#the characters fully inhabiting the genre of their story in FORM

[fancy-rock-dove]

All of this, I love it so, so much. These tags though:

I FEEL THIS THOUGH. It is SO FUN to think about because English has STRONG preferences for certain stress patterns in certain kinds of words! Two-syllable nouns/adverbs/adjectives preference stressing the first syllable so strongly that developmental linguists use this fact to tell when babies start separating words by recognition/meaning rather than just by stress patterns. BUT two-syllable verbs preference stressing the second syllable. So much that this is usually how we tell which is which in speech where it would be ambiguous whether we wanted a verb or a noun otherwise.

So switching poetic feet literally affects the word order in your sentences and how you frame the action and the agency you give the subject, and once you start thinking about it too much you can NEVER GO BACK. It's the Pandora's box of poetry.

What's your favorite dialogue for Oaths so far? (Either chapter 10 or as a whole!)

WIP asks!

Chapter 10 has a lot of dialogue! Of course being the penultimate chapter, the boss battle, the wyrmening, etc., almost all of it is actually horribly spoiler-y. There's some biggish canon departures (not saying which canon! maybe both!) I'd like to keep a hat on for now. My favourite bit is currently written in common meter and maybe the MOST spoiler-y lines of all. There's also a bit of gratuitously poetic Middle English (a bit I've had jotted down for AGES, before I'd written almost anything at all), other meter (currently slapdash iambic pentameter, possibly to be changed to trochaic who-the-fuck-knows, lovingly absolutely the fault of @that-banhus), Big Declarations, bravado, rage, fear....all the good shit!

Anyways I've realized I don't want to share ANY of it and give even a scrap away so I'll say for Oaths so far it's obviously "Do you fuck, son of man?" mostly because it made it to a tee-shirt, but massive mentions to: Hob describing the hardships of life in Chapter 4, Duncan's first song in Chapter 2 that I was SO nervous about the reception of, that entire first multi-character convo, the first Hob/Dream dialogue that quotes the ballad, any dialogue that includes words I discovered in Dictionary of the Scots Language, the exchange in Chapter 4 where Dream says Hob is hardly a terrible man and Hob says not here he's not, honestly any of their flirting, any of the lads' banter, Hob in Chapter 5 saying he wants to be like a summer sheep, dialogue that echoes and plays with dialogue in Sandman canon, the chapter 7 tame/wild bit, Dream unraveling the truth of his curse in Chapter 8 against his will, Sande telling Hob how proud he is, any monologue (your girl loves monologues),.... i'm just gonna stop hahahaha

[wenchofthescullery]

What To Do During the Strike, Day 7

*

So, mystery.

When I started writing, I quickly gravitated toward mystery. It can be a beautiful genre that balances firm structure with plenty of embroidering. It's like Bach, but in story form -- you have the concatenations marching through the piece, laying the groundwork for the flights of fancy.

If you want to comment on the human condition in the stories you tell, they had best have a strong framework. Sir Terry Pratchett was the master of this. You will note, though, that Discworld was a fully realized setting, that the characters were both three-dimensional and with very clearly defined roles, and that the plots usually marched forward in generally predictable ways. The story was solid. His commentary on people, justice, integrity, and the human condition then was interwoven throughout.

With a mystery, you also have a plot driven story. Something happens, other things follow in pretty predictable ways, and there is eventually a conclusion. As a writer, the plot carries you. It marches. It holds to the center.

Now the basic murder mystery approaches are typically "police procedural" or some kind of "private detective" (professional or amateur). Agatha Christie notably had some one-offs that did not fit well into categories, but she was an exception. These days, what is being sold is usually one or the other.

I started studying Connelly because of his popularity, but I became fascinated by his commentary. The structure was there, and as a crime beat writer, he had the technicals of a police procedural down cold -- but he named his first main character after a 15th century Dutch painter known for his nightmarish and bizarre depictions of Hell?

Well, I'll be damned, this man was trying to say something. And yes, I get it -- cops see hell. His character Harry Bosch had seen hell before, too, particularly in the jungles and tunnels of Vietnam in war.

And here is where it gets interesting. You might not be all that enthused to read about police right now. God knows, we have a lot going on in the press and our recent US history that makes inhabiting the mind of a cop, well, to sound perfectly unpalatable. (And this was how I felt anyway, back in my 20's -- it just did not appeal. I'd seen too much in the South.)

However, Connelly will not fail you. Bosch has, at his core, an implacable moral code expressed as "Everybody counts, or nobody counts." Goddamn. That's the categorical imperative from Immanuel Kant. This mystery writer is doing interesting things.

The categorical imperative has about five different (but linked) formulations. The second formulation (the "formula of humanity"/ the "formula of the end in itself") is most applicable to Bosch's code: Act in such a way that you always treat humanity, whether in your own person or in the person of any other, never simply as a means, but always at the same time as an end.

Kant makes the argument in the 1785 Grounding of the Metaphysics of Morals that every rational agent has his or her own goals, desires, and projects -- and that none of these are more important than any other. In fact, insofar as one can, we are all beholden to further the projects and interests of others as if they were our own. They count just as much as ours do.

All of us are ends in ourselves, acting as agents in the kingdom of morality, and we should never be treating others as a means only to our own ends.

"Everybody counts, or nobody counts."

Bosch is a complex character, both flawed and failing at times. But he never, never would have put a knee to George Floyd's neck, and he would not have let a fellow officer's actions in the manner go without pursuit for justice.

Police work is never going to be pretty and clean. Sometimes you see the depths of the human condition in the state of hell. But can you write a character that walks through a slime pit of moral decay with a moral code maybe tarnished, but still intact?

I think you can. I think that was Connelly's main project in writing this character. Now, he went on to develop other themes and characters (you probably know about The Lincoln Lawyer), but there were about 20 Bosch novels. Consider reading them. He does interesting things with the characters as well, but that's for another piece. For now, if you want a police procedural that can cleanse your palate of some of the recent terrors, you might start with The Black Echo.

