looking for on tumblr, and I think that’s how I ended up comingacross panels from the IDW comics. My reaction was pretty much, “Wait, these are the comics? They’re modern?And that’s not edited? That’s actuallyhappening??? What the hell I gotta readthe shit outta these!!!” So I did, and suddenly everything I’d wantedfrom the Transformers franchise since I’d developed my first preconceptions asa teenager was mine. The complex characters, the trippy space fantasy, the deepworldbuilding and lore, it was everything I could have hoped for. What asatisfying experience, my god.

My favourite character in IDW is Starscream, who is also myfavourite Transformer overall now, and with his recent development thatassociation that was implanted in my teenage brain between Starscream andredemption arcs is finally paying off (to some extent anyway). Megatron is alsoespecially interesting to me in IDW since he’s such a multilayered character(even if those layers don’t always synergise as well as I feel they could).Starscream and Megatron’s relationship is again deeply fascinating to me in IDW,although since they’re in what to me feels like a more serious setting I can’tenjoy it so much on the “haha campy villains” level, rather it’s much more about how darkly complex their dynamic is. Megatron’s relationship with Optimusis also especially engrossing to me in this setting since they’re very much anexample of really intense and obsessive arch-nemeses. Speaking of Optimus,whilst I wouldn’t go quite so far to call him a favourite of mine at thispoint, I do like the direction he’s being taken in the comics at the moment, where he’s making really contentious decisions for the greater good.

I would go so far to call Thundercracker a favourite of minethough; not only was he a villain with a redemption arc, but he became anendearing dork with a comical misunderstanding of humanity. I love everythingabout all of those things. I also love his relationship with Marissa; I wouldwatch the hell out a sitcom featuring such an odd couple. I also really lovethe IDW take on Shockwave; most Shockwaves are pretty great, but this one’s reallymessed up backstory, together with his batshit insane plan in Dark Cybertron,made him amazing. Arcee became an unexpected favourite of mine after she calmedthe hell down to become hilariously awkward and matter-of-fact under the pen ofJohn Barber.

Bumblebee and Windblade have also really been growing on melately, largely through their association with Starscream, which has broughtout more and more interesting aspects of their characters. For instance, I lovethe snarky smugness Bee has around Starscream, but I love the fact that he hascome to feel seemingly genuine affection for someone he hated for so long evenmore. As for Windblade, I love how her increasing ruthlessness culminated inthat smirk of approval from Starscream as she laid out her plan to seize Carcer;I can’t get enough of utterly opposed characters who grow increasingly similar(and increasingly close) as they’re forced to work together. Honestly I ship Starscreamwith each of them more and more every time they interact.

So anyway, this has been my backstory episode.

#Transformers #Maccadam #Transformers Prime #Transformers IDW #Starscream #MEGATRON #OPTIMUS PRIME #Knock Out #Arcee #Airachnid #Decepticons #Thundercracker #Marissa Faireborn #Shockwave #Bumblebee #Windblade #asks #Anonymous

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afishtrap · 7 years ago

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(this is a post from a different blog, from several years ago, but since I’m slowly closing down that blog and the post is relevant to some things currently on my mind, reposting here for posterity)

Recently I followed a link over to the ferretbrain, a review-site from a group of Brits, with a focus mostly on SFF (fiction and games) but with occassional forays into romance, history, and other fiction genres. After reading (and being generally pretty impressed by) the original review linked to, I started following links within the site, and ended up on a DNF review for Cassandra Clare's first book.

Now, the disclaimer here is that I've not read it, and had no interest in reading it, and that for the most part, whether or not Clare's fiction is any good -- as an objective value -- is pretty much irrelevant to what I'm about to say here. She's getting mentioned only because that review discussed her work, and more specifically highlights a pattern found in a broader scope of works. The reviewer seems to me to be pretty fair about the fact that the work is ostensibly a rewrite of a Harry Potter AU, observing that:

...there are three possible attitudes, or at the very least a spectrum with some definable stopping points on it: 1) Fanfic is art, man, art and there is ultimately no difference between If You Are Prepared and Bleak House. They're both pretty damn long for starters. 2) Fanfic is like original fiction but not as good, and is basically written by people who can't get their own stuff published 3) Fanfic is entirely different from original fiction Since the first one is clearly non-viable, and the second is actively rude, I subscribe to the third. Writing for fans and writing for publication is vastly different, and to assume that the one aspires to the other is rather to miss the point (and, arguably, the pleasures) of fanfic. Even so, I would have thought the gulf between fanfic and original fiction to be eminently jumpable. I mean, the ability to string a decent sentence together is a transferable skill, right. Right?

From there the reviewer considers the specific story, the characters, per the usual review.

What crystalized things for me was the reviewer's explanation about where she stopped reading. Thus far, the basic plot has been protagonist meets demon-hunter, hijinks ensue, and shortly after that (maybe 60 pages into the story overall), the protagonist happens upon this young demon-hunter while he's alone in a music room, playing the piano.

