#that’s why they’re all these like fantasy epics

[astrababyy]

Tamlin and Nesta for the character bingo!

tamlin and nesta in order :DDD

[dinarosie]

If you're a Snape fan, you've probably had that moment scrolling through some Marauders posts and thought: Did these fans even read the books? Or maybe you've come across those wild comments where Snape gets turned into some kind of full-on villain, while James and Sirius get treated like flawless, saint-like heroes.

It’s like they’re talking about a totally different Harry Potter series! Sometimes, you’ve gotta wonder—do they even know what really happened in the story? Are we even talking about the same James Potter here? And honestly, comments like this kind of answer that question:

A lot of Marauders fans (not all, but definitely some) have no clue what really went down with the Marauders and Snape, who they really were, or what role they actually played in the story.

They’re just here because, let’s be real, the Marauders fandom is super appealing. It’s full of people their age, with tons of fantasy, drama, epic fanfics, hot character fan-casts, tragic love stories, and endless TikTok edits, roleplays, and cosplays. It’s fun, it’s exciting, and it makes you feel like you belong to something special.

With all this awesome fan content, why would anyone go out of their way to actually read the books and face the not-so-glamorous truth? The Marauders in the books are mostly about petty fights, bullying, and not much in the way of exciting, romantic storylines.

And that’s exactly why the hate for Snape has gotten so intense. Snape doesn’t fit the dreamy, tragic aesthetic they’re looking for. He’s basically just there to be the “bad guy,” so they have someone to hate and blame everything on. That way, their perfect heroes get to stay flawless, and Snape can just be the villain in their headcanon.

I have a more comprehensive post here about the (rebranding of the Marauders and, consequently, the need to villainize Snape)

[anim-ttrpgs]

Eureka seems like it could be a cool game to drop players into with some hooks and let them do what they want. Will there be a pre-made setting or something along those lines in Eureka when it's complete?

Sorta but it’ll work a little differently from what you might be used to if you’re used to epic fantasy campaign games like D&D5e and Pathfinder.

Eureka won’t exactly have big setting books the same way that something like D&D does, it just has the one setting as described in the rulebook itself, which is primarily 21st century but can span all the way back to the late 1800s. I can dig up a post about that to link here

As for hooks, we recommend you use adventure modules. Eureka supports a LOT of things, it’s a “toolbox game,” which means that if there’s a situation that can come up during the adventure, the rulebook probably has some advice for what to roll (That’s also why it’s such a long rulebook.) - however, all of these situational considerations are in service to the one main thing: Investigation. Eureka does mystery Investigation really well, which means it does it pretty differently compared to most other games, and the way it does it means that the GM will run into trouble if they try to make everything up on the fly based on whatever random hook the PCs decide to follow up on. They’re going to investigate and find evidence, and if the GM isn’t prepared with cohesive information to give them based on that evidence, then it won’t all come together in the end.

This is not to say that Eureka adventures need to be pre-plotted or railroaded, far from it. What it means is that that hook has to have a whole line attached to it.

A good “campaign” for Eureka will probably last 2-10 sessions at most, and have one or multiple hooks, all of which are related to the same event.

That event will be something the GM has written out in detail and set in stone, which has already happened (or in more advanced cases, is actively happening). Lady Violet killed Colonel Mustard in the study with the candle stick. With that set in stone, you can start sprinkling clues around that they can find that either point to Lady Violet, or help rule out other suspects. You gotta stick with that no matter what crackpot theories about aliens or ex wives the players or PCs might come up with, because if you change it on a whim based on what the players want to be the truth, then previous clues will quickly stop making sense.

To this end, we recommend using prewritten adventure modules, because we know from experience that it’s a lot of work for a GM to make up an event to be investigated that has enough detail for every eventuality. (That’s why they pay people to write adventure modules after all, it’s work, even if it can be fun work.)

Our team plans to support Eureka for as long as is feasibly possible with continual releases of new adventure modules, and we already have four in the works to release with the full game. The beta version of one of them (Horror Harry’s Haunted House) comes free with the name-your-price beta of Eureka on itchio, and two more (The Eye of Neptune and FORIVA: The Angel Game) are available on our patreon.

You can also listen to an Actual Play playthrough of FORIVA: The Angel Game on @tinytablerpg's podcast!

And finally, Eureka is compatible with most other already-existing adventure modules about mystery Investigation, which we have a post about right here

[devildomwriter]

“…Excuse me? You don’t know TSL? And you call yourself a human?! Just how clueless ARE you?! How could you not know?! Just the fact that you don’t know TSL alone is proof that you’ve been wasting your life! So, I’m going to do you a favor and teach you about TSL. Make sure you pay attention! The Tale of the Seven Lords, otherwise known as TSL, is a series of fantasy novels written by Christopher Peugeot. It’s a heroic epic spanning 138 volumes, and it’s the most widely-read fantasy series in the world. There are even theatrical versions, an animated series, and feature films, too. And it’s been translated into a total of 182 different languages. The 1990s theatrical version was an utter disaster, owing to the fact that they added several characters that were NOT present in the original manuscript. At the time I was like, “this producer totally needs to crawl into a hole and die!” But then the 2015 version came out, and it was AMAZING! Better than amazing! If you ask me, it showed that needlessly cramming a female lead in there alongside Henry was a bad idea. That’s not what he needs. What he NEEDS is a friend who really understands him, and the 2015 version proved that.

Also, the most vital element of the story is that each of the Seven lords is so unique. They’re all so interesting in their own peculiar way. That’s what makes TSL so great! The lords are all brothers…the oldest is called the Lord of Corruption. He doesn’t come across as being so bad at first, but he’s always plotting and planning in secret. The second oldest is the Lord of Fools, a scumbag who’ll do anything for money. The third oldest is called the Lord of Shadow, a brooding recluse. The fourth oldest is known as the Lord of Masks. He masquerades as a high-status, upstanding member of society, but underneath it all, he’s an inhumane monster. The fifth oldest, the Lord of Lechery, only ever thinks of sex. The sixth oldest is the Lord of Flies, and he only ever thinks of food. The seventh oldest, called the lord of Emptiness. He’s weird…you never know what’s running through his head! It seems most people like the oldest lord, the lord of corruption, the best. Everyone always talks about how great he is. But not me. I like the third Lord way more. Of course, I like Henry too. He’s the protagonist. He’s almost as great as the third lord. The second Lord is total scum, a hopeless degenerate that leads a life of extravagance and indulgence. He’s always causing trouble for the third lord. He’s got these magical pigs that can give birth to solid gold piglets, and he treasures them above all else. So Henry goes and talks to the pigs, and using his wit and powers of persuasion, he convinces them to leave with him. Then, he leads every last one of them away, and presents them to the third lord as a gift! Wow…I mean, they’re SUCH GOOD FRIENDS you can almost feel it! It’s enough to make you cry! Oh, and then there’s that one really awesome moment when the two of them realize they both like and respect each other, and they high-five! I just LOVE that part, you know? I wish I could have a moment like that. …I wish I could be like the third lord. I may be a recluse like him, but we’re totally different, because he’s got an amazing friend like Henry. Check it out. See that goldfish in the fish tank there? He’s actually named Henry. I love TSL so much that I couldn’t help naming him after the main character. But I cant really high-five a goldfish, can I?