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

Next up, poetry.

[pagebypagereviews]

In the crucible of imaginative storytelling, "Trial by Fire: A Novel" emerges as a blazing testament to the transformative power of adversity and the resilience of the human spirit. As we traverse the incendiary landscape of this narrative, we're not merely passive observers but rather, conscripts in a battle that pits the fundamental forces of courage against the searing flames of catastrophe. The novel's gripping prose and poignant character arcs serve as a clarion call for readers to confront their own trials by fire, both literal and metaphorical, igniting a universal resonance that burns at the core of our collective experiences. Crafted with the meticulous detail of a seasoned wordsmith, the book delves into the complexities of survival and the intricate dance between loss and redemption. It poses a formidable challenge to the oft-trodden paths of genre fiction, blazing a trail that illuminates the nuances of human endurance when pushed to the brink. The story's foray into the depths of human vulnerability and the subsequent ascent into empowerment tackles not just individual struggle but also sparks a broader conversation about the societal constructs that frame our perception of strength and recovery. In its fiery wake, "Trial by Fire" leaves readers with smoldering reflections on the nature of resilience, and in doing so, addresses the perennial quest for meaning amidst chaos—a narrative problem it solves with both grace and intensity. Plot The plot of "Trial by Fire: A Novel" revolves around an intricate and emotionally charged storyline where its protagonist, a teenage girl named Lily Proctor, finds herself transported to an alternate universe. In this parallel world, magic is not only real but also dangerous, and Lily comes to discover she has a pivotal role to play. Lily's journey is fraught with complex conflicts, including the struggle against a tyrannical governing body, the challenge of understanding her new-found powers, and the navigation of political intrigue and betrayal. As Lily adapts to her surroundings, she forms alliances and confronts enemies in a desperate fight to save not just the world she's in but also the one she's left behind. The plot is well-crafted with numerous twists and turns, engaging the reader with its constant tension and the protagonist's evolution from a sickly high school student to a formidable force in a starkly different realm. Characters The character development in "Trial by Fire" is a cornerstone of the narrative, with Lily Proctor being the most notable for her profound transformation throughout the book. Initially portrayed as vulnerable due to her severe allergies and social awkwardness, Lily's character unfolds as resilient and adaptive, showing both courage and intelligence in her new environment. Other prominent characters include Rowan, a strong and enigmatic witch hunter, who becomes Lily's mentor and love interest. His character adds depth to the story through his complex relationship with Lily and his own moral struggles. Lillian, the antagonist and Lily's alternate universe counterpart, is intricate and multi-layered, offering a stark contrast to our protagonist and forcing the reader to ponder the nature of power and corruption. Each character is crafted with motivations and backstories that add richness to the narrative and provide a wide spectrum of human experience and emotion. Writing Style Josephine Angelini employs a writing style in "Trial by Fire" that is both eloquent and accessible, seamlessly blending fantastical elements with a narrative that speaks to human emotions and experiences. The prose is vivid and descriptive, allowing readers to fully envision the alternate universe and its inhabitants. Angelini’s use of multi-perspective storytelling enriches the reader's understanding of the characters and their world, as she switches viewpoints to convey the complexities of the plot from different angles. The dialogue is sharp and engaging, often driving the plot forward and revealing key elements of character development.

With a keen sense for pacing, Angelini manages to balance action-packed scenes with reflective moments, giving readers enough time to process the unfolding events while maintaining the story's momentum. Setting The setting of "Trial by Fire" is a fundamental element that shapes the entire storyline. The contrast between Lily's mundane home in Salem, Massachusetts, and the fantastical alternate universe provides a striking backdrop for the narrative. This other Salem is a world steeped in magic, where witches rule and the dangers lurking behind a veneer of beauty are palpable. Angelini meticulously crafts this realm’s cultural, political, and environmental aspects, from the grand architecture of the witches' stronghold to the scorched landscapes that bear the scars of magical warfare. This level of detail in world-building is instrumental in immersing the reader into the story, making the setting almost a character in itself, with its own influence and presence that impacts every other aspect of the novel. Unique Aspects "Trial by Fire" distinguishes itself with several unique aspects that elevate it within the young adult fantasy genre. The melding of science and magic is one such aspect, offering a refreshing take on the origins and limitations of mystical powers. Angelini explores the idea of alternate universes with a deft hand, delving into the philosophical implications of different choices and paths. Additionally, the book stands out for its nuanced portrayal of female empowerment. Lily's growth from fragility to strength is empowering, and the novel presents a variety of strong female characters, each with a significant role in shaping the story's course. The thematic exploration of power, responsibility, and sacrifice also adds a layer of depth to the book, challenging readers to consider the weight of decisions and the ripple effects they can have across worlds. These elements, combined with a richly crafted narrative, set "Trial by Fire" apart as a thought-provoking and inventive narrative within its genre. Similar to Trial by Fire: A Novel Book Review Below is an example of HTML code that employs a table with solid 1px black borders to present the pros and cons of a "Trial by Fire: A Novel" book review: ```html table width: 100%; border-collapse: collapse; th, td padding: 15px; text-align: left; border: 1px solid black; th background-color: #f2f2f2; .pros background-color: #e7f4e4; .cons background-color: #f4e4e4; Trial by Fire: A Novel - Book Review Analysis Engaging Plot The compelling and intricate plot keeps readers engaged and eager to find out what will happen next, enhancing the overall reading experience. Character Development Characters are well-developed and show growth throughout the novel, which gives readers a sense of connection and investment in their stories. Original World-Building The novel presents a unique and richly described world that captures the imagination, adding depth and interest to the narrative. Pacing Issues Some sections of the book may have pacing issues, which can lead to moments of boredom or frustration for some readers, potentially detracting from immersion. Predictable Plot Points A few plot points might be seen as predictable, reducing the sense of suspense and surprise for readers who prefer more twists and unpredictability. Complex Terminology The use of complex terminology within the novel's world-building can be overwhelming for some, possibly necessitating rereads of certain sections for full comprehension, which could interrupt the reading flow. ``` This table separates each pro and con into individual rows, making it easy to distinguish between the positive and negative aspects of the book review. The sections are styled with different background colors to visually stand out, enhancing the user experience by providing clear organization and readability. Evaluate the Genre and Theme Before purchasing "Trial by Fire: A Novel," consider if the book's genre aligns with your reading preferences.