Up to this point, the demon hunter has been

...rude and snippy, so it's clear that this little scene is meant to show us a different side of him but character revelation scenes only function when you know the character well enough to experience it as a revelation. This is just ... information, excessively presented. It's like being hit over the head with a neon sign saying: "you should fancy this character now." And for the record, he's a demon hunter, not a concert pianist so there really is no reason to have that scene there except as drool-footage. [...] What the scene did for me ... was exemplify the subtle sense of wrongness I'd been getting throughout the previous 62 pages. Essentially [the book] reads like fanfic - and I don't mean that as kneejerk indicator of poor quality, I mean that it reads like something constructed for a different purpose, functioning on a different ruleset... The scene of Jace/grand piano has utterly no resonance for the reader because, well, partly because it's rubbish and partly because no time has been given to properly establishing the character so it's essentially meaningless, but mainly because it has no real sense of its place in a connected, developing narrative.

The reviewer goes on to suggest that fanfiction works on a basis of potential plausibility, that is, giving the reader a situation or behavior not seen in canon that, when argued/presented by a skillful fanfic writer, become plausible (believable) extrapolations of the original character. But this also means paying more attention to the character's actions, mindsets, mannerisms, whatever, both to reinforce the character's shared story-origins -- eg speaking patterns, or facial expressions -- and then to overlay the subtle changes introduced by the fanfic's author.

I'm a visual thinker and more precisely an architectural-engineering thinker, so the best analogy I could come up with for understanding this is to use the idea of renovation a house. (No surprise, eh.) Let's say you want your guest bath and laundry room a bit more efficiently laid-out. This image is a before-and-after, but if all you saw was the second (right-hand) image, it wouldn't be unreasonable to be completely baffled.

There are few landmarks remaining to tell you how you got from where-you-are to where-you'll-be. That's what the gray outlines are doing in the left-hand image; they're acting as "before reminders" so you can see how things have been rearranged. This is exactly how fanfiction works (and especially AU fanfiction): the character's original/canonical state becomes those "shadow lines", which a good fanfic author must reference in some way, to give readers a starting point before the author begins character or story renovation.

Contrast this with looking at the plan for an entirely new-to-you house. It doesn't need to give you a Before, or tell you how this relates to that, because it can exist independently; this applies so long as you were unfamiliar with the original structure and only seeing it now for the first time. In contrast, if you looked at the above plan of a new-to-you house and saw shadow-outlines of the toilet, the bathtub, and the front door in different locations, it would probably throw you off. It would seem out-of-place, and more importantly, unnecessary information. Against the main set of information (black outlines) that you don't know well enough yet anyway, it's nearly impossible to appreciate the changes.

The reviewer called this "blowing the load" but I think it's more that the shadow-lines of past renovations, or the piano playing, are info-dumps that come with intended emotional overtones, and that is the neon sign bonking the reader in the head with: "you should fancy this character now." Or, "you should hate this character" -- but even those two are just the opposite sides of a coin that says, "you should recognize this character." Those shadow-lines allow you to say, "oh, I seeeeeee, that was there, and this is now gone, and this is here when it was originally over there, I see what you did there."

But if you've never bloody well seen the house before, and don't have an intrinsic, visceral understanding of the house from living in it and walking through it, then the moment of "I see what you did there" means little, if anything at all. You won't really get any additional meaning you don't already get just from the basic, unshadowed, black-lined, floor plan.

What fanfiction readers look for, and one of the main rules of good fanfiction (especially AU), is to create that moment of walking through a familiar house, looking at someone's suggested renovation, and making that leap from "what was" to "what it'll be" (when renovation is complete, when story is done). That's where we find the familiarity in fiction (in fanfiction and in ofic sequels), such as when an author intends to shift your perception of a familiar character. This technique is often used in sequels where a former alleged-bad-guy gets his turn at being reformed (or is to be revealed to have not been all that bad in the first place). The author must first lay out the original as shadow-lines, and then write over with the new character-plan.

Again to quote the reviewer:

Scenes of certain characters doing things they never explicitly did in the books (even if this is fucking each other) resonate with you because it feels both novel and familiar ... [Such] scenes require no build-up because the reader already knows the characters being written about. Equally, dwelling on the details, and presenting very visual, senusous scenes, seems less purple than it does when you do it in original fiction because it helps to establish a familiar character in what may be an unfamiliar setting ... Fan fiction, even if you're looking at a 100,000 word AU fic, seems to be all about the establishment of moments, which need not necessarily (and probably don't) exist as part of a continuum of moments. [The result is a book that's] original fiction without the necessary underpinnings, and fanfic without any of the characters you like. Worst of all possible worlds. [emph mine]

By definition, those floor plan shadow-lines get written with a certain amount of "this is important!" from the author, because that's part of the gearing-up prior to the renovation, to get everyone on the same spot on the "before" floor plan. I don't mean a build-up before the scene (to give us a logical introduction to it), but the amount of words given to the scene/moment itself. That's where the "seems less purple" comes into play in fanfiction, because that excessive attention paid to this specific moment acts as both black-outline and shadow-outlines at the same time.