The original author of TSL, Christopher Peugeot, he’s actually a human, you know? That’s why I’m so jealous of you guys. Humans are so lucky, you’ve got subscription services that let you watch your favorite anime anytime, you can go to Akihabara whenever you want… Why do only you guys get to experience all the good stuff? I mean, humans’ whole concept of pleasure originally came from us demons, you know? We gave it to you. So, why can’t we have a little bit of it back now, huh? I mean, I want to be able to go to a Japanese maid café, too. I want to hear the maids welcome me as if I’m the master of the house, and have them draw ketchup hearts on my fried rice omelette, to experience the magic of it all. I want to cosplay as Henry, and then go stand in the center of Akihabara, or maybe that one building in Tokyo that’s shaped like upside-down triangles. And once I’m there, I want to perform Henry’s super-powerful signature finishing move for all to see and say the incantation that goes with it. I want to shout it at the top of my lungs!...Actually you know what? I want to BE Henry.”

— Leviathan’s longest TSL rant (Chapter 1-13)

[leveragehunters]

You are carrying the entire urban fantasy genre on your back. I just need you to know that your mind-blowing settings and worldbuilding in your fics have changed my brain chemistry, and have been formative in how I read fiction in the past few years

That’s all, I just wanted u to know how truly transformative and poignant ur work is 💕

Aww, my zesty lil rat, that is such an amazing thing to say! Thank you so much <3 I’m so glad you like what I write and that it’s had an impact on the way you read.

The truth is, whatever measure of excellence I’ve achieved is owed to the urban fantasy giants on whose shoulders I stand (or, more accurately, at whose feet I prostrate myself) to wave my little fic flag. If you enjoy my stories there’s a pretty good chance you’ll enjoy them even more, since they’re why I love it and why I write it.

So! In no particular order (but roughly older to newer) I give you a list:

The David Sullivan series by Tom Dietz – I think these were my first true urban fantasy. I haven’t read them for a few years (err, decades?) but they are indelibly etched on my brain.

Charles deLint – I have, and have read, everything by him, but my first was Moonheart. His Newford series in particular is grand.

The Bordelands series, edited by Terri Windling– Borderlands is a series of shared world anthologies (as was the style at the time) and a few full length novels, including Finder by Emma Bull and Elsewhere and Nevernever by Will Shetterly. If David Sullivan lured me in, Borderlands was the food I ate that doomed me to dwell here forever.

The Last Hot Time by John M Ford – is this part of the Borderlands series? No. Could it be? Hell yes!

War for the Oaks by Emma Bull (hot damn, this is still one of my faves).

The Book of Night with Moon and its sequels by Dianne Duane

Tanya Huff - The Vicki Nelson series, its follow up Smoke series (vampires in Toronto and Vancouver, respectively), the Keeper’s Chronicles, and the Enchantment Emporium series (again, all her stuff is incredible, just not all urban fantasy)

Christopher Moore - anything set in our current world, particularly Practical Demonkeeping (my first! Got it for two bucks in the bargain bin; it has since cost me several thousand dollars), the Death Merchant Chronicles, Pine Cove series, and Vampires in San Francisco (I mean, it’s all good, but some of it’s not Urban Fantasy.

A Lee Martinez - anything set in our current world (ditto the above, it's all good). Helen and Troy’s Epic Road Quest is my fave.

Tentatively adding David Prill and Bradley Denton, although they're more urban weirdness (maybe magical realism?) than urban fantasy. They were formative, however.  

The John Dies at the End series by Jason Pargin (aka David Wong) (maybe more horrorish than urban fantasy)

TJ Klune – The House in the Cerulean Sea, its sequel Somewhere Beyond the Sea, Under the Whispering Door, In the Lives of Puppets

Anything by Seanan McGuire, but her main series are: October Daye, InCryptid, and Wayward Children. Also, MIDDLEGAME and its sequels. (She also writes as Mira Grant if you want smart scary – start with Feed. So good.)  

[oddlittlestories]

So I have finished season 1 of d20 fantasy high (freshman year).

First of all I am SO sad it was so short. Like the episodes were long, I’m cool there. I’m just sad it only felt like half a season at most. Just as things were warming up it was over.

Moping aside—I LOVED IT I LOVED IT I LOVED IT

I think I’ve said before that it feels like the way I run DnD campaigns but it *does*

Brennan Lee Mulligan is 100% on the side of the players and characters. Like he’s rooting for them 100%

And as things develop it is also clear that this story is built around the characters and not the other way around

Like I totally get why people love actual plays that are Dramatic and Big and Intricate and Epic Fantasy

But I spent most of my time as a player dreaming of a game that was structured around the PCs instead of us just having to play within the DMs world. It’s what I bring as a DM and it’s so the vibe FH gives me.

And it’s improvised! Like I can tell! Brennan Lee Mulligan obviously spends an enormous amount of time planning, it’s true. But when it comes to the moment, if something else is better—he does that!

Generic characters get turned into genuine NPCs. Like. There’s no way that the halfling family were meant to be anything more than a bit part. There’s just not. They remind me at the start of that little Dutch family in the commercial about learning English—the cute, polite ones dancing to the deeply explicit song. And then the players get invested. Ask if they’re gonna make it, if they’re okay, etc etc

And Brennan’s first response has such “that’s not our story” vibes.

And then he rethinks and he brings them back to check on the kids. And at some point he either thought “ooh this is gonna be funny” or “what kind of person would actually go pick up a group of kids fighting a gang to the death in the street?” And he just amps it up to eleven. It’s great.

And that whole halfling encounter leads to the ice cream shop with the super vivid ice cream elemental character. Did Brennan have that character in his back pocket? Possibly. He could’ve developed a bunch of shops in town. But I’ll tell you that I’ve improvised characters that my players found just as memorable. And now they’re going for ice cream again so it’s gonna be A Thing

And then T-Bone, the bouncer! There is no way this character was meant to be anything other than a bit obstacle, and now he works at their school. Because it was important to the PCs. I’ve seen any number of DMs, actual play and otherwise, who shut that stuff down. “Oh no the school isn’t really appropriate.” “You don’t think this will get anywhere with Goldenhorde.” Or finding another job posting to shuttle the character off. But the players want it so the players get it.

And Brennan is constantly throwing out these little details that just beg for character empathy. T-Bone’s sick dog. How the necromancer kid loved his little rat, named himself after emancipation, and wanted so desperately for the cemetery caretaker to like him. Those throwaway lines about Johnny Spells’ gang- “how’s his home life? It’s–it’s bad!” and “yeah they all had names, and backstories [starts listing them off]”

I’ve never seen another actual play where the players and DMs have DnD bits. Where it’s like. Funny but also we’re taking it seriously.

Idk. I’m probably not describing it the best but it’s just exactly how I love to play & run games and it feels so Genuine to my experiences where most actual plays just don’t connect

Also I love love love the characters and story

[artist-issues]

*shrieks into the void*

“Let me free you from having to agree that Dune is a good movie series!”

