#people think they know about the characters from what they've read and they don't

[nerdishpursuits]

Sayeth others what they will, I am really enjoying the show. Santiago's face at Pelayo's betrayal is a poem. So was Marta's trying to deny the allegations. Santiago: She's an invert

Marta: Excuse this poor, uneducated man. The linguistic complexities of the Thesaurus Dex are lost on him. What he means is Introvert.

All in all I'm glad Santiago's demise happens the way it does. Karmic justice prevailed in a way that stings worse for him, I think. He bit off more than he could chew, filled with self-importance and secure in his triumph over Marta. Having counted on Pelayo to back him up only to discover he's free-falling, no safety net in sight? Oh, how the turns have tabled, as @midniteowlet loves to say. Could be we have not seen the last of him, though. Alas, mediocre men? Ever their cup overfloweth with confidence. Santiago vowing vengeance even as he's being dragged away by the Civil Guard? Someone failed to understand the assignment, or asses the situation. Damian reaching out to hold Marta's hand as a vow of support and loyalty? Be still my heart, they've come SO far. In my humble opinion, the growth of their relationship has been one of the best written character arcs on the show. Marta & Damian: Dairy? What dairy? He's obviously trying to milk this lie for all it's worth

Santiago: Diary ... D I A R Y

Pelayo: someone take him out to pasture … the inmates work at the dairy farm, across town

As for Pelayo himself. So far, a pleasant surprise, albeit he largely remains an unknown. He signs the business deal without making a fuss. He returns Marta's diary to her, tells her he's not read it and advises her to get rid of it, informs her his reasons for helping her are his own and that he won't ask for favors, especially given men don't count among her tastes? Well. He's been a gentleman so far, noble and altruistic. Remains to be seen if he remains one. It would seem, tomorrow's preview corroborates the theory that Pelayo flies the Rainbow flag too. His 'I prefer to form my own opinions about people ... especially people like the both of us who don't fit the social mores' ... it appears he's confessing something personal to Marta, something that might level out the playing field between them. To me it looks like he's out to gain her trust. For what purpose? Now that's the question.

If he's to become this show's Harry Cameron? I'm not opposed. Marta needs more allies and here's to hoping, as the show progresses, these two end up having a beautiful friendship. It really would be Marta hitting the jackpot in 1958: a sympathetic husband / best friend who ended up accepting her for who she was and a gay business partner / friend. Let's see where it all goes. Presently, he’s definitely trying to curry favour with Marta. For what reason, has yet to be determined. I will say? I am not liking Carmen at all these days. She acts like Tasio's mom, not his wife, as if he were incapable of making his own decisions. She's judging Marta as if she were a stranger and removes any and all accountability from Tasio. I keep repeating myself, but one questionable decision does not a questionable person make. Carmen being such a hot-head about this, while befitting her volcanic personality, is rather disappointing. I know she'll reconsider, but to think Marta is trying to buy Tasio's silence by ceding part of her shares in the company is ludicrous. Marta has always appreciated and supported Carmen within the company, and Carmen has had a front-row seat in witnessing Marta's fairness and kindness, her struggles and triumphs. I really need Fina to talk some sense into her. Volcano vs. Volcano. That ought to be a sight. Might I also hope Marta gives Fina the diary to read before she disposes of it? That they have a heartwarming conversation about it, growing even closer in their love, taking their intimacy to new heights? Because dispose of it she will, I think: sadly, it’s a smoking gun they can't afford.

Short rant long? Alright novelita. Lead the way. Let’s see what else you’ve got in store.

[wellofdean]

Yeah, we just disagree, straight up. I hadn't read foolondahill17's post, and now I have. I can't agree with that either. I think where we differ is in the sense that Cas has any greater degree in culpability about Mary's death than any of them do. They all failed to see how big a problem Jack's soullessness was despite having plenty of cause for concern, because they all loved Jack. No one could have predicted or prevented what happened to Mary, and even for Jack it was an instantly regretted, horrible accident. Neither Cas nor Dean nor Sam is to blame for it in any real way.

Cas not telling them about the snake is, for me, a pretty thin reason to put so much of the blame on him, and I think Dean knows it. Cas apologises for his part in it, but I don't agree that his apology proves culpability, all it proves is that he feels guilty, and Supernatural is the feeling guilty for things that aren't your responsibility olympics. Also, by the end of season 14 they've not just lost Mary, they've lost Jack, too, and that's a blow to all of them, but Dean, for obvious reasons, can't let that in.

I think blaming Cas for Jack and being angry about Jack are easier for Dean than experiencing his grief. At Mary's pyre his face is just cold fury, and that acting choice -- to just look fucking pissed off without the barest hint of sadness -- is telling. Cas leaves because Dean is callous towards him about Jack (understandably!!) and Mary, and even more callous towards Cas about Bel. He excludes Cas from their grief about the loss of Mary, and can't allow grief about what's happened to Jack in (again, understandable that that particular emotional knot is too difficult for Dean to untangle in so short a time!). He can't empathise with Cas about the loss of Jack, and everything about the situation undermines any notion that Jack and Cas were ever 'family', and that hurts Cas in a way he can't respond to except by putting distance between them.

I think Dean's feelings are understandable and I empathize with them. I think his anger makes sense in the context of his character and the devastating situation they are in where they have lost people they loved so much, while battling for their autonomy against god himself. I don't blame Dean AT ALL for not being able to just get over it, but I also don't agree that Cas deserves his anger. I think those two things can coexist. I also think anger is very often Dean's shield when emotions he can't let himself feel, especially in front of others, overwhelm him, and that this accounts for a large portion of the anger he is feeling towards Cas in these episodes.

By the time Cas has come back and they are back to fighting Chuck, he is not interacting with Dean emotionally, he's being pragmatic and interacting with Dean as a soldier. It's why he won't engage Dean in the bunker when he gets back from the Lee interlude (so much more to say there!), and why he uncharacteristically tells Dean not to be so stupid just before they leave for purgatory, and it accounts for his tone when he tells Dean he couldn't get over it. It's cold, yes, but it makes sense for Cas's character. He's there to do a job. I don't agree it's bad writing.

We see it differently, full stop. Thanks for the discussion, though! 🙏���

What you say: The Trap is a dissatisfying episode that presents some questionable narratives about the way relationships and forgiveness should function, and never meaningfully addresses any of Cas’s problems. Instead, it legitimizes Cas’s repeated tendency to keep secrets as a reasonable behavior that Dean needs to get over.