It's a movement that requires your fiction to do temporary double-duty, and is a useful skill when you're writing a sequel and want to tweak the reader's memory without going into a massive info-dump. It's also a hallmark of fanfiction, to tweak the readers on a point (or moment) of original canon, even as you shift the lens a bit to reveal a fuller image.

The problem is if it's the first time you've ever met a character or story, in which case you're getting "this is important!" clanging bells, but you have no basis for what this contrasts with. Now you have two sets of contradictory or near-contradictory information in your head and haven't yet gained the familiarity to distinguish what-was from what-is, let alone to assess the emotional import of either. And that's where the revelation -- because that's really what that moment is, that I see what you did there -- falls completely flat in original fiction.

#analysis is my chocolate cake #half-asleep at the fandom wheel #essay

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gusticeleague · 7 years ago

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With the third season of Rick and Morty on the horizon, and since I don’t think anyone’s done this before, I decided to give my ranking of all the Rick and Morty episodes (from the first two seasons).

My metrics for judgement are as follows: I’m attempting to judge the show purely on its own merits, which each episode being held to the question “is this the show at it’s best?”, which to my mind is a character-driven high concept sci-fi show that actively critiques but never outright condemns the humanist philosophies behind its chosen genre.

I’ve tried to avoid using other shows as a comparison unless it’s to illustrate a point, but in some cases it’s pretty unavoidable when this show unapologetically rips off its plots from movies wholesale. Episodes get more points for good story structure that adds to a good moral, strong critique or parody of an established science fiction trope that is otherwise well explored and strong character development that builds across episodes and firmly establishes a continuity. And when in doubt, it mostly comes down to “which would I rather rewatch if I only had those two competing episodes to choose from?”.

All clear? Alright, without further ado…

The Definitive Objective Extra-Schwifty Ranking of every Rick and Morty Episode

1. Rixty Minutes (S1E8)

Well, what else was it going to be?

What begins as an epilogue to Rick Potion #9 ends up becoming the central thesis for the entire show up to that point, that while the character’s existence isn’t significant on the cosmic scale and Summer’s birth basically creating the entire family was an accident of fate, sometimes seeing things from that perspective makes you realise how miraculous it is that you are here now, and instead of wrestling with your own insignificance and the possibility of “what could have been”, you accept and embrace the life that you have now, for all its faults. That those revelations are paired with the interdimensional TV both builds the tension for how the conflict happening outside of is progressing and relieves it by providing a reprieve from the revelations that happen from it. This episode is the show at its best, and probably one of the best episodes of television period.

2. Meeseeks and Destroy (S1E5)

One of the smartest writing decisions in the show is that it doesn’t do the old domestic magic/sci-fi show trope of having the main character’s adventures kept a secret from the rest of the family or having a convenient reset button at the end of each episode. Instead, it aims to explore the emotional consequences of interacting with Rick’s world, and Meeseeks and Destroy marks a turning point in the show where all of these adventures start to actually matter to the show’s continuity and to the character’s growth. This is actually my personal favourite episode, but I think it’s just shy of being the best for two reasons: the A-plot relies on a reversal of the normal story structure, with Morty leading the adventure instead of Rick so it’s not the most “typical” of the show overall, and the two plots don’t come together as fluidly as they do in Rixty. Still, it’s a very close call.

3. Auto-Erotic Assimilation (S2E3)

Beyond a few references at Beth’s mother and a few (potentially false) memories, we never really get to see how Rick operates in a romantic relationship. So it’s interesting to see Rick at his most vulnerable and with someone he actually has actually has some love for in Unity, the one-who-is-a-million that got away. An emotionally raw story about two people who are good together but aren’t good for each other, paralleled with a B-plot of Summer and Morty learning that given total freedom, humans (well, blue alien people) will undoubtedly give in to their worst impulses. Also, man, that ending is one of the most gut-wrenchingly depressing endings to a show I’ve ever seen, and it lands perfectly. Maybe a little too perfectly.

4. Morty-Night Run (S2E2)

Probably the show’s best straight-forward adventure episode, which helps set up the Galactic Federation conflict that will eventually pay off at the end of Season 2 and is probably the best demonstration of Morty attempting to apply idealistic Earth morality to a more morally complicated universe to which Rick is perfectly adapted. A plethora of memorable characters like Krombopulous Michael and Jemaine Clement’s crooning sentient gas cloud, some excellent psychedelic animation and art direction, and a consistently funny B-plot of Jerry’s time in a daycare full of alternate versions of himself and confronting just how pathetic he is make this episode a real winner.