There’s no emotional depth. The three things you’re supposed to care about, with the characters, in this movie are a) Paul’s family/household, their name and their wellbeing. b) The Fremen, their cause and their wellbeing. c) Chani, Paul’s relationship with her and her wellbeing. But the movies do not display any genuine moments of these characters being relatable or human or empathetic in a way that we can all empathize with. Paul’s interactions with his father before his death are too formal and take themselves too seriously. There’s little to no humor or relaxed moments between them that the casual viewer could relate to before big, dramatic moments ramp up the tension. When everything is solemn and Shakespeare, nothing is impactful or hits you in a real way. It all quickly becomes emotional white-noise, whether the dad is screaming about a assassination attempt on his son or his death is revealed to that son—who cares? Paul and Chani? They have no build-up to their relationship. There’s no reason they should like each other beyond animal attraction. And no audience member can relate to the experience of having supernatural visions about a girl, then meeting her and gaining her trust through pitched combat and ritual training. So nobody cares when he betrays her, no matter how much dramatic music you play. And Paul’s mother’s motives are either unclear or wholly unrelatable, so you don’t care what she’s after or how it will affect everyone else.

The writing lacks pacing. There are barely any jokes or moments of regular, normal conversation. Every single conversation is weighed down by solemn “fantasy culture” references, every single line is burdened by dramatic mic-drop one-liners. Paul and his mother never talk about what they miss about their old planet together, in a normal fashion. That would be the most natural thing in the world, as they travel through the desert.

The villains are shock-jock puppets. You might as well have a clip show of people getting run over by cars or falling off of bridges playing, instead of every scene with Fayd Rautha or any Harkonen, for all that the villains add to the story. They’re just there to be loud, or erotic, or gory—but don’t worry, the movie will play dramatic, chanting music behind everything they do so that you feel a sense of “epic dread” when they’re actually doing nothing intimidating or clever, or scary. They’re just yelling and smashing people. If they twirled their mustaches and “mua-ha-ha-ha’d” they’d at least be a little campy and fun to watch—but they’d be exactly the same amount of ‘effective or interesting in the story.’

It’s all sugar, no nutrients. The sugar just happens to be pretty music, good sound and visual effects, and nice-looking actors & actresses. The message is “power is derived from the successful manipulation of those with faith.” That’s it. That’s awful. That’s an awful message. What am I supposed to do with that information? What am I supposed to carry out of that theater? I’m supposed to start abandoning submission and faith in any higher power or authority, and use those ideas for selfish ambition and control, if I were to listen to Dune.

And don’t tell me it’s profound to take your main character and make him the villain. Boo hoo hoo. That’s not profound, I don’t care if it is Timothee Chalamet. Nobody cared about who he was before he betrayed his girlfriend and seized manipulative power for himself. When Anakin Skywalker falls to the dark side and kills his wife and turns on all the people who looked to him for help? You care. Know why? Because you saw who he was and how he struggled to live up to that, before the fall ever happened. He was a human character with relatable flaws like pride and human moments, like teasing his girlfriend or making his best buddies nervous, with hobbies, like tinkering. With a competitive personality. With a deep angst over loss. Paul Atreides? Lazy. Lazy in comparison. We’re just told his dad died and told he’s sad about that, but there’s no real human attention given to that. Just big dramatic, angsty declarations and acting-explosions. We’re told he loves Chani, and expected to believe it, but given no evidence except a suggestive post-sex scene with zero romantic tension or buildup, or even bonding. All Paul Atreides is, is a character who has a laundry list of epic hard-to-do chores, and he gets them done, while dramatic music plays, as if there was some doubt he was going to be able to do his chores and you’re supposed to see his completion of the list as a moment of victory. Guess what? I don’t care about his chore list, no matter how “cultural” they are. So I don’t care about his rise or fall, or anything he’s doing, because he’s not a relatable human character. He’s just a caricature. And that would be fine. If there were any relatable human side characters to look at him through the eyes of. But there aren’t. Because this whole story is “shock and awe, look at how important we are, hear that rumbling bass in the soundtrack, see this character brooding into the horizon for the seven-thousandth shot?” What am I supposed to take away from this? All sugar. No nutrients.

[jeannereames]

Hero Alexander vs. The Real Alexander

Moving to the second half of a recent question:

And if I'm not wrong, you mention at one place that you don't "heroize" Alexander. That's interesting, since he's often worshiped as a mythical hero. Why did you move away from that?

As a writer (and a reader), I’ve always been intrigued by the challenge of humanizing the “inhuman” (which can also include the ridiculously talented).

When I fell in love with Tolkien as a girl, I wanted to know what it would be like to be an elf, to have magic, to live that long, etcetera. Maybe that’s also why I always preferred Marvel superheroes over DC. Their hallmark was to make the fantastic (mutants, etc.) more human.

Now, I love me some traditional mythopoetic fantasy, but I’m no good at producing it myself. What is mythopoetic style? Peter Beagle, Patricia McKillip, Nancy Springer, C.J. Cherryh’s sidhe novels, my friend Meredith Ann Pierce … and of course Tolkien himself, where magic is real and magical creatures are…well, magical. Inhuman. Elves ��� not hobbits. Like a fairy tale…a myth (hence “mythopoetic”).

Anyway, I love reading that, but can’t write it to save my soul. When I write epic/historical fantasy (and I do see SFF as my home genre), it’s closer to anthro SF than to any mythopoetic style. My current MIP (monster-in-progress) is a 6-book series set on a secondary world where two branches of humanity survived, one of which, the Aphê, have super-convenient prehensile tails. 😊 The character journey for one of the protags across the first three novels is to recognize the Aphê as human and fallible rather than as a “noble savage” wise people. (Yes, questions of “What does it mean to be ‘civilized’?” are among the series themes.)

When it comes to historical fiction, I take the same tack. Alexander is interesting to me because he was a real person who accomplished extraordinary things.* What might he have been like in real life?

Making him too perfect—good at everything, no/few mistakes (just misunderstood), always honorable, etc., bores me. That’s the Alexander of his own marketing campaign. (laugh) It was adopted and refined by some later historians such as Arrian, and Plutarch in his rhetorical pieces (less in the Life but still there). That’s why I’m not a huge fan of Renault’s Alexander, and generally prefer her other Greek novels. Manfredi and (sorta) Pressfield do the same. Tarr and Graham also keep him deliberately at a distance to allow him to remain heroized, but it bothers me less because he’s at a distance. (Btw, I do not dislike Renault's ATG novels; they're just not among my favorites, either on Alexander, or of hers.)

Yet I’m not a fan of the other approach, either: to “humanize” him by taking him down a notch—making him NOT all that, just lucky (Lucian, and Nick Nicastro). Or by upending the heroic narrative altogether and turning him into a megalomaniacal “wicked tyrant” ala Pompeius Trogus/Justin or Seneca (and Chris Cameron).

I want something (and someone) more relatable, even while letting him remain truly astonishing. To humanize the “inhuman.” I realize that’s a challenge as, the moment we do humanize him, it removes him from the realm of the hero, which in turn makes it harder to allow him to be “all that.” For some, any fault is “too much”—the proverbial clay feet—because they’re desperate to have an idol, a hero…not a person. So the haters come out when, for instance, Simone Biles pulled out of the Olympics for mental health and the Twisties. How dare she!

I’m interested in the person. Even if Alexander wanted to be Herakles Take II, he wasn’t inhuman (divine). He was just a guy, and for me, the fact he was “just a guy,” yet still accomplished all those extraordinary things, is the most remarkable part.