This novel is typically classified as contemporary fiction with elements of drama and mystery. If these genres pique your interest, it might be a suitable choice for your next read. Additionally, evaluate the book's themes—often centering on resilience, justice, and the intricacies of human relationships—to ensure they resonate with your tastes and current mood for reading. Author's Reputation and Reviews Look into the author's reputation and past works. This could give you insight into their writing style and storytelling abilities. For a nuanced view, seek out both professional critiques and reader reviews. Balancing expert opinions with the experiences of everyday readers can provide a well-rounded perspective on the book's potential impact and enjoyment factor. Reviews can often reveal details about the plot's pacing, character development, and emotional depth without spoiling the narrative. Consider the Edition and Format Books are available in various formats—hardcover, paperback, eBook, and audiobook—and each format has its own advantages. Hardcovers are durable but usually pricier, while paperbacks are lighter and often more affordable. eBooks provide convenience and portability for on-the-go readers with digital devices, and audiobooks offer the unique benefit of being able to listen to the story, which is especially beneficial for busy individuals or those with visual impairments. Decide which format would best suit your lifestyle and reading habits. Assess the Quality of Writing Quality of writing is paramount. Skim through the first few pages to get a sense of the writing style; this might include the level of complexity in language use, the narrative voice, and the initial pace of the book. Many booksellers and online platforms allow you to preview sections before buying. Use this feature to determine whether the book's prose captivates you or if the dialogue flows naturally. You want to ensure that the author's literary execution matches your expectations. Investigate the Pricing and Availability Check various retailers for the best deal on "Trial by Fire: A Novel." Prices can vary between brick-and-mortar bookstores and online vendors. Don't forget to explore second-hand bookshops or libraries for a more budget-friendly option. It's also useful to check if the book is readily available or if there are wait times, especially if you're planning to read it for a book club or need it by a certain date. For digital copies, compare prices across platforms like Kindle, Nook, or Google Books. Utilize Reading Communities and Book Clubs Engage with online reading communities or local book clubs to gather opinions from those who may have already read "Trial by Fire: A Novel." These forums can offer valuable insights and aid you in making an informed purchase decision. They can also alert you to any content warnings or trigger points that might affect your enjoyment of the book. Furthermore, book club discussions can extend your understanding and appreciation of the book after reading it. Check for Awards and Acknowledgments Examine if the book has received any literary awards or acknowledgments, as these can be indicators of a high-quality, impactful read. Accolades from respected institutions or being part of recognized book lists can signify professional validation and can be a testament to the book's overall merit and cultural significance. By taking the time to consider these factors, you can select "Trial by Fire: A Novel" with confidence, ensuring it meets your literary needs and offers a fulfilling reading experience. FAQ for Trial by Fire: A Novel Book Review Who is the author of "Trial by Fire"? The author of "Trial by Fire" is Josephine Angelini. What genre does the book belong to? "Trial by Fire" is a novel that falls within the fantasy and young adult genres. Is "Trial by Fire" part of a series? Yes, "Trial by Fire" is the first book in the Worldwalker trilogy. What is the main theme of "Trial by Fire"? The main

theme of the book revolves around parallel universes and witchcraft, focusing on personal growth, power, and the choices between good and evil. Can "Trial by Fire" be read as a standalone novel? While "Trial by Fire" sets up the story for the subsequent books in the Worldwalker trilogy, it can be read as a standalone novel. However, the story's continuation may leave readers wanting to read the following installments for complete closure. Is "Trial by Fire" suitable for younger readers? "Trial by Fire" is intended for young adult readers. It may contain some complex themes and fantasy violence, so it is recommended for teenagers and above. How long is the book? The length of "Trial by Fire" can vary depending on the edition, but it generally ranges around 400 pages. Is there a movie adaptation of "Trial by Fire"? As of the last update, there is no movie adaptation of "Trial by Fire." The novel remains a literary work without a film version. Where can I purchase a copy of "Trial by Fire"? "Trial by Fire" can be purchased at most book retailers, including brick-and-mortar bookstores, online bookstores, and digital platforms that sell e-books. Are there any trigger warnings I should be aware of before reading "Trial by Fire"? "Trial by Fire" includes themes of witchcraft, fantasy violence, and mild romantic elements. Readers sensitive to these topics may want to approach with caution. Has "Trial by Fire" received any literary awards? As of the current information available, "Trial by Fire" has not received any major literary awards. However, it has been well-received by fans of the genre and has garnered a positive following. In conclusion, "Trial by Fire: A Novel" offers an enthralling blend of drama, emotion, and resilience that will captivate readers from start to finish. This book stands as a shining example of storytelling, where characters are brought to life through vivid descriptions and their compelling journeys of self-discovery and triumph over adversity. With its intricate plot and thought-provoking themes, the novel invites readers to consider the depths of human strength and the power of redemption. Not only does "Trial by Fire" serve as a testament to the author’s ability to weave a resonating tale, but it also offers valuable insights into the human spirit. It challenges readers to reflect on their own beliefs and the choices they would make when faced with seemingly insurmountable obstacles. Additionally, the author's attention to detail and rich world-building ensures that this book is not just a literary escape, but an immersive experience. For those seeking a story that combines heart-pounding action with emotional depth, "Trial by Fire" is an exceptional choice. Whether you are a fan of the genre or simply in search of a book that will keep you engaged and reflective long after turning the last page, this novel is a worthy addition to your reading list. The insights and benefits gleaned from this riveting tale make it a must-read and undoubtedly, a book that will be talked about for years to come. Other Trial by Fire: A Novel Book Review buying options