5. The Ricks Must Be Crazy (S2E6)

This is the best of what I like to call the “nesting doll” episodes of the show, where the adventure is a continuous descent or ascent through several layers of the sci-fi trope of the week. The first two thirds of the episode are a great slow boil before the “oh, shit” moment of the Mini-Verse scientist killing himself, and the final race out of the teeny/mini/microverses, intercut with Summer in Rick’s car is one of the most expertly paced sequences in the entire show. It’s also the only episode that gives Rick a compelling nemesis in the form of Zeep Zanthorp - a being he unintentionally created who is smart enough to challenge him, which annoys Rick to no end. I really hope they bring him back, since Rick is pretty short on compelling enemies (besides the Council of Ricks). Fingers crossed for some car trouble in Season 3.

6. Close Encounters of the Rick Kind (S1E10)

The idea of Rick being the only person(s) able to challenge him could have served to make Rick a little too smug and perfect for his own good, but the Council of Ricks serve as the perfect synthesis and literalisation of Rick’s self-loathing and his detest for sprawling authoritarian institutional bodies. Every alternate timeline/universe/dimension (do they ever settle on one definition? They’re all used fairly interchangeably) strike a perfect balance between absurdist weirdness and incredibly internal consistency, and every rewatch makes you pick up on new details you didn’t notice before. And look, I’m not made of stone, Jerry and Doofus Rick’s friendship is actually quite sweet, and I hope they get reunited someday.

7. Look Who’s Purging Now (S2E9)

The main character throughline of Season 2 is seeing how Rick and Morty start to rub off on each other over the course of their adventures. This comes to a head in this episode as we see how willing Morty is to emulate Rick in his amorality when he goes “full Purge” and how Rick is taken aback by what his grandson could become following in his footsteps while also confronting the limits of his joy/apathy of the bloodshed that ensues from his adventures. It also has the sharpest piece of social satire the show has ever done, where after the newly freed aliens try to rebuild society after the overthrow of their aristocratic overlords devolve into arguing over the division of labour and wind up reinstating the Purge again anyway from the frustration of having to create a functioning society again. Defeatist? Maybe. Hilarious? Absolutely.

8. Rick Potion #9 (S1E6)

Probably the episode that’s most important to the overall canon of the show. It sets the tone for the adventures to follow, gives a true point of no return for the show as a whole, as well as a great deconstruction of status-quo beholden storytelling and the creepy ethics of love potion plots. Had this just been a ranking of season one episodes, it would probably rank higher, but as you can probably tell by this list, the show has definitely topped this one since. I also want to point out just how incredible the show’s art direction and character creation is when it comes to all the varying designs of the Cronenbergs. I really hope the animators got a raise after this episode.

9. Total Rickall (S2E4)

The Thing through the lens of a Community clip show turns into a paranoid existential thriller that escalates perfectly, has an excellent twist that probably ended up ruining a load of friendships in real life and revealed a ton about how the Smith family operates and sees each other. It does test the limit for how many wacky characters you’re willing to put up with, and it can’t really escape the insular insubstantial feeling of bottle episodes as a whole, especially if you buy into the theory that this episode and Morty-Night Run take place in another universe and so it doesn’t really matter to the show’s continuity as a whole. But it give us Mr. Poopy Butthole, so I’m willing to forgive it.

10. Big Trouble in Little Sanchez (S2E7)

This is a tough one to rank, because it has the greatest disparity of quality between the A plot and B plot. Beth and Jerry’s “mythologue” oriented marriage counselling is such a perfect science-fiction idea of making a metaphorical conflict real that it probably had enough to be the plot of the whole episode. Unfortunately, it’s paired with a B plot that tries to do the same thing with Tiny Rick. He’s funny as a visual, but the episode has to go to some lengths to inject tension into the proceedings. Why can’t Rick just stay in his young body forever other than some convoluted explanation about how teenagers push all their bad feelings into the back of their minds and therefore Old Rick will be erased (I think?). I felt it could have used an additional conflict where Rick loses some of his scientific brilliance because of his young brain overwriting his old one, or maybe a better acknowledgement that Summer was the one that pushed Rick into a self-described hackneyed high school plot that even he found too simple a pitch. Still, it cracks the top ten on the strength of the Beth and Jerry plot alone, which I plan to go into more depth about later, so stay tuned.

11. Anatomy Park (S1E3)

There are three inevitabilities in this world: death, taxes and sci-fi shows doing a Fantastic Voyage plot. Rick and Morty’s take is to fuse it with Jurassic Park and also have it be the show’s Christmas episode, which gives us a story which is never dull and has a lot of great jokes (“Oh, never mind, I was thinking of the T. rex”) but doesn’t come together in any interesting way other than the blood raining at the end, which also raises the question of whether the show was planning at this point to keep Rick and Morty’s adventures a secret from the rest of the Smiths. Also, I’m of the mind that Christmas episodes tend to work better when they’re placed later in the show’s run, as all the familial conflicts can play out better when you’ve had more time to get to know the characters and how they became the way they are It’s good, Maybe could have been better had it aired later in the show’s run and the writers had a better idea of what the show’s status quo was.