I’ll conclude with what I wrote at the end of the author’s note in the back of Dancing with the Lion: Rise (also available on the website):

In the end, whatever approach one takes to Alexander, whatever theories one subscribes to, more or less hostile to the conqueror, we are left with the man himself in all his complexity and contradiction. The phenomenon called “Alexander the Great” has evoked vastly different interpretations from his era to ours. It’s tempting to seek internal consistency for his behavior, or to force it when it can’t be found. Yet no one is consistent. Even more, history itself is distorted by those recording it in order to serve their unique political narratives, whether then or now. Conflicting politics create competing narratives, and histories of Alexander were (and are) especially prone to such distortions. That, in turn, brings us back to where we began: history (like historical fiction) is about who we are now, and what it’s possible for us to become. So Alexander was neither demon nor god, whatever he wanted to believe about himself. He was a man, capable of cruelty and sympathy, brilliance and blindness, paranoia and an open-handed generosity. As remarkable as he was, he was human. And that's what makes him interesting.

--------------------

* That some of these extraordinary things would be—and should be—reviled by modern standards is part of the uncomfortable contradiction, and legacy, of the ancient world. This is something I also try to depict in the novel. So there is never a “simple win” in a battle. There’s something ugly shown in or as a result of every single one. On purpose. Battle is, and should be, deeply disturbing.

[b-else-writes]

The Great CLAMP Re-Read Part 8: Legend of Chunhyang

Part 1 (RG Veda) | Part 2 (Man of Many Faces) | Part 3 (Tokyo Babylon) | Part 4 (Duklyon) | Part 5 (Clamp Detectives)| Part 6 (Shirahime)| Part 7 (X)| Part 9 (Miyuki-chan)| Part 10 (Rayearth)

The RG Veda historical epic that never was, or better off cancelled? While X is widely cited as CLAMP's first unfinished work, there is actually another 1992 stillborn CLAMP work, before we can finally move onto 1993 in the CLAMP timeline. To be a broken record, I had no idea this existed! It’s unsurprising: only 3 chapters were ever published (plus 1 drama CD), before the magazine folded and CLAMP decided to cancel the project (yeah yeah they said they’d love to finish it. They’re liars).

Unlike many of their other discontinued early works, this one actually got a tankoban release, and Tokyopop did the now out-of-print English translation in a single volume with no extra art. Plus, I was hesitant about approaching a work of Korean folklore written by 4 Japanese women, given the history, and my fears were not unfounded. So I’m content that I put off getting the physical release for my collection. Spoilers (?) ahead.

Synopsis: In Ancient Korea, a brave young maiden called Chunhyang, opposes the injustices of the corrupt governing Yangbans. When her mother, a magic-wielding mudang, is kidnapped by their town's Yangban, Chunhyang is aided by the lecherous Mongryong, the Amhaeng’eosa, a secret government agent. Together, the two set off on adventure that will take them across Korea to liberate towns and discover the truth of Chunhyang's father.

The Story: I wrote all of that out, but the reality is what actually exists of Legend of Chunhyang is two chapters and a flashback. It's very hard to judge a story that hasn't settled in or moved further than the set up for the adventure. What we got is entertaining enough - chapter 1 is the inciting incident where Chunhyang’s mother dies and she teams up with Mongryong, 2 has them liberate a mystical flower village with the help of a rain god and twin mudang, and 3 is a flashback that reveals Chunhyang’s dead father was important and killed for defying the Yangban. It’s very Robin Hood, and moves at a good pace despite being pretty standard YA fantasy. Speaking of, I don’t think CLAMP realises most Korean towns back then would have been agricultural. Why does Chunhyang live in a huge villa doing nothing all day? I want my peasant hero, not a disgruntled pseudo noble.

The skeleton for the entire story is pretty obvious (bring revolution to Korea) and I’d definitely be curious to see more of it. But I’m also not sad we got nothing more. It’s a pleasant afternoon distraction.

The Themes: Don’t be a bully and tyrannical governments are bad and must be resisted - as long as they’re Korean (side-eyes that Rising Sun flag in CLAMP Campus Detectives. Ah, Japanese nationalism). It’s 3 chapters, that’s all I can glean.

The Characters: Chunhyang fits heavily into the CLAMP stock heroine: young, spunky, strong, pure-hearted, and athletic, shojo ingenue. Still, while she’s nothing new, I enjoyed Chunhyang. CLAMP has the formula for the fun, palatable heroine we love to see win, and I’m hardly immune. Mongryong was more bland to me, falling hard into that 90s era shojo hero who gets comically beaten up by his love interest, but always suavely swoops in to save her. It’s nostalgic, he’s hot, but that’s it. Maybe with time they would have defined themselves like RG Veda’s cast did (also archetypes), but there’s just so little!

The crumbs of minor characters are equally stock - one dimensional cackling villains, and pure beyond belief good guys. Mongryong’s tiger spirit was my favourite because I love all cats. It’s really the charm of Chunhyang that carries us above - she’s a good balance of fierce and endearing.

The Art: Legend of Chunhyang is interesting in that chapter 1 was brush inked due to their experience on Shirahime, but the remaining art was done with marker pen. The result is chapter 1 feels a bit unpolished, with backgrounds being mostly chunky blobs and quick lines in a way I found distracting. 2 and 3 work much better, with thick swirls of soft magic and flowers, giving Chunhyang a slight distinction from their other early 90s work. The panel work is quite conservative unlike RG Veda, very rarely having dynamic spreads, but satisfactory and readable. Chapter 2 is a standout of circling dragons and flowers. Everyone is gorgeously dressed and pretty. It’s not the best of CLAMP, but it’s nice and elevates the material.

Questionable Elements: While certain CLAMP podcasts have praised CLAMP for essentially rewriting the folktale to make Chunhyang more active - why would you even choose to adapt that Korean folklore then, if your intention is to make a generic Robin Hood sword and fantasy series that has zero to do with the original culture? You could just set it in feudal Japan! It feels very distasteful to deliberately choose Korea as a setting of barbaric unending tyranny that needs correcting. Especially given Japan’s history in “modernising” Korea.

On top of that, there’s a clear lack of research done - a lot of the outfits and hair accessories are inaccurate. Chunhyang’s mother’s decision to kill herself than risk dishonour is also incredibly Japanese (and notably doesn’t exist in the original). I have to cry foul because if you’re going to actually set this in a real ancient Korea, you should do your research. I’m not saying CLAMP are anti-Korean but they show a disappointing lack of care and bias.

Also. How old is Mongryong if Chunhyang is 14. Answer quickly, CLAMP.

Overall: Listen, RG Veda 2.0 this is not. Rather than an imaginative, fantastical, sweeping epic, Legend of Chunhyang is built on very familiar tropes and stock characters with a dose of cultural insensitivity and bias. It doesn’t even have a proper narrative arc, existing more as a “what if” than an almost masterpiece. It’s alleviated by the sheer charm of Chunhyang herself, its brisk, entertaining pace, and the enjoyable art. But it’s no great literary tragedy that it was never finished, and I’d really only recommend it to diehard CLAMP fans who want a quick, pleasant escape on a fantasy adventure.

[girl4music]

“For me the confirmation of Xena’s feelings comes during the time she had a visceral reaction to Gabrielle’s apparent death. It’s a moment of raw emotion that solidifies her realization about how she’s deeply in love. However, given Xena’s tumultuous past and her concerns about being a suitable partner for Gabrielle, there’s a constant theme of internal conflict throughout the series regarding their relationship because Xena often expressed her concerns about Gabrielle losing her innocence, fearing that their relationship would inevitably lead to that outcome. However, their bond did indeed change Gabrielle. As we see in episodes like ‘When Fates Collide’, which offers a glimpse of what her life might have been like had they never met. While it’s not a scenario where Gabrielle’s life necessarily improves - in fact, she misses out on the deep connection she shares with her soulmate for eternity - it does highlight the significant impact Xena has on her life. At this point Xena isn’t aware of the full extent of their connection and it wasn’t explicitly clear that Gabrielle was attracted to women despite her hero worship of Xena.