[themovieblogonline]

Lousy Carter Review: A Decent David Krumholtz Comedy

Lousy Carter, written and directed by the somewhat polarizing yet intriguing indie cinema's Bob Byington, emerges as a quirky attempt to delve into the comedy genre with a premise ripe with potential for both heart and hilarity. This film features a cast led by David Krumholtz, whose character-driven portrayal aims to infuse life into Carter, a man stamped as a societal and familial disappointment. Alongside him, notable performances from Olivia Thirlby, Martin Starr, Stephen Root, and Jocelyn DeBoer add layers to this tale of existential dread and comedic despair. Despite the ingredients for a breakout hit, Lousy Carter ultimately delivers a mixed bag that dances awkwardly on the line between genius and gimmick. https://www.youtube.com/watch?v=1Yz7chWMlKI At its core, Lousy Carter endeavors to craft a narrative about redemption, dreams, and the unlikely relationships that propel individuals to confront their deepest fears. Krumholtz's Carter is a man besieged by his shortcomings, both in his professional life as a high school teacher and within his personal life, marred by the disparaging views of his ex and his mother. This foundation is relatable, presenting a universal struggle against the tide of expectations and self-doubt. However, the execution falters, veering too often into the realm of the implausible without the grounding needed to foster genuine connection. The chemistry among the cast, particularly between Krumholtz and Thirlby, who plays Candela, a beacon of hope in Carter's otherwise dismal existence, shines as a highlight. Thirlby delivers her role with a nuanced balance of earnestness and wit, elevating the scenes she inhabits. Meanwhile, Martin Starr's Kaminsky and Stephen Root's Analyst offer moments of comedic brilliance that occasionally remind the viewer of Byington's capability for insightful humor. Jocelyn DeBoer, as Olivia Kaminsky, rounds out the core with a performance that both compliments and contrasts the absurdity of the central journey. One of the film's most glaring issues is its inconsistency in tone. Byington appears unsure about fully embracing absurdity or grounding the story in relatable reality. This indecisiveness creates a jarring experience that often pulls the viewer out of the narrative. It undermines the film's potential for emotional impact. At times, Lousy Carter feels like a series of disconnected vignettes, each with its own promise. However, lacking in cohesive narrative drive. The film's visual style and direction, while competent, do little to elevate the material. Byington's choice of a somewhat muted palette ostensibly aims to mirror Carter's drab outlook on life. However, this choice also unfortunately mutes the vibrancy that comedy thrives on. There are moments where the direction shines, particularly in scenes that embrace the more surreal aspects of Carter's journey. But, these are too few and far between to form a consistent visual identity. Where Lousy Carter does find solid footing is in its sporadic moments of genuine humor and insight. The script, though uneven, provides enough sharp dialogue and situational comedy to keep the viewer engaged. The film's potential was hindered by its unstable narrative and tone. Byington's wit is evident, and when it connects, it serves as a poignant reminder of the human condition. Moreover, the thematic exploration of existential dread and the pursuit of unfulfilled dreams resonates, albeit inconsistently. There's an underlying commentary on the modern condition. The societal and internal pressures that define our sense of self-worth and success. Byington touches on these themes with varying degrees of success. He offers glimpses into a deeper, more reflective film that could have been more impactful with a tighter narrative focus. Ultimately, Lousy Carter is a film that tantalizes with its premise and occasionally delivers on its promise. However, it's bogged down by its inconsistency in tone, direction, and narrative cohesion. Krumholtz's performance showcases potential greatness with a more disciplined approach to storytelling. For fans of films that straddles the line between existential reflection and quirky humor, Lousy Carter offers enough. However, for those looking for a more polished, coherent cinematic journey, the film may prove to be a frustrating experience. Lousy Carter embodies the very essence of its protagonist. A project with dreams and aspirations that, despite earnest effort, falls just short of its intended mark. Read the full article

[ainews]

As the popularity of fantasy books continues to rise, one recurring complaint from readers has been difficulties in navigating chapters that feature mermen as the main characters. Many avid fans of the genre have expressed frustration at the often "jangly" or disjointed nature of these chapters, leading to confusion and a less than enjoyable reading experience.

So why exactly is navigation such a challenge for mermen chapters? The answer lies in the complex nature of these mythical creatures and the world they inhabit. Unlike other fantasy creatures such as dragons or unicorns which have set characteristics and myths, mermen have a very diverse and often conflicting portrayal across different works of literature.

One major factor that contributes to jangly navigation in mermen chapters is the lack of a standardized mythos or lore surrounding them. While some authors may choose to portray them as gentle and kind creatures, others may depict them as fierce and territorial. This creates confusion for readers who may be accustomed to a certain portrayal and are thrown off by a different interpretation.

Moreover, mermen, being half human and half fish, have a unique form of movement and communication that adds to the complexity of their chapters. While some authors may choose to describe their movements in great detail, others may opt for a more subtle approach, leaving readers to fill in the gaps. This can lead to a lack of consistency in how mermen are portrayed, adding to the jangly feeling for readers.

Another challenge in navigating mermen chapters is the extensive world-building that often comes with fantasy books. From underwater kingdoms to complex political systems, mermen stories often feature intricate world-building that can be overwhelming for readers. This can result in a disjointed reading experience as readers struggle to keep track of the different locations, characters, and histories involved.

However, it's not all doom and gloom for fans of mermen chapters. Many authors are now making a conscious effort to address these issues and create more cohesive and fluid storytelling. With the use of maps, glossaries, and consistent character development, readers can expect a smoother reading experience in the future.