12. Raising Gazorpazorp (S1E7)

Having an adolescent raise a baby warmonger alien is some great application of science fiction to the mundane, and Morty’s relationship to Morty Jr. yields some touching moments. Tthe gender politics of planet Gazorpazorp feel a bit rote and stereotypical and an excuse to make a lot of obvious “battle of the sexes” jokes, and raises a lot of gripes I have regarding how mainstream science fiction comedy approaches and incorporates women and the feminine into its worlds, even if it does a little bit of softball criticism by drawing attention to Rick’s casual misogyny. Good, but could have been better.

13. The Wedding Squanchers (S2E10)

A great finale that pays off the long-brewing confrontation between Rick and the Galactic Federation, and sets up a lot of interesting developments for Season 3. But as a result of that, it kind of feels a little incomplete in a way that the first season finale didn’t because they knew they were getting renewed.

14. A Rickle In Time (S2E1)

I loved the multiple timeline split-screen bits and Rick explaining at length about how he doesn’t care about Morty and Summer, which sets up what I believe to be Rick’s arc through Season 2 revealing his softer side. But the Beth and Jerry B-plot is basically just trying to give them something to do, doesn’t really contribute any tension to the situation back home and doesn’t tell us anything new about their relationship.

15. Pilot (S1E1)

As pilots go, Rick and Morty’s one is pretty good. It tells you everything you need to know about the scope of the show, its characters and the type of humour you can expect from it. The “Rick and Morty hundred years!” rant is one of the show’s best moments. But it was clearly still finding its voice, and there’s a bit of weirdness in that you think the show is going to pivot the way having the rest of the Smith family not know about Rick and Morty’s adventures, which they thankfully did away with.

16. Ricksy Business (S1E11)

Despite introducing us to Birdperson and Abradolph Lincler, this episode feels kind of unremarkable in retrospect, and ultimately just feels like they threw in all of the ideas they couldn’t fit into the earlier episodes into this one in case they didn’t get renewed.

17. M. Night Shaym-aliens (S1E4)

The second best of the “nesting doll” episodes. The simulations inside simulations are a great Inception riff, even better than their actual Inception parody (more on that in a second). We really get a good look at Jerry’s insecurity and what drives him as a character, and the first real demonstration of Rick’s cunning and preparedness that also helps lay out the cosmic scope of his reputation. However, I don’t find the Zigerian scammers that funny, despite David Cross’ best efforts as the voice of their leader, and they’re a little too similar to the nudist scammer aliens from the first Futurama movie for my liking - the fact that they’re squeamish about nudity had to be a dig at that, surely?. But the overall set-up is solid and seeing Jerry casually strut through a low-res simulation of his life is pretty hysterical.

18. Lawnmower Dog (S1E2)

The worst (or really, the least good) of the “nesting doll” episodes. The direction the Scary Terry plot goes in is unexpected, clever and genuinely touching, but I don’t find the “dogs take over the world” plot that remarkable in any way, especially in comparison to the rest of the show.

19. Get Schwifty (S2E5)

This episode got a lot of shit when it aired, and it’s easy to see why, seeing that it had to follow a hat-trick of three great episodes. It’s a fairly solid Independence Day/Day The Earth Stood Still parody, but it’s definitely the show’s most lazily conceived plot, not to mention that I’m fairly sure that entire sections of the script appear in the previous episodes. That said, the giant space heads are a great visual (and gave us some great meme fodder), and it sets up the endgame of The Wedding Squanchers by reintroducing us to Birdperson and Tammy, if very inelegantly.

20. Interdimensional Cable II: Tempting Fate (S2E8)

On my first watch of this, I didn’t find this episode that funny, and the only TV bit that really made me laugh out loud was “Man vs Car”. The context for the Interdimensional Cable here, instead of being a distraction from the potential collapse of Beth and Jerry’s marriage is them waiting in a hospital for Jerry to recover from a fatal alien illness, which could be a potentially interesting idea if he hadn’t been immediately cured at the episode’s beginning, which immediately sucks all the tension out of the episode. Where the tension in Rixty Minutes (the episode this is self-plagiarising) lies in whether the Smith family will ultimately be broken up for good, this one ends up hinging on...the fate of Jerry’s penis. It keeps trying to ring some tension out of Jerry wanting to feel significant for having saved the galaxy’s answer to the Dalai Lama, and while I like the ultimate lesson that you can’t make people love you, the journey to get there doesn’t really work as well as it could have. They even make a meta-dig at themselves that they can’t improve on perfection, and at that point you kind of give this episode the ranking it deserves.