Now, Gabrielle certainly did give off some baby gay vibes but her attraction to men is also evident throughout the series. Despite these nuances, Xena likely found it easier to leave their relationship unaddressed, contenting herself with the notion that their friendship was stronger than any blood tie. Additionally, the show introduced male suitors for Gabrielle as distractions till her death in ‘Destiny’ shifted the dynamic. After Xena’s resurrection and her glimpse into Gabrielle’s thoughts she finds the courage to lean in for the kiss in ‘The Quest’. But for Gabrielle this moment comes as a surprise which was easily evident in her reaction as she pulls back and blinks at Autolycus. However, with Xena’s imminent, permanent death and the rush to obtain ambrosia there isn’t much time to dwell on these newfound feelings. Following ‘The Quest’ the duo swiftly unites to work with Callisto who had a hand in Perdicus’ death earlier in the show. Despite having a moment where they discussed their experience of being in each other’s bodies, which was not as dirty as it sounds now, Gabrielle was still processing Perdicus’ death, leaving little room to explore her feelings for Xena. So most people prefer to think that because Xena and Gabrielle haven’t discussed their feelings since ‘The Quest’, Xena perceived Gabrielle’s silence as a rejection of her advances while Gabrielle was still processing everything, especially with Perdicus’ death.”

🎯

Precisely! This is why watching the ENTIRE show as a epic romance/love story that shouldn’t be separated from the events of what’s going on in the show is important because it makes a hell of a lot more sense what actually happens and why. The death of Perdicus was not something designed to bring them together. Callisto murders Perdicus specifically to make sure that their romantic arcing would be put to an end and so all the tension between Xena and Gabrielle would be put on hold up until Gabrielle’s processing of Perdicus’ death. But of course - then Xena dies…

so that processing becomes even more complicated, however, much more sped up because Gabrielle then is forced to recognize her true feelings for Xena when they’re pushed right to the surface and she can’t bury them behind her recent husband’s death anymore because somebody much more important to her dies. Somebody she actually is and always has been in love with rather than just some idealised fantasy of love - which if you read between the lines - is about Xena!

Interpreting all of that whole arc from ‘Return Of Callisto’ all the way to ‘The Price’ shows that while they were both aware of their feelings for the other and eventually aware of the other’s feelings for each other… there was still a lot of unresolved complication and angst to get passed… so while they may have evolved their relationship into romantic/sexual territory - they still had not become a couple.

They were most definitely lovers.

But they weren’t an official couple.

And it’s really up to you whether they ever were a couple at any point in the show or that just remained best friends with benefits… and soulmates of course.

For me - I interpret them as an official couple in the last 2 seasons of the show only because it makes the most sense to me that way. But like pretty much every shipper - I acknowledge they became something more than just friends after the ‘Destiny/Quest/Necessary Evil’ arc. In fact - I think the end of ‘A Day In The Life’ is when they finally consummate their relationship even if they still were not labelling the nature of it because in that episode and the next couple of episodes after it before we get to ‘The Price’ and Xena’s almost confession… they were acting like an old married couple that had been recently intimate. Call it a sort of honeymoon phase for them… but again - not in an ‘official’ context or capacity. It’s just them trying to figure out what the hells going on with them. And the whole thing with Meleager and ‘Ulysses’ and just… They do not act like purely “friends” anymore.

They were clearly more than that. Just not a couple.

Not yet. Not for a long time or not ever. Up to you.

[nanowrimo]

10 Ways to Turn Revision Into an Adventure

For some of us, revision may be your next big challenge during Camp. Sounds a little intimidating, doesn’t it? Well, have no fear! NaNo participant Madison Vaughn-Parra is here to make revision fun! So… you’ve got yourself a first draft. Perhaps it’s years worth of work, or perhaps it was the product of the frenzied rush that is National Novel Writing Month. Either way, you’ve deemed it a complete work, which means only one thing: it’s ready for revision.

Did you picture lightning striking on a dark and stormy night when reading the big “R” word? If so, you’re not alone! For many, revision is even more intimidating than dreaming up a novel from scratch. If writing a first draft was an adventure of epic proportions, then revising that same draft is a slog through already-explored terrain, right?

Wrong! I’ve found that revision can be just as grand of an adventure as writing 50K in 30 days! To prove it, I’d like to share ten ways you can turn your revision journey from a dreaded duty into an exciting adventure:

1. First things first: make a copy of your first draft, and then don’t touch the original! You don’t want your adventure bogged down by regrets, after all, and having an untouched first draft will ensure that if you’re unhappy with any changes, you’ll always have the original to fall back on.

2. Be prepared! Just as you wouldn’t want to forget your socks and undies, you’re going to want to pack everything you need to help you on your revision adventure. NaNoWriMo’s “Now What?” revision guide should come in handy, for starters!

3. Take a trip off the beaten path and explore all of the “What If’s”, no matter how wild they might seem. What if you added to the chemistry of your main characters and turned your action-adventure novel into a full-blown romance? What if the murder mystery mastermind was the other guy? The possibilities are endless!

4. Go on a hunt to find the most hilarious typos born from the fever-induced ramblings of the NaNo mind, and share them with your writing group for laughs!

5. Make it a game! For example, does your novel have a character who keeps disappearing from scenes they’re supposed to be in? (Mine was a tiny dragon named Mouse…) Every time you write that character back into a scene, reward yourself with a treat for “finding” them!

6. Gleefully chop away at tangents, plot twists, and descriptions you included in your first draft simply for word count. No one can stop you from backspacing now!

7. Try new tools! Is there any better feeling than using a brand new travel accessory for the first time? That’s how I felt when I first tried Scrivener’s split-screen feature and discovered just how fun it made revision. Why not check out NaNoWriMo’s offers page to see if any new tools spark your excitement?

8. Delight in discovering passages that you have absolutely no memory of writing! If you’re anything like me, there will be quite a few of them, and you’ll find you can improve them with the ease of editing someone else’s writing.

9. Capture your favorites! Create a “Snapshots” document or folder and fill it with all the first draft passages that you got right the first time. If you start feeling discouraged during revising, simply pull up these snapshots and remind yourself of your own genius!

10. If you really want to capture the NaNo spirit, try rewriting your novel from start to finish without even glancing at your first draft. This trick terrifies me, personally, but I know folks who swear by it! Congratulations! You’re now ready for your revision adventure! Pack up your bags, be kind to yourself, and have fun exploring your novel again. I’ll be right there with you!

Madison Vaughn-Parra is a lifelong writer and passionate geek, who technically works a corporate job in program management but prefers to spend her time in fantasy and science-fiction worlds of her own creation. She’s happily lost in the woods of her own revision adventure at the moment and hoping to dive into the publishing process next. She rarely posts on Twitter, but you can still follow her @vaughn__boyage if you’d like! Header Photo by Leah Kelley from Pexels

[blakebow]

For me, what bugs me about the tragedy of Arkos, the darkness of rwby, and Bumbleby over BlackSun is the Self-Righteous Martyr/God-Complex of toxic contingent within these fandoms, to me they seem to ultimately not care the message these stories are trying to convey, but rather enjoy them and flaunt them for their own self-righteous megalomania

With the deaths of Pyrrha, and Penny respectively.