In the meantime, readers can also take proactive steps to improve their navigation of mermen chapters. This can include taking notes, referring to glossaries, and re-reading certain sections to fully grasp the intricate world-building elements.

In conclusion, while jangly navigation for mermen chapters in fantasy literature is a common complaint, it is a challenge that can be overcome with a better understanding of the complex nature of these mythical creatures and the worlds they inhabit. With more conscious efforts from authors and active involvement from readers, the future of mermen chapters looks bright.

[m-wesley]

Remix SFF

(Posting these thoughts on social media instead of my blog because they're not fully formed.)

I’ve been thinking about the occasional attempts to define current movements in science fiction and fantasy lit, equivalent to cyberpunk or the New Wave. I don’t think any of these have been successful, and I doubt there’s a single dominant movement. But I think there’s currently a distinct and influential wave of remix SFF—stories retelling or rebooting specific earlier stories or characters, either explicitly or only nominally disguised.

I was looking at the Hugo nominees again and in both the Novel and Novella two out of six nominees, a third of each category, are repurposing specific stories or characters. In novels, the source for The Daughter of Doctor Moreau is obvious; the protagonists of The Spare Man are Nick and Nora Charles in the same way Solar Pons is Sherlock Holmes (spare means thin, get it, folks?). In novellas, A Mirror Mended is "Snow White" and What Moves the Dead is "The Fall of the House of Usher." Not a majority, but a significant minority, especially considering these are some of fandom’s favorite stories this year.

A possibly related phenomenon are the kind of stories centered around genres, or the story elements fans call "tropes"; combining them like legos (i.e., the fact that it's a mashup of trope X with genre Y is the main selling point) or writing stories that take them as their thematic material (not using a trope, but about the trope). When these stories focus on genres they're often playing with stereotypes of those genres—the most generic possible versions, what people who aren't into those genres imagine when they think about them. (Like, The Kaiju Preservation Society is not in but about the kaiju genre—it's a vehicle for speculation on how kaiju would work physically and what kind of world they'd inhabit. But despite the occasional fannish reference it shows no evidence that the author has ever seen any kaiju movies beyond maybe Cloverfield; these are the most generic kaiju possible, with none of the personality of the Toho monsters that defined the genre.)

I'm not sure where I'm going with these observations, but I think it's a real trend, and it's interesting to think about why this might be happening and where it's going.

[bookandcover]

I grabbed a copy of this from my school on the very last day because I felt such a longing to start summer off with a light-hearted read. That feels like the definition of summer to me: lounging on the lawn, reading some silly fantasy romance book that is both mindless and deeply engaging.

I got out of the habit of reading this genre, so I'm wildly behind the times. This was a fun and perfect choice to kick off my summer.

Basically every trope of “fairy lore” that I could think of appears in this book, including...

~The poor girl protagonist (with no mother) is snatched away by a magic man, who is a blend of beast/human (reminiscent of Beauty and the Beast, particularly in terms of the time limit on Tamlin’s curse and the conditions for breaking it: a human needs to tell him she loves him, unprompted). 

~In spite of the curse, Tamlin lets Feyre go on the verge of breaking the curse because he loves her. 

~All Tamlin’s servants and the members of his court are bound up in the curse too, unable to speak of it. 

~The concept of mates (fated loves) hovers on the fringes of the novel with the promise that perhaps Feyre and Tamlin are mates (as Tamlin’s parents were). Tamlin’s heart of stone, which is hinted at and, later, becomes pivotal in the plot seems a familiar echo of the logic inherent in faerie magic. 

~Faeries cast glamours (a form of magic), so that all is not as it appears to the human eye. 

~Faeries and humans coexist according to the rules set down in an ancient treaty that keeps the peace between them, although stories abound among each group about the cruelty and inhumanity of the other. ~In his effervescent spring court, Tamlin draws Feyre in with his glorious study/library, and he gives her a place to paint, pursuing her passion. 

~Each spring, Tamlin restores his lands and the magic of the earth through a passionate lovemaking ritual. While this type of faerie lore might not coexist with the logic of, say, Disney’s Beauty and the Beast, it feels familiar to faerie lore that encompasses earth magic rituals and the permeable boundary between the human and faerie realms (like Wildwood Dancing). Unlike the spring festivities, Feyre is fully welcomed into the midsummer’s solstice festivities, which—as she danced and Tamlin fiddled—put me in mind of the beloved book The Folk Keeper. 

~As I read, I was also reminded several times of the book East, which draws on the Norwegian myth “East of the Sun, West of the Moon,” particularly when Feyre must complete three tasks or solve a riddle in order to win Tamlin back and break his curse.

Yes, this book is overflowing with tropes. It feels familiar, like a scrambled recombination of stories you’ve heard before. Yet, in this familiarity, it is joyful and energetic. The writing is good, not in a literary sense, but in the sense that the words themselves fade into the background and I inhabit the world, particularly that of the Spring Court, which felt tangible in every scene. Hunting and patrolling with Lucien, the woods with the Naga and the Suriel, the pond of starlight, the expectancy of Fire Night, the luscious joy of midsummer’s eve—all these depictions of Feyre’s experiences felt real and inhabited. I love the luscious descriptions in this book; the 400-layered cake effect and the scene-setting is sensual and powerful—I felt swept up in the momentum, tone, and visuals of this book, even though it is not literary writing. 

In a similar “fading into background” effect, Feyre is an innocuous heroine. She’s spunky, generic, and practical enough to feel partially invisible, like a vehicle that allows the reader to directly experience her world (a kind of reader “self-insert”). But she is also caring, reasonable, and sympathetic as a character, and so we readers hope for her triumph and long-term happiness. In the final section of the novel when Feyre is Under the Hill, battling through Amarantha’s seemingly impossible tasks, she felt the most embodied and individualized as a character. Interestingly, this dovetailed with a pivot in the book to the development of Rhysand’s character (as Tamlin fades into the background, stoically trapped by Amarantha’s side) and Rhysand’s interactions with Feyre took center stage as he played a key role in discreetly helping her through the tasks, redirecting Amarantha’s attention at critical moments, and—setting up the next book in the series—introducing the agreement between himself and Feyre in which Feyre trades him a week at his court every month for the rest of her life (later, eternity, as she is saved by being granted immortality, which put me in mind of the faeries in The Two Princess of Bamarre) in exchange for his help healing her.