21. Something Ricked This Way Comes (S1E9)

At its best, Rick and Morty subverts and deconstructs well-worn science fiction tropes and the plots and lessons that tend to play out when played straight, and works best when it incorporates those proceedings with examinations of the American family dynamic and how we fight the daily battle of finding some kind humanist purpose and meaning in our lives in a universe for which that pursuit is bound to end in failure. While this episode has the best Summer plot and arguably the show’s best joke in the form of the Butter Passing Robot, Ricked is probably the most lazily conceived version of itself possible, picks a lot of very easy targets and ends up feeling very bored with itself as a result. While it aims to be an examination of how science fiction stories have replaced or perhaps better refine the old superstitions and morality lessons that horror stories play off, while actively critiquing how similar the two genres are in execution, the actual plot is basically Rick becoming a mouthpiece for how much the writers hate superstitious thinking and going “haha you brought Stephen King to a Kurt Vonnegut/Stanislaw Lem fight, get riggedy-riggedy-rekt son”. The B-plot of Jerry insisting that Pluto is a planet pokes fun at climate change denialism, and while a great demonstration of how facts and evidence have become summarily rejected in political discourse in favour of dogma and superstition, it doesn’t escalate into anything bigger like the best episodes of the show do. Hell, they can’t even agree on what the moral is at the end, and instead just resolve to literally beat up some political strawmen in lieu of actually finding a cohesive message. While that might be cathartic to some, for a show that isn’t content to give its audience easy answers, it’s punching well below its weight.

#rick and morty #rick sanchez #morty smith

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lotrewrite · 7 years ago

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As a comment on the general theme of the moral greyness/quandary of time travel and changing time I think at this stage since we have all the episodes now and can see what has progressed in terms of conversations/themes, we need to be careful about repetition (I mean this for all of us writers, and the people who volunteered to beta). I’ve seen in crop up in a few episodes, so I’ll think we’ll all have to be careful about over-discussion of this and other topics.

Also, a note to all writers, at some point are we dealing with/acknowledging the fallout from Rip’s actions in shooting everybody across time at the start of the season/trauma from being hunted/brainwashed/his actions whilst brainwashed? Not to mention we may need to insert Queen B in a few extra places, since she seems to disappear for multiple episodes at time, and pin down when exactly O!Len joins up with L!Len.

We also need to better balance the character attention since some episodes focus a lot on certain characters and then others get left behind overall (I think pretty much all of us have an unabashed Mick and/or Len bias lol). But these are all things that’ll get sorted out by the next draft. :-)

LOTREWRITE: Agreed on many points! We definitely have some repetition issues and need to hammer out how the character plotlines will develop. I think the only thing that I feel strongly about is that O!Len leaves to join L!Len in episode 16 (the maze) and returns in episode 18 (the republic) because the main purpose of him "leaving" is so that he can learn his lesson about how he's not actually as evil as the rest. (We definitely need more Queen B involvement - I think people ended up dropping her out because they weren't sure if we were using her or Merlyn or what.) Anyway - thank you for the comments! As always, very helpful and insightful!

Anywho:

Episode 13

- There’s a good contrast between Episode 11 and this episode, in that 11 was a quandary about changing something that would have a big effect, and 13 is changing something that would end up having no effect at all. It ties in well with the melancholic ending you’ve set up here – the Legends will be finding that there’s no perfect answer, no certainty, and this is the life they’ve chosen.

- Just a suggestion, maybe finish on a slightly more decisive note than just leaving the team kind of wallowing in their own uncertainty. Like Mick or someone says something like: “Well, maybe that’s why ‘Legends’ have always sounded more right than ‘heroes’.” It also ties in with Sara’s lessons in what it takes to be a captain, Ray’s lesson about what it means to be a true hero and all the messiness that comes with, etc…

- I like the premise overall, and that it’s a new setting entirely instead of the well-known ones that are usually represented (however badly – I’m looking at you, LOT S1 Ancient Egypt…)

- Good point on Ray not being automatically good at researching, that shit takes work

- I like this dark side of Rip (even though torture is bad ofc!!)

- Doesn’t Rip already know that Firestorm can transfuse things, so he wouldn’t be surprised?

- Although I do like seeing Firestorm use this ability, it’s seriously underutilised!

- Love Queen B and Amaya interacting, it’s gonna be so tense :-)

- Do we see Legion!Len’s reaction to Mick at any stage? :3

- I like the idea of Mick having to use his experience as Chronos to treat Rip (I like it on two fronts: firstly, in that it causes my favourite character angst, and two, it gives him a chance to face up to what happened to him and turn it into something useful/positive), although since it was Queen B who did the brainwashing we may need a bit of a handwave on Time Master technology vs magic technique (maybe Mick and Amaya work together on this?)