As soon as that happened, many among the fandom would come out and theatrically proclaim the necessity of these tragic deaths, how it is so realistic an shows “thats life”, and brag how ultimately hopeful the stories still are and how it taught them how to be oh-so hopeful despite the odds.

In any these cases, these people act as if they themselves were righteous martyrs, prophets of God,Life,Reality, usually the latter two because they claim "that's life" or "that's reality" all in a tone that reeks of holier-than-thou arrogance and vanity

Same with the Wasps over Bumbleby because “BEST SAPPHIC REPRESENTATION EVAR!!!” and taunting BlackSun fans for being “heteronormative”

They’re like Claude Frollo in a sense

"Of my virtue, I am justly proud..."

Or worse, they speak with ghoulish glee and bragging about it gives them a feeling of power over these fictional characters as if they themselves are God almighty and it bleeds into how they treat real people who didn't like it by passive aggressively or belligerently belittling, judging, shaming, gaslighting, and sneering at them, implying the worse reasons of their distaste, and tell them to go watch a sitcom or slice-of-life anime or something

Then they brag about what story was told with these ideas and concepts to be the end-all-be-all of these concepts in any fantasy/sci-fi epics that have even the slightest tinge of darkness and conflict and Representation and, lock them down into little theories, formulas, dogmas, and rule out everything else as a corruption, heresy, or a worthless little parasite, because they themselves are the infallible, all-knowing, and all-seeing “literary experts” who got everything all figured out and everyone else, wether the majority or minority, as peon reprobates.

Forgive my Catholicism talking, but it reminds me of the Pharisees

“They tie up heavy, cumbersome loads and put them on other people’s shoulders, but they themselves are not willing to lift a finger to move them.”-Matthew 23:4

These self righteous people seem to only enjoy these stories not because of the message the tragedy and suffering is trying to convey, thats just a shield for them, but rather for their moral superiority and the thrill of power over others and being the measure of all things, for they know how life exactly works for specific individuals in specific genres and they know how to carry it out exactly.

Or with Bumbleby, how they are righteous champions of queer culture against eeeeevilllll heteronormative culture which reeks of resentiment

And that's why I am so irritable about Tragedy in these kinds of stories, it feels like they are no longer enjoyed out of humility, compassion, truth, goodness, and beauty.

But rather out of pride, vanity, power, cruelty, and moral superiority

While Bumbleby over BlackSun and the whole Adam fight enrages me because it feels like some sick power fantasy of LGBTQ+ Revenge against “Heterosexuality” while Sun is supposed to be kind of humble cuck

and sometimes it tempts me want to write my rwby au fanfic and original stuff inspired by it in a way that gives them all the finger rather than for what I saw these ideas and concepts could have been, just so I can give them a taste of their own medicine

I know that's wrong, but these people test my patience, especially when they keep invading other people's spaces, bypass other people's "curations" because "there's nothing subjective about this, I need to correct and educate you", and getting away with this kind of nasty behavior

you totally lost me on all the religious stuff, i don't subscribe to that by-weekly at all, fam.

on that note though, i do agree for the most part with the idea that the wasps have taken advantage of the canonization of bees to appoint themselves to some kind of sainthood, like they're holier-than-though over the rest of the fandom. and frankly, i can't stand those insufferable type of people.

they over project themselves onto terrible ships and even though people tell them how toxic and dysfunctional it is, it goes in one ear and out the other. they don't listen. they live in a detached bubble in a separate reality.

sad to say, that's not the first time that i've encountered fans like this in a fandom. some people really should be on a no fly list because they're clearly mentally unstable and a danger to others, but i don't get to make that call, unfortunately...

i want someone from crwby to come out and tell them that bees was never planned, because i think it would utterly shatter their delusional reality if they felt so betrayed by the hand that fed them. they should be soundly slapped several dozen times until they lose all coherrence.

[andro-dino]

fuckin uh. zero g fantasy au. this has been brewing around in my head for a while and I’ve been meaning to draw it but I suck ass at designing and drawing fantasy outfits so I’m gonna share the thoughts I’ve had about it publicly in writing instead!!

Basically this all started when I was thinking about the sheer volume of zyronobu’s knight and princeisms and then I was like. what if they actually were a knight and a prince. ****epic autism explosion**** So essentially, Shinobu is a prince who is kinda bored and stuck doing basically nothing a lot of the time, just generally kinda cooped up in the palace. Zyro serves as his personal bodyguard, but is also kinda the head knight of the castle and has a lot of his own responsibilities, and the two of them are both crushing on each other SOOOOOO hard.

- one scenario I enjoy is Shinobu spending a lot of time on a particular balcony that overlooks the knights’ training area and he not-so-subtly frequently watches Zyro do his thing.

- In this au, Ren is also knight in training and takes a sort of apprentice/partner role with Zyro. There has been more than one occasion where Zyro has gotten distracted upon noticing Shinobu watching them/waving back to Shinobu while he and Ren are sparring and she gets really heated at him for not paying attention.

- Because they don’t really get to spend a lot of time together bc they have separate stuff going on, Shinobu ends up contriving a lot of reasons why he needs to go out and have Zyro accompany him. Zyro is entirely oblivious to Shinobu’s scheming but he is very happy every opportunity he gets.

For other thoughts I’ve had, Kite is like an alchemist/scholar and spends a lot of time in the castle library. Because he has nothing better to do, Shinobu also spends a lot of time in the castle library and bugs Kite. Kite hates this. One interaction I’ve had in my mind with them is kite being like “my prince, if you don’t mind me asking, WHY DO YOU KEEP COMING HERE AND BOTHERING ME????” and Shinobu’s like “because I have nothing better to do and you’re one of the only people on this palace who is willing to talk to me like that and treat me like a real person.” and kites just like. gfdi. He hates it (he really doesn’t but don’t tell him that he wouldn’t like it) (they’re besties don’t let them try to convince you otherwise).

I haven’t thought a ton abt eight and maru in this au but they are also there. Eight just hangs around kite per usual and perhaps causes mischief around the castle. Perhaps Madoka is a blacksmith who works closely with the royal family and Maru is her apprentice who hangs around the royal guard a lot.

There’s also a digivalen subplot because I will insert digivalen into any and every au I create. Kite one day goes out for supplies or whatever and encounters a mysterious traveling merchant. They present themself as any other merchant would, but kite can tell there’s something more too them. He senses that they may be a magic user, and a strong one at that, but he can’t get them to reveal anything to him. He’s intrigued though, and after their first interaction, kite just can’t stop thinking about her.

Another thought I’ve had with this au is how the main gang all kinda come together as an adventuring party. Shinobu once again asks Zyro to accompany him as he needs to go run some errands out in town, but Ren tags along, insisting Zyro’s been ditching her too much lately and she needs more experience. Kite also catches word of this, and since they’re gonna be out, insists upon tagging along so he may have an opportunity to meet with that merchant again, and eight naturally follows along wherever kite goes. Maru, seeing such an interesting group all together naturally tags along wherever her heart deems may be intriguing, and suddenly this is a whole group outing when Shinobu just wanted another excuse to go on a date with his cute knight.