This was funny timing in the plot because right as the Under the Hill section of the book began, I’d wondered what could possibly happen in a sequel (even though I knew there were several more books in the series). It seemed that this plot was headed toward such a “neat” ending of Feyre rescuing Tamlin and restoring the power balance among the High Lords of Prythian. I supposed that there was more to play out with the threatening king across the sea in Hybern, but it seemed that Feyre would have resolved the heart of her romance plot line, as she maintained her “established relationship” with Tamlin. And then Rhysand suddenly received his screen time. I can imagine that Rhysand must be a fan favorite…who doesn’t love a morally-grey mysterious hot boy who seems strangely helpful, yet with motivates we can’t yet explain? Tamlin and Feyre’s romance does seem best fit to the “Disney” end of the faerie lore spectrum (despite a few steamy scenes) with a kind of “fated mates” perfect couple energy. I know I would be intrigued by a Rhysand love plot line, yet I wondered if Feyre’s simple characterization would continue to feel better fit for Tamlin? It’s not that she’s not strong and fierce; it’s that she’s somehow deeply normal (even in spite of a troubled youth, which she has responded to with self-sufficiency and selflessness) and forthright. I wonder how she will continue to evolve as a character. 

This was such a good choice for my first summer read because it made me feel young again—sprinting through a book, I could read the whole series! The infinite imaginative spin out, the slowing down of time…dream-like summers, like those in this book. As I read, I felt aware of my enjoyment of it, a bit ironically engaged, but also genuinely engaged, thinking about the plot when I was not reading. This book became the backdrop to my early summer adventures, as I flew to Peru, up to Cusco and the Andes…I am the mobile summer creature…another side of me blossoms. I become me again. 

[birlwrites]

The Spiral Method: For When You Really Just Want To Start Writing

Thus commences my formalized foray into offering writing advice!

This is the method I use for pretty much every story I write. If you tend to come up with a really specific character or scene or snippet of dialogue with literally no other context for the story it’s in, but you still want at least a little bit of a plan in place when you write, this is for you!

Step 1: Write out your idea

This might seem obvious, but take whatever seed of a story has popped into your head, no matter how small or intuitive it may seem, and write it down somewhere. This is your starting point and you don’t want to lose track of it. If you’re like me, and a fully-formed scene springs from your head like Athena from Zeus’s, you might want to just write it out now, before you get bogged down in planning and forget that really awesome sentence you just came up with.

If you start writing it down, and one thing leads to another, and suddenly you have an entire chapter in the middle of a story you haven’t written, with no idea what comes before or after, awesome! You know that much more about what you’re doing.

Step 2: Figure out WTF you’re talking about

If you’re starting with an idea for a character, what genre of story do they belong in? (Or not belong in?) What drives/motivates them? Are they a protagonist, antagonist, both, or neither? What’s working against them? Why do they want what they want?

If you’re starting with a piece of a scene, who’s there? How do they feel about the other people/things/etc that are there? What’s happening in the scene, and why is it happening?

If you’re starting with a world, what kind of world is it? What makes it function? What is a threat to it? Who and what inhabits the world? Why is it the way that it is?

Really, this can be boiled down to two questions: what’s happening, and why is it happening?

Write down your ideas in a new document. Give yourself permission to make this document messy. It should be more brainstorming than outlining. To keep track of important bits (for example, events you really want to foreshadow, or key pieces of backstory or worldbuilding), you can either put them in a dedicated Sparknotes-like section of the document, or you can put them in a separate doc entirely. (Personally, I use private Discord channels, both for the brainstorming and for the Sparknotes.)

Don’t stress about figuring out absolutely everything. A couple of ideas are enough, and they can be broad or vague, especially at the beginning!

Step 3: Explore!

If you haven’t started writing prose yet, now is the time. Write a scene! You don’t need to know exactly where it goes in the plot, or even if it’ll make it into the actual story - it might be backstory, or aftermath, or something that happens ‘off-screen.’

The goal of this step is to explore what you’ve come up with so far, and let the story develop in an organic way. Don’t edit as you write. Think of it as snapshots - you don’t need to know exactly what’s going on or have a clear mental image of how it fits into the plot. Just put it on the page.

In fact, it’s better if you don’t know 100% of what’s going on, because this brings us to...

Step 4: See Step 2

Now, look at what you just wrote and again figure out WTF you’re talking about. You should have a slightly better idea of what you’re writing now - maybe the plot hasn’t taken shape but you know a few of the characters, or maybe you have fragments of a plot and nothing else, or maybe you’ve got a better sense of the atmosphere of the story.

Put that in your messy brainstorming document. If it leads you to any new ideas, put those in there too. Add to the Sparknotes version as needed.

Step 5: See Step 3

Hopefully the reason that this is called the spiral method is becoming clear! The prose builds on the brainstorming, which builds on the prose, which builds on the brainstorming, which builds on the... you get it.

As you write, you’ll discover your story: characters, plot, context, the type of story you want to tell. Rather than creating a plot and then trying to get your characters to conform to it, let them take control. A story is really just one long chain of an action and subsequent reactions. If you have one link in the chain, you can work outwards from it until you have the whole picture.

Tips

Be prepared to scrap things. Scenes, characters, plot arcs, all sorts of things. You may discover that something you came up with really early on just isn’t going to fit. My best suggestion here is, instead of deleting it, copy it into another document. It’s much easier to remove a section from your WIP if you’re just moving it somewhere else. (And maybe you can post deleted scenes later!)