- I also like that people check in with him afterwards

- Could show a little bit of tension between Rip and the others – Rip because being un-brainwashed is unpleasant, and the others because although they’re glad to have him back, he did a lot of damage when he was under the influence of brainwashing – it also mirrors Mick in season 1 (and it parallels Len’s amputation/Sara’s shooting; both serious injuries)

- On that note I like your point about Rip ‘rejecting family-ish/team dynamic’ contrasting with Mick becoming more accepted/accepting

- Really melancholic ending, A+

- I like the way the Legends get Rip back, I like seeing the Legion concede the planning to Len, Queen B and Amaya potential drama, and the team’s interactions with Mick

- Nice work, thank you!

Episode 14

- Oh god I love this era. Can’t wait for this episode.

- Yep, I like that there’s a conflict in Rip without him realising it yet; he’s verbally relinquished control but still has the knee jerk reaction of needing to be the one who gives the orders. As a suggestion, if episode 13 progresses generally as was set out, you could have Sara still feeling the aftershocks of the uncertainty of the mission and the morals from that episode, and is looking for clean answers, which Rip professes to be able to provide, as someone with more experience. So he says he’s got a plan, and Sara agrees to follow it. He’s offering under the guise of friendship and altruism, but subconsciously he just wants to find his footing again after the Legion awfulness and the role of captain/leader is all he knows.

- I cannot wait for everybody dressed up in Tudor gear. This is gonna be awesome. I can only hope there will be fanart.

- What’s their cover story/way of getting into court? They might be able to sneak in, but going unnoticed might be more difficult given the fact that all those nobles are all basically interrelated lol.

- Maybe at first they could sneak in during a masque! Henry threw those all time, especially when he was trying to impress Anne. And that gives us awesome costumes. Or they can claim to be French relatives of some noble or something, since France was all in fashion then.

- Speaking of, as a suggestion, instead of placing it at a time when Henry and Anne are about to get married perhaps place it at the start of their courtship, making the prospect that Henry will lose interest more easily if Anne and he quarrel since he’ll still have wandering eye syndrome and won’t have been sucked into his creepy version of courting just yet. This makes his attentions to Sara much more pressing, since they can see time already changing the longer the courtship remains uninitiated.

- On that note, whoo boy, Sara is gonna have a helluva time getting him to stop sniffing around her once he’s got the scent.

- Personally I think there’s a line to tread between reminding Rip of the good he’s done and accidentally just enabling his behaviour. There were so many moments in S1 I felt could’ve been improved by Rip just clearly saying ‘I’m sorry, I screwed up, and I’ve learned something from this’ – but instead he reiterates his mission or his lost loved ones and goes doe-eyed and teary and says something like ‘So you see, this is why it’s so important blah blah blah’…he never really says sorry, or at least without adding something on to lessen the blame against him. So I’d like Rip to have an epiphany, and Stein and Ray there to not so much remind him of the good he’s done, but the good he’s capable of doing, if he works with them and understands what it means to truly be part of a team, because that’s what they’ve had to learn too.

- That bit with Legion!Len, Mick, and Oculus!Len is really really really good, I like that a lot

- I can see Mick shaking his head and just being a bit sick of it all at that point, constantly seeing Len everywhere – yeah, he’d wanna burn something

- Frikking love that ending.

- I really like this episode and I’m looking forward to it!

Episode 15

- Oh man I love Hex, I like the idea of opening with him

- I like the suggestion that L!Rip visited him earlier so Hex reacts badly – I think this does several things: 1) it shows that L!Rip wasn’t just hanging out with the Legion, he was an active member while brainwashed and he might not necessarily remember everything he’d done whilst under the influence 2) It gives Hex a good reason to give his friend (whoever it was) the spear piece, once he clicked that L!Rip was evil and looking for it, which leads into 3) it wasn’t just the Legends being unlucky with their timing, there’s a reason they visited Hex and now there’s a lead on reason for why they’re going to NYC

- Good link up with Stein and Lily and his motivation for taking the spear piece for himself

- I cannot wait to see the individual reactions of the team when they’re searching a brothel

- I like the idea of seeing Lily again, she was a pretty cool character and we could always use more women. Also the next episode uses Lily throughout, I’d consider working her into the episode somehow? She could always stay on the ship while the actual riots are ongoing and help coordinate efforts

- I adore the idea of Carter showing up in a past life (but just mind the Irish brogue part…Hollywood has corrupted our accents, as they’ve done with so much. If you want help with the Irish accent/slang part – since dialects differ from suburb to suburb, never mind county – just hit me up, I’m Irish).

- I really like scene 4, very heartache-y.

- Good build up to the riot

- Great interaction between Legion members (nice throwaway line about Merlyn!!)