What people hear: Dean did nothing wrong and nothing he ever said about Cas was ever unfair. Cas is entirely and solely responsible for the breakdown of his and Dean’s relationship and Mary’s death is all his fault. Cas should die. Destiel is dead and Cas killed it. I hate him and he smells. Also I killed at least three of your dogs.

[shazzbaa]

Asking the FLoc crayon [neon carrot] bc someone has to.

neon carrot: if you could give them any npc as a spouse, who would it be and why?

THIS IS SUCH A HARD QUESTION.

To address the obvious answer given recent activities: no i dont think he should marry Feducci, but he… might, if given the chance. The man CANONICALLY sent Sam 12 cellars of wine with a note reading "TO PASSIONS UNMATCHED" i dont think anyone can blame him for feeling like they had something special!!!! Feducci seems like he could make him very satisfied intimacy-wise but would also almost certainly Make Him Worse.

Samuel's constant difficulty with Marriage is that he isn't really… romantic in the traditional sense. HE HAS A LOT OF PHYSICAL DESIRE but romance rarely does anything for him outside of stories, and he gets antsy whenever he's locked in to a particular life plan. HOWEVER: he is usually too Catholic(TM) to really embrace a no-strings-attached lifestyle, and his tastes are well outside the typical Veilgarden hookup anyway (one of his most sensual experiences was getting murdered by an actual literal lance through the gut, so…). The real reason he bought multiple viric dreams of the Bishop of Southwark was that he was trying SO hard to Want Marriage, but even with someone so physically intense and driven, that dream of settling down for life isn't what he really wants; he just wants the part where they're wrestling by the fire.

The other complication is that he has finally found partners he can be happily intimate with: Peter and Jack (@little-red-notebook and @reliably-derogaffectionate's characters, respectively), to whom he is essentially a friend with benefits. He was best man at their wedding somewhat wistfully, but since they've both assured him that they still want him involved in their relationship, it feels very easy to be with them; a closeness he wants without the expectations that come with being a Spouse. It's still, you know, making love outside of marriage, but Samuel has never been good at avoiding that, and at least here he knows he's not leading anyone on or cheating on anyone.

An Ideal Marriage for Sam would involve some amount of polyamory to give him room for these inevitable, ah, extracurricular activities, someone that doesn't tie him down, ideally someone he can do physically dangerous things with and, importantly, have sex (these two activities can be combined). But I also think in an ideal world he would have someone who respects his own principles and doesn't try to smother his hope for compassion with duty, which feels like the big sticking point for a lot of the aggressive characters (like Southwark and Feducci) that Sam's attracted to.

I don't remember well enough to say how many of these points she hits, but I keep thinking of the Zubmariner from the Sunken River ES, as someone no-nonsense in a way Sam really respected and found attractive, but who also has people she cares about. She might be too cool to fall for this soggy loser, though, and the chances of her turning out to be a lesbian seem high. (Also Sam left her behind…. that's a choice he regrets, and I kinda wanna replay that story at some point, with the idea of him actually trying to go back for her). But in general, the idea of Samuel marrying a principled pirate where they both know their first love will always be the zee feels like something that could turn out to be a genuinely happy partnership for him. BUT WHO KNOWS maybe in a year I'll come back with a totally different answer I never saw coming.

[miraculouslbcnreactions]

your “sentimonsters vs tropes” post made me realize how sentimonsters don’t work as a metaphor for marginalized people despite what other people say, because even if it was intentional, the show doesn’t acknowledge the fact that the majority of them get killed by the heroes, including Adrien and Felix (who are part of their race). Honestly, it makes me wonder if Miraculous ever did some sort of allegory right at all

(Post in question)

Before we get into it, I wanted to quickly define allegory in case that's a new or forgotten term for anyone as it's hardly common parlance:

An allegory is a narrative or visual representation in which a character, place, or event can be interpreted to represent a meaning with moral or political significance. Authors have used allegory throughout history in all forms of art to illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.

In the linked post, I chastised canon for not using the sentikids to say anything about personhood or self worth. While I stand by that, I will also give canon credit for the fact that sentimonsters as a race are not presented as a clear allegory for anything. The sentimonsters that weren't meant to be equal to humans are just worthless akuma knockoffs created to act as canon fodder. The human-equivalent sentimonsters are basically perfect humans who happen to have remote controls. You are never supposed to think about the implications of that frankly bizarre difference. There is not meant to be a deeper message and that's the right call because, when you look at the setup we just went over, you quickly realize canon didn't set itself up to make the sentimonster race an allegory for anything but eugenics.

While you can argue that canon is eugenics apologia, that is very clearly not intentional. I don't worry about kids walking away thinking eugenics are good because you only get that as a takeaway if you're actively searching for a message in canon's writing. There is no on-screen discussion of which sentimonsters are okay to kill or any other type of blatant allegory for eugenics. If eugenics = good is the intended message, then it's incredibly subtle.

While plot-level* allegory can be subtle, that tends to be rare in family-oriented media as the point of allegory is to convey a message. If no one is picking up on the message, then you've failed to make your point. That's why no one is watching Zootopia or Elemental and walking away asking, "Huh, I wonder what that film was trying to teach kids?"

Miraculous doesn't have anything that stands out as a clear allegory like I'd expect if the intent was to use allegory to teach kids something. I'd normally say that means there was no intentional allegory in the show, but we have straight up insane statements from the writers like this one about the season five final:

In the next scene, we can see Marinette taking the miraculous that have been standardized and industrialized by Gabriel and putting them back in shape. The writers specify that this is a parable about craftsmanship vs industrial production. The miraculous will now be adapted to every person, but we can’t see what they look like just yet! In this new world, the powers are all shared, among people who they trust and know will work for the common good.

Did anyone get this from the show? I certainly didn't. With the writers making statements like this, who even knows what messages they're trying to send. Between this and the reveal that Lila learned about Gabriel by reading Nathalie's lips in the season four final, I've given up trying to figure out what these loons are doing with their wacky storytelling. It's always fascinating to hear them talk about the story they think they've told versus what the average viewer came away thinking. I have never once seen a fan get the Lila thing. Everyone I've seen thought she was just evilly enjoying Nathalie's suffering, but it's pretty clear that the writers are quite proud of this and think it was a great choice! You know what would have been an even better choice? Letting Lila read lips at any point before or even after that scene to establish this is a skill she has. That's basic setup and payoff! Storytelling 101!