The other og cast can also be here n there wherever you see fit. Benkei owns a popular local tavern in town, but he’s also a well renowned knight trainer. While Zyro serves as something of a captain of the guard, all of them, including him, answer to Benkei and he oversees all of their training and is their highest mentor. He’s also formally been a mentor to Kenta, the legendary knight of flame. Gingka too is a legendary knight, now on his own solo journey, and was originally the one to gift Zyro his sword and inspire him to become who he is now.

Tsubasa’s. probably around there somewhere. I guess king would fit as far as his role in the story goes but King Tsubasa just sounds wrong to me.

BUT WAIT, THERES MORE. Another subplot, because my favs are very special and get their own whole side story.

For many years across the land, there’s been a legend passed around, only heard about through rumors and hushed whispers. The details of it aren’t exactly clear, and the story is told differently by every person who tells it, but all anyone knows for sure is that there’s a dragon, a prince, a tower, and a curse.

Naturally, Takanosuke Shishiya, a scrappy young knight in training who’s looking for a mentor has taken from the legend that somewhere out there, there’s a prince who’s been cursed to reside in a tower guarded by a dragon, and he’s determined to rescue this prince in hopes of him potentially being able to help Takanosuke in his search for a mentor. You can imagine Takanosuke’s surprise when he believes he’s found the tower of the legend, only to find it with a giant hole blown through it, claw marks trailing down its sides with scorch marks around the destruction and in the land around it, which he notices create a path trailing beyond the tower.

Okay, perhaps a different adventure than Takanosuke had expected, but he still opts to follow the trail of burns in hopes of still finding the prince.

Eventually, he actually does, discovering Sakyo Kurayami, the cursed prince who as he declares, bears the curse of the jet black dragon. He is, as far as he knows, the only surviving member of his kingdom, as the curse overwhelmed everyone else, including his own family. The last person who was ever able to control the curse was the legendary dragon emperor, who no one knows the real fate of. Some say he died in battle, others say he just disappeared, but all anyone knows is that no one has seen or heard of him in years, and Sakyo has somehow inherited his blade. Now, Sakyo has set about on his own quest, trying to follow in the footsteps of the dragon emperor to try to learn how to control the curse (and maybe perhaps create his own future after a little more character development). Takanosuke insists upon tagging along with him, hoping the two can become stronger together, and while the adventure is off to a rocky start, fate always works in mysterious ways.

[docholligay]

Foreign Films to Expand Into

I saw a post regarding the writer’s strike that suggested Americans maybe make the effort of watching a foreign film, and while I agree, I didn’t think its tone was super helpful. Don’t get me wrong, I’m the queen of “Pull yourself out of a rut!!” but I don’t think “Americans are so fucking stupid they don’t realize other countries make movies” is actually trying to help anyone, so much as add to the idea that I guess the rest of the world is being forced to watch Captain America at gunpoint. 

But I DO want Americans to watch foreign films, in the same way that I want them to watch indie films, and I want people of all nations and stripes to expand their understanding of what they’re used to, to push themselves into something else they might like. I think my family would say that it’s fair to call me a person who is open to experience. I love to try things! That’s why I have the book draw, that’s why I go see movies I’m not sure about, that’s why I actively seek out foods I’ve never tried. You deserve to make your life interesting, to be challenged, to provide enrichment in your enclosure. You are worth the effort of a richly textured life! And movies are often a pretty cheap way to go about stepping outside of your comfort zone. I can’t wait to hear what you thought of any of these! 

Obviously, if you are not American, one  of these may not be foreign to you. Yes, I know that. 

I don’t hold out that all of these are hidden gems--some of them are, or were, extremely popular movies. Many of them won awards. But I do hold out that these are some of my favorites, and I would love to share them with you. I did, however, try to avoid anything that I thought already got a lot of play on tumblr: I don’t need to tell anyone here to watch Parasite, Portrait of a Lady on Fire, or any given Ghibili movie (Though you should watch Grave of the Fireflies--it’s my favorite). 

Pan’s Labyrinth (Mexico and Spain): This is my favorite foreign film of all time and I am breaking my, “I’m not putting any movie on here I don’t need to tell you to watch” rule right away because it is in fact one of my favorite movies of all time, American or foreign. It is a lush story about fantasy, facism, courage, and the horror of childhood. Warning: This movie is very very intense. Do not be fooled by the fact that Del Toro also does like fucking…Hellboy. He also can make very serious, very good movies, and he does not shy away from the brutality of the Spanish Civil War. If you liked Labyrinth but you’re fully grown now and I want a story about fantasy bargains for the adult crowd, this is for you. 

The Orphanage (Spain): I love Spanish horror, and so it was really, really difficult to only pick one. But this has been one of my favorites for years, a classic Spanish slow burn that deals with the long shadow of childhood and the line between the supernatural and the natural. If you like pensive horror movies like The VVitch, I really think you should give this one a try. 

Hero (China): I know a lot of y’all are into wuxia now, but back when this came out it wasn’t a thing I had ever heard of*. Hero is, as the title might imply, a sweeping historical epic with fantastic fight scenes and gorgeous cinematography. If you enjoy stories told in multiple interpretations, high-flying wire work, and with some ideas about war, peace, and truth that tempt without asking too much of you, you’ll love this. 

Cold War (Poland): Listen, I love Cuarón, Mexican and Spanish movies absolutely dominate my list of foreign films I’ve watched, but I genuinely thought Cold War deserved the edge over Roma for the Oscar that year. It’s a fairly short movie for the times, coming in at less than 90 minutes, and it wastes not even one second of that film time. Cold War is a bittersweet love story not only with two people toward each other, but feels deeply critical of Poland while recognizing the impossibility of unbraiding yourself from it. If you love impossible, bittersweet, happily never after love stories with stark and striking cinematography, you’ll adore Cold War. 

Tigers Are Not Afraid (Mexico): I adore an unflinching take on childhood, and this movie is absolutely that. It essentially asks, “How do children survive in a world full of trauma?” and the answer is that sometimes, they don’t. This movie is a little frenetic, admittedly, but the ways fantasy and imagination is woven into a group of street children orphaned by the cartels is something I haven’t been able to stop thinking about since I first saw it, and I think the final shot is pitch perfect. If you liked Pan’s Labyrinth this is required viewing, as I think it shares a lot of themes. 

The African Doctor (France): “Holligay, if you put another fucking downer movie in this list I am going to BEAT YOUR ASS” Okay, okay, we’re going to ignore my general predilections and everything from here on down is fairly life-affirming or comedic or easy. This is about a little village in France in the 1970s that gets an African doctor. It’s sweet, and funny, and you come away from it feeling good. Also I still laugh every time Seyolo responds to the fact that most of the villagers had never seen a black person with: “So what? Now they will.” If you like sweet fish out of water stories with nice endings, this is for you. 

Om Shanti Om (India): I maintain that this is the best movie to watch if you’re brand new to Bollywood. It mostly avoid the worst of its excesses while delighting in all of its strengths. It is a genuinely fun film with fantastic songs, and a shockingly together storyline for a Bollywood movie (affectionate). I’ve actually done a full review of this one, but in the short version: If you loved Moulin Rouge and wanted more of that mix of tragedy and silliness on a operatic level, I think you’ll be in for a treat. 