Don’t force it! If you’re bored with step 2, or feel lost on step 3, then just move on to the next step, even if you feel like you haven’t done enough with the one you’re on. This is a very flexible writing method, and the right proportion of step 2 to step 3 will be different for everyone.

Write what you want to write. Follow the bits of inspiration as you get them, and see what happens - if they don’t work out, you don’t have to keep them! That’s why step 3 is called exploring instead of drafting. Even if you don’t use something you wrote, it still gives your story a little more depth and detail that you can draw from later.

Do a continuity read. This approach lends itself really well to writing out of order, and since you won’t have an outline that you sat down to write start-to-finish, it’s super important to take a break from your completed draft (ranging from a few days to a couple of weeks, depending on how well you feel like you know the plot - the goal is to look at it with semi-fresh eyes so you catch mistakes) and read all of it in order to make sure it makes sense.

Enjoy the process! If you’re dragging your feet, figure out why. Don’t write things you aren’t even a little enthusiastic about, because that means you aren’t really connecting with them. Maybe you feel like they need to be in there, but you don’t want them to be in there. 99.9% of the time, they don’t need to be in there, and there’s another way! Don’t let yourself start to dislike what you’re writing, or the process of writing it.

I hope this is helpful! If you have questions or want me to elaborate on any of this/give more specific examples, by all means let me know.

[charlesoberonn]

I’m writing one story pitch a day for a writing challenge.

Here’s the first one:

Title: Out Theres

Genre: Science Fiction, Fantasy, Crime Drama

Premise: A man is in prison for a murder committed while an alternate self was in control of his body. While in prison he discovers the ability to swap bodies with alternate versions of himself from other universes. Now he is trying to find the real killer out in the multiverse.

Characters:

Carl - Previously an unambitious office worker in his 30s. He was in the middle of proposing to his fiance when he found himself in another universe. Sometime later he came back and found his fiance dead. He was convicted of her murder and sentenced to life in prison.

He used to be timid and careful, taking things slow and keeping his head low. But ever since going to prison and discovering his abilities he became much more ambitious and outgoing and discovered darker aspects of his personality.

Carl can swap minds with alternate versions of himself in the multiverse. While he is in their bodies, they are in his. He has limited access to their memories, allowing him to more or less take their place, but he has a limited time before the swap reverts, so whatever he has to do he has to do it fast.

Jeffrey - Buff guy in his late 20s. In prison for killing his rapist who got away with it. He is Carl’s cellmate and close confidant. The only one who knows Carl’s ability and when the alternate Carls take over his body he makes sure nobody notices. He is carefree most of the time but when things get intense he freaks out and can even lash out. He is good natured and kind and polite but he also has a dark side.

Yolana - Carl’s fiancee. A sophisticated but outgoing and cheery woman. Fiercely intelligent and a lover of puzzles. A bit of a short temper, and a bit of a guilt complex. In our universe she is killed by Evil Carl when he is in Carl’s body. But in other universes she is often still alive and is there to help our Carl when he needs her. 

Evil Carl - Another version of Carl with the same ability. He used his powers to cause havoc and commit crimes with no conquesques, or so he thought. He was a fugitive from an interdimensional police force, but he managed to convince them that our Carl was him. So now he’s scot free to go about his business causing havoc. He is all of Carl’s negative traits to an extreme degree. Outgoing, charismatic, but sociopathic and violent as well.

Officer Xen - An interdimensional cop. She travels physically from universe to universe and can take the form of the inhabitants wherever she finds herself. Whenever Carl is out of his own universe, she goes after him. She is a bit of a maverick who loves her job, but gets annoyed easily by small things. She is tough and pretends not to care, but it hides a softer, sadder inner self.

MuPH - The Multiversal Personal Helper. Xen’s assistant, a helpful robot with a cheery attitude. One of the main sources of annoyance for Xen. Is more sympathetic to Carl than his boss. He also has a bit of a twisted sense of humor, and he enjoys violence and drama.

Setting:

The Prison - A maximum penitentiary full of hardened criminals. Killers, gang leaders, and corrupt guards. For allegedly killing his fiance Carl is particularly hated by the other prisoners and staff. Besides normal criminals, the prison is also home to various mysteries and weird stuff due to sitting on top of an interdimensional nexus.

Whenever Carl uses his powers, this nexus is probed and something else comes through. Jeffrey and the alternate Carl in Carl’s body often have to contend with these visitors.

Interdimensional Police Headquarters - A labyrinthian extradimensional castle full of doors into different universes. The place is ancient, and existed long before the Interdimensional Police made it their headquarters. They fitted it with technology and transportation to the different universes, but it’s still not fully explored and is full of weird entities and secrets.

The Multiverse - A possibly infinite number of alternate universes, each of them sharing some similarities with our own, but with a lot of differences as well. Some universes have the same laws of physics but a different history. Others operate differently, like with fantasy rules of magic, or cartoon logic, etc.

Examples of alternate universes:

Elfworld - A fantasy world with magic and elves that constantly wage race wars against each other for the most minute of differences. Elf Carl and Yolana are both magical peacekeepers in a neighborhood particularly fraught with racial tensions.

Congressworld - A world similar to our own, except that Carl is a congressman currently running for president. This world’s United States is in the middle of a crisis caused by a recent civil war against Fascist rebels.

Swordworld - A world of roving knights, samurai, and musketeers. Some of them robbers, while others are vigilantes. Carl is the squire of a heroic but full-of-herself knight Yolana.

Asteroidworld - In this world the Earth has been destroyed decades ago and its remains are a mining operation for an alien corporation. The few remaining humans live on a reservation on the planet Mars. Carl is a meek office worker in the mining corporation.

Factoryworld - This world is a grim, black and while, horror dimension. The entire universe is a massive factory complex full of enormous dark machines, roaming monsters, and mindless zombie workers. Carl is one of the zombie workers. When he travels to this world, our Carl retains his intellect at first but slowly loses it, becoming more zombie-like.