*As a quick clarification, when I said "plot-level allegory" that was me trying to find a term to convey the sort of high-level, in-your-face allegory writers use when actively trying to clearly convey a message to the audience. There are lots of works that have no obvious allegory, but actually contain subtle allegory for those who enjoy analysis or a select group that's in the know. Something the author had fun playing with, but doesn't expect the audience to get.

An example of more subtle allegory that comes to mind is The Little Mermaid. There are many valid queer readings of both the original story and the popular Disney film, especially since the book was written by an openly bisexual man after a man he loved got engaged to a woman and one of the movie's producers/major creative influences was an openly gay man. These fact have lead many to argue that the stories were always meant to be about queer acceptance on some level as opposed to the stories simply being ones that can be used to discuss that topic in spite of the author never intending that. (Which doesn't invalidate the value of a reading, btw. As far as I'm concerned, author intentionality only matters in very specific types of discussion. Most of the time, I'm a death-of-the-author girl.)

However, even if the two works are meant to be an allegory for acceptance of "alternate" sexuality, you'd be hard pressed to argue that the allegory is presented in a way that the average viewer is going to get. Everyone gets that Zootopia is all about prejudice being bad. I generally hear Disney's The Little Mermaid described as a silly fairy tale about "a girl giving up everything for a man" even though that's only true for the original story.

[glitter-stained]

Oh and btw fanon =/= fanfic

[longagoitwastuesday]

Kusakabe, dear, you're too beautiful to be saying that kind of stuff

[northwest-cryptid]

Oh shit, fr?

[nicksolemnlyswears]

COMFORT ME, STAY WITH ME

(HAELENA’S TURN)

STAY WITH US

pairing: helaena targaryen x targaryen! reader, aegon targaryen x targaryen! reader

word count: ~3k

warnings: spoilers for s2e2 of HoTD, mentions of murder and death of a child, light cursing, angsty helaena, one single mention of sex. dont @ me if you find a haelena instead of a helaena. targaryen names are much too complicated for my brain

a/n: thank you guys for all the love on aegon's oneshot. i was bouncing on the walls when i saw how much love it received and that some people agree with me in terms of alicent being a shit mom. that being said you dont really have to read the first part to read this. it works as a stand alone although it is a continuation.

although the inspiration to write these oneshots was the death of a child i love how soft and comforting they've come out. it's about sympathizing and giving these characters the love they deserve.

helaena deserves so much love even more than aegon. she's an innocent in all of this trapped in the midst of war. hell even rhaenyra agrees and scolded daemon for his misdoings.

im thinking of writing one last part where it is all three of them together: reader, aegon and helaena. i'm leaning towards smut but i never know what my brain will come up with. if you’d rather have some more domestic fluffy stuff let me know and that can be arranged!

enjoy!

Your fingers close around your skirts as you fly up the stairs to Helaena's bed chambers. One of her maids leads the way. The young girl sought you out as you readied for bed, rambling about how Queen Helaena was in distress. Without further question, you slipped on your robe and followed her.

The Queen has not been well since the night her child was brutally taken from her. She continues to live day by day in constant suffering as her mind has a difficult time coming to terms with that night's events.

As it happens, saying Helaena is 'not well' is an understatement.

She might've been 'not well' after the fact, but the funeral proceedings broke the last thread of sense she was holding onto. If anyone is to blame, it is the Dowager Queen who forced her to attend and Otto Hightower who was the 'mastermind' behind it all.

It was torture to hear the people of Kings Landing shouting for her, screaming vile words about Rhaenyra, and offering condolences about a subject they barely knew a thing about.

Most had never seen the young Prince; his cold body and the gold thread around his neck were their first glimpses of him. They gasped and awed at her child as if he were a spectacle while she had no choice but to sit and watch with composure.

It is only natural she would fall apart under the pressure of such ill-conceived plans. Her overthinking mind couldn't handle it any longer when the carriage got stuck. Her thoughts coming up with the most of wicked scenarios. She had to run.

Then, there is Jaehaera, who continues to ask for her twin brother. The poor girl has never spent a day apart from him since they were conceived. It is difficult for Helaena to hear Jaehaera constantly ask where he is and when he will return. It's a never ending reminder of her loss.

Besides, how is she to explain death to a child when Helaena herself has not accepted it.

The newly assigned guard sworn to protect the Queen opens the door for you as soon as you round the corner. His anticipation worries you to no end, and you fear what lies past those doors.

Maids surround Helaena, attempting to comfort her. She screams at them to let her be, but they persist. The maids mean well. Helaena is clearly distressed, yet they don't seem to realize it's because of their overbearing presence.

The young Queen swats them away. Her fingers thread through her messy hair as she seeks an escape, and sobs rake through her slender body until she collapses on her knees. Her lips move in unreadable murmurs in between each yell.

Helaena barely appears like herself. Dark purple circles line her under eyes, and her hair is unbrushed and knotted. Her signature plump cheeks have hollowed out, indicating that she has lost weight.

"Please," Helaena cries to no one in particular, recoiling from their touch.

You barrel through the maids and kneel on the floor at an arms length from Helaena. "'Laena?" you softly call to get her to look at you, knowing that if you even attempt to touch her, she will shy away.

At the recognition of your voice, Helaena's face whips up. She falls into your arms, hiding from the other females in the room. The tears that stain her face wet your robe as you hold her close. She tucks her face into your neck, hiccuping from emotion.

"Leave us," you command with a stern gaze that borders on anger.

The maids move to leave the room, but only after notifying you that the Queen has barely eaten or bathed in days. Once the door closes shut, you coax Helaena from your arms.

"What is wrong, 'Laena?" You ask softly, cradling her face to brush away her tears. The sight of her red and blotchy face breaks your heart. She must've been like this for a long time.

"It is my fault," she hiccups as new tears follow the path of the others. Helaena hangs her head in despair. She should've fought harder to keep her son alive. There must've been something else she could've done.

"Look at me," you say sternly, forcing her to look at you. It is when her eyes meet yours that you continue, "This is not your fault."

"I was the one to point my finger," she argues while her fists clench and unclench around the fabric of her dress when a new wave of emotion takes over.

Helaena is an overly emotional person. She feels things deep in her chest. She wishes she could control it, but the more she holds it in, the nastier it gets when it gets out of her control. Her body freezes and pleads for her to run and hide.

"Helaena, this was going to happen whether you pointed your finger or not. If you hadn't done what you did, you and Jaehaera would be dead as well."