The Warrior’s Way (South Korea and New Zealand): Okay, this movie is not good, and also it manages to be bad. But it’s in English, so if you’ve been sitting there like my dad going, ‘I am not gonna read a movie” well, here you go. If you’ve ever said to yourself, “I want to watch a Western, but I wish it were actually a HK style cheesy action movie” BOY HOWDY AM I HERE FOR YOU. I watched this one insanely drunk and still managed to be like, “wow! This is so bad! Maximum valid!” If you thought RRR** was good, but too deep, you will have the BEST time with The Warrior’s Way. 

Anyway, this is, of course, an incomplete list, and I’m sure I’ve forgotten something I love, since this was just made off the cuff. I would love to hear if you watch or like any of these, and also, if, looking at this list, you have a recommendation for me, let me know! There are so so many fucking movies out there, and so many fall through the cracks. 

I’m thinking about doing another one of these on “Indie movies you might have missed” and also “Movies that were made before you enfants were born” (30+ years) so let me know if anything like that is interesting! Or, if there’s a category you think I might know about you’re into, let me know also.

*I actually have a lot of emotional attachment to Hero, as I have a very distinct memory of standing in the Hastings, in front of the small foreign-film section, and it being the first foreign film I picked up. I was, I think, sixteen, and I had decided that I was going to be worldly, and interesting, and cultured, and so I took a deep dive into cooking from other cultures, and watching foreign films, and buying old art history textbooks, reading classics, and listening to opera, and formal manners. Basically becoming the person I wished I were, that poised Grace Kelly type, even if I was born to the drone of the grasshoppers on the wind. To quote Reba Macintire, “You know I mighta been born just plain white trash, but Fancy was my name” and all that. And this movie was a distinct part of that, in that it was the first, in a long line of me trying to be a more well-rounded and interesting person. 

**RRR (India): Actually on that note, watch RRR. It’s a fantastically fun Indian action film that I keep meaning to watch again because I got a little too drunk for drinking on an emopty stomach the first time I saw it, so it might actually also be good, but I do remember enjoying the shit out of it and there is a scene that has such Fareeha vibes to me.

[ladykatibeth]

My take on Stede is he’s a character who lives his life pretending he’s in a story and that sometimes the things he does aren’t him being genuine but taking the opportunity to play out story situations. For example early Stede has a lot more fun fighting with Iz than he lets on.

In addition to this point, I don’t think the s2 dream thing was because he entirely views the world this way, but because he day dreams the world that way, because it’s fun for him. Which is why it will be easy to switch, it isn’t genuine

I think in Stede’s ideal fantasy world he’d reunite romantically with Ed and then keep sword fighting Izzy when he does a loony tunes villain return after death in the next chapter because honestly he’s a little deranged himself and it’s fun. Repeat ad infinitum.

People are often like “oh he killed him in his dream, this shows he hates Izzy and wants him dead.” Which I disagree with….looking at the dream sequence…..Does that look like righteous anger and vengeance to you? To me, he seem to be very clearly having fun.

And I’d have to look back at that scene to make sure, but if I’m remembering correctly I don’t think stabbed dream Izzy was displaying a lot of genuine pain, it was all very exaggerated.

So when people are like “Stede is realizing Izzy isn’t his fantasy villain and that’s why he’s not trying to kill him….” I think it’s instead Stede knows Izzy isn’t a fantasy villain and also it’s no fun getting into epic fights or even verbal spats with someone who looks completely devastated and so exhausted they’re barely keeping themselves up right.

[chaos0pikachu]

tldr: censorship fucking sucks and word of honor and xena are mlm/wlw solidarity 

okay this was a random thought that came to me during a combo of rewatching of Word of Honor and reading a post that declared Word of Honor “didn’t count” on their BL list of whatever the fuck and here’s the thought, here’s the vibe, Word Of Honor has a lot in common with Xena: Warrior Princess

Hear me out

Everyone kinda knows that Xena - and by extension Lucy Lawless - as a bisexual/queer woman icon, and that Xena/Gabrielle is probably still one of the most prominent wlw ships in western canon. That’s a huge part of the shows iconography in pop culture. But like, if you rewatch the show, things between Xena and Gabrielle are kept pretty ambiguous but in that ambiguously totally gay way (like WenZhou!). 

The network was actively against Xena and Gabrielle being more than, what fans would probably call nowadays, bait. An executive told producer Rob Tapert that by making Xena and Gabrielle explicit there would be a surge of interested followed by a sharp decline. 

It should be noted that Xena was already a controversial show for it’s era - not just for the gay subtext but under fire from religious groups, anti-feminist groups, and others. 

The showrunners and producers also didn’t intend for Xena and Gabrielle’s relationship to, eh, blossom the way it did. Fans ran with it. Ironically, the intention of the show was to push Xena’s men of color love interests which also made the network gun shy (remember folks racism exists alongside homophobia!). 

Xena and Gabrielle operated in a highly censored space (that still exists in American media btw!! Take it from someone who knows first hand) that was beholden to network hand-wringing, capitalism, and societal homophobia at large.  So their relationship could only live within an ambiguous space. Ironically enough, just like WenZhou, Xena and Gabrielle are also referred to as “soulmates” in the text of the show. But ya know, sometimes soulmates are platonic, sometimes romantic. Which are WenZhou and Xena/Gabrielle? Well that’s up for the viewer to decide b/c the production teams hands are tied. 

Even so, even with the censorship, we all still view Xena as legitimate queer representation within the pop culture space. Why? Why Xena and not Word of Honor?

For me, they both count, especially WoH because it’s source material IS queer. But the filter of censorship snipped and cut the text away so everything would be forced to live within that ambiguous “up to the audience aka gotta make the advertisers comfortable” space. 

I don’t think it’s fair to throw WoH out because the production couldn’t, like they were not allowed, to showcase text on screen. Similar to Xena queer fans knew that her and Gabrielle were in love, soulmates (romantic) by the end (where Xena dies, like literal for reals death she’s ashes carried on by Gabby at the end btw spoiler alert for a 20 year old show at least WK got silver hair and immortality out of his death experience). 

Queer fans appreciated and cultivated what Xena gave us because, no offense but what the fuck else was there? Not a lot, and even less in the fantasy space. Hell, there’s still not a lot of queer representation in the fantasy space we’re only just now going “hey maybe Tolkien’s ultra white British view of things is not the only way to do things?" And now House of Dragon has Black actors in terrible wigs (they’re so fucking bad rip) in 2022. Woooo~ most queer chars in western fantasy media are mainly found in kids cartoons - which, fucking aces there but also - probably why there’s so many adults in those spaces in fandom (not my bag personally) and why I think the popularity of danmei, c-dramas, and k-dramas is on the rise. People are hungry for epic fantasy content, epic romance content, and queer content. 

but like, I think about queer folks who live in China, who watched WoH (ya know, the intended audience, not Americans) who are probably feeling the same thing people felt when they watched Xena. Yeah, Mr. Advertiser Xena and Gabrielle are soulmates (platonic) wink wink, Yeah Mr. Network ZZS and WKX are soulmates (platonic) wink wink

and I think that’s still valuable. idk I just don’t think it’s right for foreigners to be like “no you’re queer media doesn’t count actually because I deem it so” when the reason for the relationship being subtextual is literal censorship. And yet the text is hella gay anyway!! like at the end of the day we’re all battling the crushing weight of homophobia but not everyone’s fight is exactly the same especially country-to-country and I think that should still be respected. given how damn gay WoH is anyway I imagine the producers fought really fucking hard to give audiences what they did. Just like the producers of Xena fought against the network to do what they could. 

anyway, thoughts and shit