- I like how Carter seems like less of a dick in this (I confess, I never really liked his character)

- Great escalation to the riot, and showing how easy it is to start and how difficult it is to finish

- Love the show of strength from the neighbourhood, being directed by Mick and Carter

- I like the moments with Ray in this episode – seeing all kinds of heroism, and getting through his residual feelings for Kendra

- I like the ideas for conversations between the crew you’ve had in scene 13

- Overall this episode builds up really well, though from the outline it wasn’t clear what the actual ending of the episode was (I’m sure we’ll see that next round!)

- Thanks!

Episode 16

- I love the idea of this episode

- With Lily, we may need to look at the previous episode to work in a conversation about how she’s an aberration and Stein makes a mess of the explanation, so that she’s still annoyed and upset with him in this episode – Stein’s learned a few lessons along the way, so ‘she’ll get over it’ will probably be said in a pessimistic tone of voice, instead of a dismissive tone

- Some of the characters’ reactions don’t mesh well with what we know now having seen all the episodes together – Ray has already seen lots of kinds of heroism and Rip is learning how to gracefully let Sara take the lead. So instead of being sulky, perhaps they’re willingly staying on the ship? Ray is still trying to figure out how best to be his kind of hero and Rip will be reacting against his instinct to take the reins and will want to give Sara room to work.

LOTREWRITE: This is definitely something we should discuss - depending on where they are in their story arcs, they could be in the middle of the learning process or they could be rejecting the learning process (i.e. depressed at not getting to the end result they want fast enough) But hey, that's why we did draft outlines!

- Love the idea of the hosts obnoxiously reciting the titles!

- I think there’ll be a line to tread between Stein’s development earlier on in the series and this one where he seems to fall back into his privilege/arrogance – maybe play up the Lily+Stein relationship here as his reason? (i.e. he knows the team can take care of themselves, but now his daughter’s safety is on the line and he won’t trust anyone but himself to lead them to victory – which leads to him saying some hurtful/obnoxious things)

- Monty Python reference, love it!!!

- The way Sara, Lily, and Queen B escape is actually so hilarious to me

- I love the idea of a grudging truce between Queen B and the others

- I love trial 4 interactions in particular (small typo lists two trial 4s, I mean the first one)

- Flash museum reference, thank you

- I love the idea of meeting future incarnations of the personas (CC, Heatstroke, MM), but did you mean that they’re actually the police? Is this a comics thing? I’m not sure about the way they’re introduced, it’s a little confusing

LOTREWRITE: I think in the comics they are actually some sort of organized police-ish force? It can definitely be made more clear.

- Good move with Stein and his humble pie, and the Legion abandoning Len

- “What is Batman’s real name?” nice

- (And in my head I immediately heard Mick say: “Who the hell is Batman?”, since I don’t think we have a canonical Batman yet, aside from S1 Rip saying vaguely “I’ve seen dark knights fall and men of steel something something…”? lol)

- I can very much imagine O!Len being disgusted by a cop CC

- I sense that this episode has the potential to be very confusing and could stretch out as quite long, so we’ll have to keep our eye on the pace and editing of it (but that’s what betas and proof readers are for!) - I’d suggest a magic number of three trials before the big finale, just to mind the pace a bit.

- Overall it’s a mega fun, filled with potential episode and I’m really looking forward to it

- Thanks!

Episode 17

- I can’t express how delightful the image of the team taking Jax out for his birthday is to me, especially a team member accidentally flirting with his mother omg

- I have no ideas for potential girl character Jax gets talking to, but I definitely think it should be an Easter egg or something

- I know the Legion are the bad guys, but in honesty the torture scene is just a bit jarring to me, unless we specify who it is – maybe a former Time Master turned Time Pirate that the Legion are interrogating for intel on potential spear pieces? Merlyn always struck me as the resident sadist, I never really thought that Dahrk could be bothered what with his magic, and Queen B can just brainwash people into telling her what she needs.

LOTREWRITE: This is a good point, though I think it might work best if we seeded more references to their cruelty and sadism earlier it would work better than watering the scene down now - Darhk certainly likes killing people just because (in canon it was actually Merlyn who kept trying to make him choose NON-murder alternatives, such as in their bank heist scene), Queen B we can characterize at will, and we know Eobard's a cold-hearted psychopath, so if we play up some of those traits, we can definitely set it up well.

- I can see the Legion turning on Len at the drop of a hat though, yeah, and I like the image of Len running for his life from his former allies

- Oh my gosh they made Jax a cake

- Dibs on Mick making it since he likes sweets so much (“Dude! You made this?” “It was from a box. Don’t get emotional about it.”)

- I love how the Legends are actually having quite a peaceful, happy time of it – meanwhile, the Legion are undergoing civil war lol

- DUN DUN DUN ending indeed!!!

This is getting kind of long again so I’ll cap it and continue onto the next and final part of my commentary, which I’ll get done today or tomorrow. Hope this was okay and I’m not stepping on anybody’s toes or anything. Thanks for all your hard work!!

#commentary #submission #episode 13 #episode 14 #episode 15 #episode 16 #episode 17

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