It's blunt and a bit cruel, but Helaena must understand that she had no other choice. The only way this could've been stopped was if she had been assigned a sworn protector, but the council underestimated their enemy and Ser Criston Cole was too busy getting his cock wet to do anything about it.

"I told them to spare him and kill me instead," Helaena confesses with a weep.

She lets herself go on your shoulder as you wrap your arms around her shaking shoulders. You kiss the top of her head to console her guilty conscience. Helaena did not deserve to be a victim of Daemon's terrible idea. She might just be the most innocent of Targaryens.

"I know, Helaena, you were so brave. You're a wonderful mother. This is not your fault, and nobody blames you. You did what you had to do. Jaehaera is alive and well because of you."

It's hard for Helaena to stop thinking in such a way once she starts. The thoughts cause her to imagine things that aren't really there and doubt her reality. She feels like the staff's glances are not of worry but of resentment for letting those men kill her boy. Aegon's absence makes it all the worse.

"Aegon will not look at me, much less speak to me," she whimpers, wrapping her arms around your waist.

A tear slides down your cheek. You will never compare your sadness to theirs, but seeing them hurt in such a way pains you. Their marriage was arranged, yes, but Aegon and Helaena hold deep affection for each other. They simply have a difficult time showing it.

In this instance, there is no one who understands them better than each other. It is tragic but this should bring them closer together not tear them apart.

"Aegon is grieving. He can barely stand to look at himself because he feels like he failed his family, 'Laena. I promise you he will come around."

Helaena nods with her head on your shoulder. She is not convinced, but your words soothe her for the time being. Tears continuously slide down her face, and there is nothing you can do about it. You much prefer she cries it all out than hold it in.

"Come," you tell her, holding her hand and guiding her to the bath the maids had prepared before they left. "Let's get you ready for bed.”

You keep her close to you, reassuring Helaena you're there to stay as long as she needs. You help her untie the strings of her dress, and as you hang it over the back of a chair, she slips out of her smallclothes.

She accepts your hand to step into the bath. The water has now cooled, but she doesn't complain. It is the least of her worries. Helaena sits in the tub with her arms around her knees and silently cries.

Your goal tonight is to get her to rest. You can tell she hasn't slept in a long time, which will make her feel better.

Settling on the wooden stool next to the bath, you lather soap into the sponge and ask for her arm. Helaena complies, and you gently swipe the sponge across her skin. The maids were thorough as the smell of a calming oils invades your senses. They sincerely wanted to help their Queen.

Scrubbing down her arm, you note her nailbeds, which are red and raw. You're gentle with the soap when you reach her hand to prevent it from burning. Once you rinse it out, you bring her hand up to your lips, kissing her fingertips much like your mother would do when you got hurt.

Her crying calms when she catches onto your gesture, watching you in awe.

It is easy to note how she's thinned out as you continue to bathe her. Her skin presses against her ribs, showcasing each indent, and the bony prominences of her shoulders are much more palpable. It worries you to no end. Everyone has different coping mechanisms, but this is by far the unhealthiest one.

In the morrow, you will make it your goal to get her to eat. For a start, you will ask the kitchens to bake her favorite dessert. There has never been a moment where Helaena has refused a berry tart.

"Tilt your head back for me, love," you whisper, grabbing the pitcher of clean water from the table. Brushing Helaena's hair back, you pour the water, being careful not to get it in her eyes.

As she tilts her head back, she keeps her watchful eyes on you. She is in one of the most intimate positions, yet her lilac eyes reveal the most vulnerable parts of herself. You offer Helaena a comforting smile. Moving on from this tragic accident will be difficult, but we have to start somewhere.

When you lather her hair with soap and massage her scalp, she closes her eyes with a shudder. In turn, her shoulders relax, and goosebumps appear across her skin. A quiet moan slipping past her bitten lips.

Moving on to her face, Helaena watches you closely as you grab a rag to wash her face. You're so careful and tender with her. She has not made mention of it, but your touch feels pleasant against her skin.

You dab her neck next, looking over the wound that was cast upon her. You wish for it not to scar. Helaena needs no more reminders of that night.

After finishing the bath, you help her stand and dry off. Then, you follow her to the bed, where her nightgown lies discarded. With your assistance, she quickly slips it on. Helaena is quiet as she dresses; no more tears well up in her eyes.

"Let's brush your hair," you whisper soothingly.

Delicately, you glide the brush through her silver strands. You tackle the knots methodically to prevent pulling on her hair. A couple of drops of rose oil help greatly with the task as the bristles move smoothly across the long length of her hair.

Helaena sighs softly, and, through the mirror, you can see her eyes are closed. The poor thing must be exhausted.

"How are you feeling?" You ask her, tying the plait you weaved and wrapping your arms around her shoulders. You prop your head upon hers, cuddling her into you.

"Better, I suppose," she nods gratefully, grasping your hand hanging loosely across her chest. "I am tired," she admits.

"Let's get you to bed then."

Before you can slip away, Helaena protests and holds your wrist. "No, please." You're taken aback by the desperation in her voice. Why is she refusing to rest when her body begs for it?

"Helaena, when was the last time you slept?"

Helaena appears guilty. She swallows the knot on her throat, preparing to answer. "Not since that night. The nightmares do not allow me respite."

You sit beside her on the bench, keeping a firm grasp on her hand. "Do you wish to speak about them? It might help."

Her voice is barely above a whisper. "It's always the same. They return when the nights darkest and take Jaehaera."

Helaena is terrified. Many of her dreams have become reality, and this is one she would not be able to bear witness to. The things they do in her dreams are unforgivable. She cannot lose her daughter to those monsters.

Silence takes upon the room. Helaena cannot survive in a sleep deprived state, there must be something you can do. "What if we bring her here? She can sleep with you. That way, you will know she's safe."

Helaena ponders your suggestion, her eyes drifting away. "Will you stay?" Although a question the way Helaena's voice cracks, it's more of a plead.

"Is that what you wish, my Queen?" You ask, caressing her cheek so she returns to you from that faraway place in her mind.

She's quick to nod and squeeze your hand in gratitude. "Please," she whispers, leaning into your touch.

"Anything for you."

Helaena accompanies you to Jaehaera's new chambers. The King saw it fit Jaehaera did not reside in the room where her twin brother was murdered. A wise choice.

If your memory serves you well, Jace used to inhabit the space once upon a time.

Helaena almost runs to her daughter's cot, ensuring she's alive and well. You sympathize with her, it's natural to worry about your child if another was stolen from your life.

"Mama," Jaehaera yawns when Helaena picks her up.

"You're sleeping with mummy tonight, yeah?" Helaena whispers, cradling the back of her head and kissing the crown of her head.

Jaehaera, too tired to reason or even question it, nods and nestles into the crook of Haelena's neck. The sight is eerily similar to that fateful night.

The guard posted to protect Jaehaera escorts you to the Queen's chambers, standing on the opposite side of Helaena's white cloak guard.

Once inside, you slip off your robe and join her and Jaehaera on the bed. The girl is safely nestled between you both, pale lashes fluttering shut.

Helaena reaches for your hand to ensure you do not leave, and you lace your fingers with hers. "Sleep, 'Laena. I'll keep you safe," you promise her.

All it takes for Helaena to sleep is a lullaby your mother used to sing to you. It was of great tales of the people of Old Valyria. It was your favorite growing up, and now it is Helaena's.

By the song's end, Helaena's breaths even out and she succumbs to slumber. Although her face reflects her tiredness, the resemblance between Helaena and Jaehaera is stark.

When your eyes begin to close, eager to follow Helaena and Jaehaera to the land of dreams, the door creaks open. Startled, you sit up on the bed to search for an intruder, ready to scream if need be.

Aegon stands by the door, his chest heaving and his face pale. His hair is in disarray, and his eyes are wild with worry. "Where is Jaehaera?" he asks.

"She's right here," you respond, lowering the sheets and moving your body to reveal her resting upon Helaena's chest.

Aegon sighs in relief, and after a moment of hesitation, he timidly steps closer to the bed, observing the scene in front of him. He has taken to visiting his daughter's chambers throughout the night. He doesn't trust the guards, even if he is the one who assigned them. Aegon needs to see with his own eyes that his remaining child is alive and not endangered.

He had been frightened when the guard who was supposed to be posted by her door was gone, and worse, so was his daughter. Before he could scream, a maid walked in and, upon questioning, told him Jaehaera was in the Queen's chambers with her mother and the Princess.

You lay back against the headboard and observe him. He sits on the edge of the bed, reaching over you to brush a strand of hair away from his wife's face. Then, his hand lowers as his fingertip traces the slope of his daughter's nose.

"You should talk to her."

Helaena's words are clear as day in your mind. After witnessing Aegon in the same position, you reckon it would be good if they spoke to one another.

"I wouldn't know what to say," Aegon responds with a shake of his head.

"Yes, you do," you insist, resting your hand upon his, which lays on the bed. He glances questioningly at you, silently asking you to explain.

Your voice is light and soft. The last thing you want is to wake Helaena, although your instincts tell you it is doubtful. "Nobody understands what you're going through better than Helaena. She lost a child as well and feels just as hopeless as you do. Talk to her and tell her the words you would've liked to hear."

"It is that easy?" He asks in disbelief with a scoff. He looks at you for guidance. You've helped him more than anyone in the council or his own mother.

"Yes," you chuckle, and he joins you, if only for a moment. "Would you like me to go so you can stay?" You wouldn't want to intrude in a moment that can unite a family yet again.

Aegon shakes his head and urges you to stay abed. "It is alright. I will soon talk with 'Laena."

For a brief moment, Aegon presses his forehead against yours to show his appreciation. He stands with a press of his lips to your forehead and one more glance at his family. "Thank you for everything. I hope one day I can repay you for all your kindness."

"There's no need."

He does not speak but shares a glance that says a thousand words. Aegon closes the door behind him and turns to the guards standing by it.

Their backs visibly straighten when he addresses them. "Under no circumstance are you to leave your post. Your goal is to protect the Queen and the Princesses."

After all, his heart and soul are in that room.

STAY WITH US

came out a little longer than aegon but there was much to do with lovely helaena. queen helaena is a big reason as to why i hate alicent so much. alicent has let her down time and time again. how can she fucking ask helaena not to say anything about her and cole? fuck, alicent, she's not even thinking about that.

did you enjoy this one shot? please don’t forget to like or comment (i accept keyboard smashes, emojis, words of encouragement, praise, virtual hugs and alicent and cole slander) and if you want more of it feel free to let me know!

[docholligay]

Do you think authors sometimes don't realize how their, uh, interests creep into their writing? I'm talking about stuff like Robert Jordan's obvious femdom kink, or Anne Rice's preoccupation with inc*st and p*dophilia. Did their editors ever gently ask them if they've ever actually read what they've written?

Firstly, a reminder: This is not tiktok and we just say the words incest and pedophilia here.

Secondly, I don't know if I would call them 'interests' so much as fixations or even concerns. There are monstrous things that people think about, and I think writing is a place to engage with those monstrous things. It doesn't bother me that people engage with those things. I exist somewhere within the whump scale, and I would hope no one would think less of me just because sooner or later I like to rough a good character up a bit, you know? It's fun to torture characters, as a treat!

But, anyway, assuming this question isn't, "Do writers know they're gross when I think they are gross" which I'm going to take the kind road and assume it isn't, but is instead, "Do you think authors are aware of the things they constantly come back to?"

Sometimes. It can be jarring to read your own writing and realize that there are things you CLEARLY are preoccupied with. (mm, I like that word more than concerns). There are things you think about over and over, your run your mind over them and they keep working their way back in. I think this is true of most authors, when you read enough of them. Where you almost want to ask, "So...what's up with that?" or sometimes I read enough of someone's work that I have a PRETTY good idea what's up with that.

I've never read Robert Jordan and I don't intend to start (I think it would bore me this is not a moral stance) and I've really never read Rice's erotica. In erotica especially I think you have all the right in the world to get fucking weird about it! But so, when I was young I read the whole Vampire Chronicles series. I don't remember it perfectly, but there's plenty in it to reveal VERY plainly that Anne Rice has issues with God but deeply believes in God, and Anne Rice has a preoccupation with the idea of what should stay dead, and what it means to become. So, when i found out her daughter died at the age of six, before Rice wrote all of this, and she grew up very very Catholic' I said, 'yeah, that fucking checks out'.

Was Rice herself aware of how those things formed her writing? I think at a certain point probably yes. The character of Claudia is in every way too on the nose for her not to have SOME idea unless she was REAL REAL dense about her own inner workings. But, sometimes I know where something I write about comes from, that doesn't mean I'm interested in sharing it with the class. I would never ever fucking say, 'The reasons I seem to write so much of x as y is that z happened to me years ago' ahaha FUCK THAT NOISE. NYET. RIDE ON, COWBOY.

But I've known some people in fandom works who clearly have something going on and don't seem to realize it. Or they're very good at hiding it. Based on the people I'm talking about I would say it's more a lack of self-knowledge, and I don't even mean that unkindly. I have, in many ways, taken myself down to the studs and rebuilt it all, so I unfortunately am very aware of why I do and write the things I do most of the time. It's extremely annoying not to be able to blame something. I imagine it must be very freeing. But it ain't me, babe.

Anyway, a lot of words to say: Maybe! But that might not stop them from writing it, it might be a useful thing for them to engage with, and you can always just not read it.

Also, we don't censor words here.

[tanaor]

Want simple tips to heavily improve your skills with character voice??

(📝Note: character voice is the way you convey your character's personality though their pov or dialogue when you write. No two characters speak the same📝)

I speak from experience when I say character voice is hard to get right. Characters, like people, have lots of layers that affect the way they see the world around them and how they interact with other characters. That's why character voice is so important in stories, and why if you write it in a compelling and effective way it will hook people into your story. I hope you learn something new in this post!!

When writing character voice, there's a list of things that you should take into account:

Where are they from? Their past and what they've lived plays a huge part in character voice. Maybe your character grew by the ocean, and so they compare things from the present to the beach, the rocks or the sea itself. You will rarely read about a sailor that is an expert in pants and compares scents to flowers. They might, instead, talk about how a house smells like the wet wood of a ship.

Think about how their personality shapes their language. If they are insecure, they might end most of their sentences with "isn't it?" or "right?" and ask a lot of questions, whereas if you have a confident character, you might find them saying things like "we should do this" or "that will be fun" instead.

What their "lense" is. This is more of an ethic aspect of the character. What have they learn it's okay, and what do they find uncomfortable? Would they find it gross if their friend left laundry on the floor?

Give them special traits (both for dialogue and narration). Maybe character A quotes a lot when they narrate and uses long paragraphs, or maybe B speaks about their past a lot and uses popular sayings. Personally, one character of mine has the tendency to repeat himself when he speaks, as in "yeah, yeah, I'll do it" or "no, no, no. Never" because he is really enthusiastic, and it fits really well with his character.

Pay attention to how they would talk about themselves. Maybe your character doesn't like people to know they're sad because it makes them feel vulnerable, so they will just say they feel annoyed or don't want to talk in that moment. This also means that they will not tell the reader something they are not comfortable saying in the first place.

How is their education? Education is also very important in this context. Did they went to university and have a rich vocabulary and structured sentences, or where they rised in a little farm far from town? You can also play with both a bit: maybe your character did go to university, but maybe they also came from a low income family, and characteristic of both things merge when they talk. Example: long, structured, sentences but a simple and sight forward vocabulary.

That's all for now and happy writing!!

Other tips for writers: previous | next

[chansaw]

i read donald sutherland’s letter to gary ross pleading for the role of president snow and was so struck by his eloquence, wit, and humor. i’m posting it in full below. what a loss </3

Dear Gary Ross:

Power. That's what this is about? Yes? Power and the forces that are manipulated by the powerful men and bureaucracies trying to maintain control and possession of that power?

Power perpetrates war and oppression to maintain itself until it finally topples over with the bureaucratic weight of itself and sinks into the pages of history (except in Texas), leaving lessons that need to be learned unlearned.

Power corrupts, and, in many cases, absolute power makes you really horny. Clinton, Chirac, Mao, Mitterrand.

Not so, I think, with Coriolanus Snow. His obsession, his passion, is his rose garden. There's a rose named Sterling Silver that's lilac in colour with the most extraordinarily powerful fragrance — incredibly beautiful — I loved it in the seventies when it first appeared. They've made a lot of offshoots of it since then.

I didn't want to write to you until I'd read the trilogy and now I have so: roses are of great importance. And Coriolanus's eyes. And his smile. Those three elements are vibrant and vital in Snow. Everything else is, by and large, perfectly still and ruthlessly contained. What delight she [Katniss] gives him. He knows her so perfectly. Nothing, absolutely nothing, surprises him. He sees and understands everything. He was, quite probably, a brilliant man who's succumbed to the siren song of power.

How will you dramatize the interior narrative running in Katniss's head that describes and consistently updates her relationship with the President who is ubiquitous in her mind? With omniscient calm he knows her perfectly. She knows he does and she knows that he will go to any necessary end to maintain his power because she knows that he believes that she's a real threat to his fragile hold on his control of that power. She's more dangerous than Joan of Arc.

Her interior dialogue/monologue defines Snow. It's that old theatrical turnip: you can't 'play' a king, you need everybody else on stage saying to each other, and therefore to the audience, stuff like "There goes the King, isn't he a piece of work, how evil, how lovely, how benevolent, how cruel, how brilliant he is!" The idea of him, the definition of him, the audience's perception of him, is primarily instilled by the observations of others and once that idea is set, the audience's view of the character is pretty much unyielding. And in Snow's case, that definition, of course, comes from Katniss.

Evil looks like our understanding of the history of the men we're looking at. It's not what we see: it's what we've been led to believe. Simple as that. Look at the face of Ted Bundy before you knew what he did and after you knew.

Snow doesn't look evil to the people in Panem's Capitol. Bundy didn't look evil to those girls. My wife and I were driving through Colorado when he escaped from jail there. The car radio's warning was constant. 'Don't pick up any young men. The escapee looks like the nicest young man imaginable'. Snow's evil shows up in the form of the complacently confident threat that's ever-present in his eyes. His resolute stillness. Have you seen a film I did years ago? 'The Eye of the Needle'. That fellow had some of what I'm looking for.

The woman who lived up the street from us in Brentwood came over to ask my wife a question when my wife was dropping the kids off at school. This woman and her husband had seen that movie the night before and what she wanted to know was how my wife could live with anyone who could play such an evil man. It made for an amusing dinner or two but part of my wife's still wondering.

I'd love to speak with you whenever you have a chance so I can be on the same page with you.

They all end up the same way. Welcome to Florida, have a nice day!

sourced from this article

[fiapple]

do i like jason todd? yes, i think about him far too often.

do i think the section of his fan-base who posit storylines, narrative positioning, & other writing choices for him that either aren't present or are deeply mismanaged/inconsistent in-text, & which have already been canonically given to comic-women (while often also being better written) should at least try branching the scope of their reading out a bit? oh, jesus fucking christ, absolutley.

[thethingsiwouldvedone]

I love isekai stories with Reader inserts but 👀👀👀

Readers who the main characters only find interesting because they've completely flipped as a person and just give top energy 24-7 so hard they've lk began to become somewhat of an icon in the kingdom.

Villainous character (isekai'd Reader) who instead of plotting, opts to get drunk with their advisor and knights in the slums. Instead of attending the ball that the main character ends up stealing the spot light Reader is on the other side of the city telling people that they'll give a gold piece for each rotation someone can complete while upside down on their head. (They've got the civilians break dancing in the street while the main characters are lk awkward and bored having no villain to push them all together.) They don't have time to make others' lives messy while trying to balance the shit they end up getting themselves into. Cue scene of black out drunk Reader falling asleep in some random cart (it ended up being up a box), and shipped to a foreign country. Cue traveling crew to panic about the fact they've kidnapped an important figure. Cue Reader slowly putting the lid back on the box much too hungover to deal with anything at the moment.

Shy Meak Prince/ess character(honestly a non royal character would go so hard) (isekai'd Reader) who suddenly begins to go missing every now and again and one day disappears altogether. The kingdom thinks they've been captured or worse but in reality they have a hard time falling asleep and opt to fall asleep next to a creek not knowing that venturing into the forest meant attracting the attention of beasts and monsters that lurked. Is Reader scared, fuck no? This is they're fucking moment, bitch grew up on how to train your dragon, this is their fucking moment. Enter Reader returning after a week. Mostly fine, a few nips, and bruises. Hair a mess and dirt caked but what really shocked people were the not one but two mystical beasts following closely behind them. (Or they just reappear. Nobody knows anything about the beasts as Reader tries to hide their newly made friends from the other characters).

Tailor/Seamstress/or? (Isekai'd Reader) who's blunt as hell and with horrible brain rot from their own world and just opts to not speak in the presence of others. Others think of them as just a wise and mysterious character with an excellent set of skills for design and fashion. Enter the mind reading character who's just absolutely shook about the absolute unfiltered filth that is coming from the reader as they get fitted for an upcoming ball.

[yumeka-sxf]

According to this tweet from Endo, today's new chapter will be the final installment of the "Henry x Martha backstory" arc...and it definitely went out on a high note! The part where Martha meets Henry's wife was absolutely heartbreaking...in particular the below page, starting with an upside down view of the scene, showing how the world is literally warping for Martha, followed by shards and shreds of her various memories with Henry, all the while the "throb, throb" of her heart is overlaying all the panels. Definitely one of Endo's best portrayals of a truly shocking moment.

It's also interesting that we never see Lucia's face, despite her having a big panel when she first appears.

Endo has done this before with other characters, Loid's parents being the other big example. We also never see their faces, despite them appearing several times during his flashback arc.

With the few examples we've had, to me it seems like Endo hides the faces of characters who 1) appear as flashbacks only and 2) who have had a significant emotional impact on the character whose memories they appear in, but at the same time, that character has since done their best to get over the painful memories associated with them. So they basically represent some past trauma for the character (even if they don't necessarily dislike them) but in the current time, they've more or less left that part of their past behind. Hence why their faces are obscured in the character's memories. This is also why I think we'll never see Loid's parents or Lucia's faces outside of flashbacks. This is just my interpretation of course, and I'm curious if there will be more examples in other characters' flashback arcs.

But back to Henry and Martha, I also liked the fact that, despite her broken heart, Martha still saw Lucia as a good person and became friends with her. Henry seems to love her as well. This actually ties back very well to what Martha tells Becky at the end of her story about how dangerous it is to latch onto preconceptions and prejudices without knowing the truth.

In Becky's simple world, she would see Lucia as the "evil seductress who stole Henry away" and Martha has to get him back. But as Martha said, things aren't always that simple and don't always adhere to our preconceived notions. Sometimes things can't end up exactly how you want or expect, so you have to be grateful for what you have and see things as they truly are, despite living with lingering regrets. In fact, this whole speech from Martha at the conclusion of her flashback was extremely deep and profound. Not many people can write both comedy and drama so well, but Endo is certainly one of them.

Also, is this Wiesel's first appearance? Still waiting for the doggy play date chapter with Wiesel, Bond, Max, and Aaron! 🐶

Since it's been so long since I read the first chapter of this arc, I couldn't remember if Martha had actually revealed the identity of her lover in her story, but makes sense that she didn't. I can imagine Becky storming into school yelling at Henderson and causing total embarrassment for all 😅 Funny that she almost guessed correctly though.

I'm surprised we never found out how Martha started working for the Blackbells, but that's an easy enough mystery to solve - she needed work after the wars were over, and being a bodyguard suited an ex-soldier. Also seems like she never told Henry her true feelings either...maybe by the time Lucia died, it was too late and they had both grown somewhat apart by then, and/or they had some additional falling outs about Martha joining the other wars, etc. It just wasn't meant to be and the message of the story was Martha coming to terms with that and being wiser for it.

In conclusion, this was a great arc that really shows Endo's range as a writer who can do both comedy and drama very well. Despite Henry and Martha being side characters, I have a feeling that the struggles they experienced will have relevance later in the series. But for now, I look forward to seeing the Forgers and other characters again (and getting back to the last major uproar of Anya telling Damian about her powers...seems like ages ago, lol). Endo will be taking a well deserved break, so the next new chapter will be on August 19th!

I also have some new posts planned in the coming weeks, so stay tuned for those as well 😀

[obae-me]

I have been asked to expand on the MC with trauma scenarios, and you know what, I need the comfort, so let's do it! (No these are not based on myself, I don't know what you're talking about....)

Also I've seen a ton of people's responses to the last one and just know that I am spiritually patting you all on the head and wrapping a soft blanket around your shoulders.

--

MC with ~Trauma~ PT 2!

Imagine an MC who has been mocked, berated, or criticized for their joys and hobbies. They don't do those things anymore or go to great lengths to hide them.

They never share their writing or their art with anyone. They are surrounded by demons and angels much more talented than them. The thing that they felt they were moderately talented in is below average compared to these beings... Everything they create is hidden in secret digital folders or kept in notebooks under their mattress or tucked in secret spots on their bookshelves.

They never sing or dance or play their instruments. They almost avoid the music room altogether. It's almost too painful for them to think about. If they attend a dance they just stand off to the sides... They don't participate in karaoke. They don't hum to their favorite songs.

They hardly cook, or garden, or read, or edit, or color, or knit, or crochet, or embroider, or anything else that they might enjoy.

Imagine some of the nosier brothers not realizing the pain that hides behind their passions and either playfully spying on them or digging up their secrets. Their hearts are fully destroyed when their human breaks down in tears. Now, every single day, every character encourages them to do what they love and giving them private time and space to do it in a place where they feel safe. They all hope that maybe one day MC will feel comfortable enough to share what they love with them but they will never pry it out of them, and all the while giving them the support they need behind the curtain.

Imagine Satan, Levi, and Mammon grouping together and creating a PowerPoint presentation. With Satan's organizing skills, Levi's technological know-how, and Mammon's morally grey skills of espionage, they gather all the characters together and teach a class on what to do and not to do around MC. Things like having a clear voice in text messages to keep them from having anxiety. Or not slamming doors, not entering their room without knocking, reminding them to drink water, knowing when to give them time to breathe etc. Everyone takes it seriously (some might say too seriously), including Belphie who didn't even sleep for a second during the whole thing.

What about an MC who takes on too much and never says anything about it? At first, Lucifer, Barbatos, and to a lesser degree Diavolo, are pleased that they've found a human with a strong work ethic and a love for responsibility. Little do they know that while part of that might be true, they are doing it because they are non-confrontational, a people pleaser, or try to prove their worth through success (or all of the above). They burn themselves out and forgo their other needs to conserve all their energy for the work that's been given to them, and it's not until it becomes a serious health issue that anyone really notices. They all take a blow when they come to know how much they had been pushing a human beyond their capabilities. So they tell MC to do less, not expecting the human to try and convince them that it wasn't an issue, maybe even apologizing for failing. Now they all have to keep an eye on MC and make sure they don't take things too far, and make sure that MC knows that their worth isn't tied to how much gets done in a day and they don't think of them any less for taking breaks or time for themselves. And maybe they all learn to take care of themselves a little more for it too. Especially one work-a-holic demon known as Pride.

How about an MC that hates the way they look? No matter what that might be. Body size, shape, height, skin-tone, skin-color, scars, blemishes, freckles, etc. What if it was drilled into their head since they were a child that they were not beautiful? What if they can't look into the mirror or take any photos of themselves without feeling sick? How about being around a demon like Asmo? Maybe resenting him, maybe avoiding him, maybe wishing they were like him. It probably would hurt Asmo to see someone hating themselves and their body so intently. Maybe it's because it reminds him of himself. Maybe they both have to sit down and rethink what beauty really means? It's a long process for both of them.

All of them work with the human with their image and not in a shallow way like trying to deny the things they have and who they are. They find ways around pictures, because there are more ways to keep memories rather than selfies and commemorative photos.

Or what if:

Beel: *In MC's room.* Alright, we'll just do some basic stretches.

MC: Okay, just tell me what to do.

Beel: Well, if you want, you can put on some music to make it more relaxing.

MC: Music? *Looks a little nervous.* If you want...

*MC then turns some music on their phone on the lowest setting and sets it on their bed.*

Beel: Um...you can turn it up more than that if you want.

MC: Louder? Really?

Beel: Don't you think it's a little quiet?

MC: Oh...um...okay... *turns it up by one more click.* Is- Is that okay? I can turn it down again.

Beel: *Opens his mouth, confused for a moment before shutting it again. In the quickest second, he's in his demon form.* Who do I need to find?

MC: B-Beel?!

[deramin2]

A Quick Guide To Getting Caught Up On Critical Role Fast

This guide is for people who want the fastest way official to get caught up on all 3 Critical Role campaigns without seeing the full actual play episodes. They're all made so that the AP will still be enjoyable later even if you know what happens. There's no "right" way to get into the series, and already having an idea of what happens can even help make the APs more enjoyable and easier to understand.

Summary:

The Legend of Vox Machina

Crit Recap Animated

Exandria: An Intimate History

Critical Role Abridged

Guide:

Campaign 1:

The Legend of Vox Machina on Amazon Prime is the animated adaptation of C1 by the same creators. Sam Riegel said the creative approach is this was the version in a later play. All the important bits are there, but they get to those moments differently.

The Legend of Vox Machina has 3 seasons out now that cover events up through at least episode 85. A 4th season is in the works and will probably cover the final arc.

Campaign 2:

An animated adaptation for Amazon Prime called "Mighty Nein" is in the works, but not out yet.

Crit Role Animated is an older comedic summary series presented by their Lore Keeper that covers the whole campaign in 10 videos. Great if you want the gist.

It's like a history crash course history video meant to get you curious to learn the full story later. Great way to get a sense of who people are and what they've done. Available on YouTube and their streaming platform Beacon.

Exandrian History Review:

Exandria: An Intimate History is a timeline review of key events in world history, starting from the creation.

It was released before Campaign 3 as bonus content. It represents what the average person in Exandria knows about world history up to that point.

Campaign 3:

Critical Role Abridged is the Campaign 3 AP condensed down into 1 to 1.5 hours. It mostly cuts down combat to the narrated results and reduces table chatter and indecisiveness. It's a great way to experience the full campaign.

Critical Role Abridged is coming out 1 a week at a time on YouTube and 2 a week on Beacon. YouTube is currently up to episode 25. Beacon is up to episode 47. The AP is at episode 109. At some point you'll have to switch to full episodes to catch up.

Wiki:

There's also 2 world-class wikis where's you can look up extensive and meticulously cited information about anything you need. I prefer The Encyclopedia Exandria.

Viewing Notes:

An important thing to know about "continuity" in Critical Role is that it takes a more realistic view of how history is passed down through the ages and even dedicated academics will never know the full story or be fully correct. They know versions colored by in-world biases and lost knowledge.

Which is great for you the viewer because any campaign you comes into, the characters don't know most of what happened in past games. What they actually know will come up in game. The players have above table reactions and some subtle in jokes, but try not to act on meta knowledge.

It's structured a lot like reading one history book and then wanting to go back and read more about past events that set the stage for all those things to happen. They've tried to make it easier to come into the story happening now.

I certainly enjoyed watching the full APs from the beginning, and I think you can get a deeper understanding of the story from them, but it takes thousands of hours to catch up on the story that way and it isn't realistic for everyone. Each series builds on the consequences of past events more than they rely on unexpected twists, so already knowing what happens just helps you notice all the little things that led to them. Similar to how Shakespeare's plays are often more enjoyable to watch unfold if you already know the basic plot points going into them.

Happy viewing, and I hope this helps you or someone you know get into this very rich and interesting story!