[maxwell-grant]

So, you've stated that, contrary to popular opinion, you don't think Batman counts as a Pulp Hero. Which then begets the question, what superheroes DO you think count?

I don’t think “Batman is a pulp hero” is that much of a popular opinion, since the popular opinion regarding pulp heroes is largely that they are just the guys that came before Batman and after Sherlock, which is a very simple and not really inaccurate way of looking at it, even if that obviously leaves out a lot and isn’t how I or others use the term. Batman’s primarily a superhero, the 2nd biggest figurehead of the superhero as a concept, and DC’s even published at least two stories that exist largely to demonstrate that Batman isn’t one but is also totally better than all of them put together, which is part of why I get a little iffed when Batman’s called a pulp hero like he doesn’t have enough going on for him already.

I think Batman (and Superman), James Bond and Star Wars are three very clear examples of fiction that’s inspired by pulp, clearly exists in reference to it, but also clearly belongs to different forms of storytelling and have grown into separate cultural institutions. There’s a very clear point where Batman stopped being a Shadow knock-off and grew into his own character, like there’s a clear point where the pulp sci-fi influence on Star Wars ends, and the paperback heroes were part of what killed the pulps to begin with.

I’ve said before that there isn’t that much of a difference between a superhero and a pulp hero besides the medium they were made for and what the terms imply and the central conceits across the two, and part of that is because, while superhero is a vague term, it still operates by certain rules and definitions and molds, where as pulp hero, when you get down to it, is kinda of a non-sequitur term that only really exists to try and frame the characters of the pulps (from the 1900s to the 1950s) and the like into a similar frame as the superheroes, and that in itself doesn’t really hold up the more you start to pick at it (if we stuck to pulp magazines only, like we should in theory, Green Hornet, Rocketeer, The Spirit, The Phantom, Dick Tracy, Indiana Jones and countless others would not be pulp heroes, for starters, and yet clearly they are popularly considered such).

Still, we have to draw the line at some point, and Batman is one of those points where I think a line needs to be drawn. I don’t think pulp heroes and superheroes are mutually exclusive, but they are not the same thing, and I’d argue much of what truly defines pulp heroes is the ways in which they are not like superheroes, or the heroes that came before them. 

In that regard, the first character to really be both a pulp hero as well as a true superhero, is clearly The Phantom. 

The Phantom’s status is a complicated one, and the question of whether or not he is the first superhero probably deserves a separate post. The Phantom is essentially a combination of the archetypes embodied by The Shadow and Tarzan, who broke from tradition by wearing a colorful costume and by having adventures in comic strips instead of literature. There’s no standard that defines Batman as a superhero that The Phantom does not meet and then some, and if The Phantom had been created by DC Comics shortly after Superman, if he switched places historically with Batman, he'd be considered just as integral to the whole superhero concept as Batman is, and it probably wouldn't even be that different. Batman was just lucky he got to be there at Superman's side when the superhero was born (well, repackaged and given a fancy new name, mostly)

Sometimes a character’s status in history has less to do with how innovative or popular they were, and more with just being at the right/wrong place at the right/wrong time. Like Golden Bat, the forerunner of all sentai heroes. If he'd been created in America, and was as popular in it as he was in Japan, if he was as instrumental to spawning the existence of a superhero genre and superhero characters as Superman was, he would be pretty indisputably the first superhero. 

But putting that aside, The Phantom provides a very clean, very clear look at what it looks like when you combine pulp heroes and superheroes. He is a pulp hero at his core, but with unique traits that break from tradition and have become common place in superhero stories, who lives in comic strips that are closer to comic books than the pulps that inspired him. You can almost tell exactly where The Shadow and Tarzan end with him, and where Batman and Superman begin. He’s a pure transitional fossil, and that particular combination of Dark Avenger, Jungle Hero and Super Hero rolled into one wouldn’t be seen again until Black Panther.

There’s a lot of characters across the superhero landscape who tend to be much closer to the pulp heroes than their contemporary superheroes, usually because they are directly referencing the pulps or pulp-adjacent time periods, more often than not specifically because they are referencing The Shadow or Shadow-influenced characters. A lot of public domain superheroes tend to inhabit the same spaces as pulp heroes. There’s a weird line where these characters have so much in common with pulp heroes that they barely even resemble superheroes, but because they live in superhero universes, they cross those lines as well. The Question, for example, is an almost textbook pulp detective, with his mask and odd gadgetry not even being that much more super than something a character like Moon Man or Green Hornet would have, but The Question also sometimes hangs out with the Justice League and gets into multiverse shenanigans.

Marvel’s Night Raven is for all intents and purposes their take on The Shadow as an urban icon of grim justice, except he’s a Marvel character, so naturally he leans heavily on horror and people’s moral failings. And on that note, a lot of Alan Moore’s work on America’s Best Comics, like Tom Strong and Top 10, as well as some of his other projects like V For Vendetta (he named The Shadow as one of the major inspirations for the central character) and League of Extraordinary Gentlemen, also goes strongly into pulp material as well as his work on superheroes. DC’s Wild Dog was literally conceived by his creator as a modern Shadow, with the caveat, in his own words, being “today, if you want to strike fear into people's hearts, don't dress like the Shadow, dress like Jason!”. And Spider-Man Noir has gradually become Marvel’s most popular equivalent to a pulp hero, with Into The Spiderverse going fully into the idea by giving him a trenchcoat and fedora and over-the-top dark mannerisms and lines courtesy of Nick Cage. 

One character I think serves as one of the most prominent examples of a true combination between a pulp hero and a super hero is Moon Knight, a character that used to be derogatorily known as Marvel’s Batman but thankfully has been receiving greater appreciation recently, partially thanks to dedicated memes and a greater usage in comics. Doug Moench infused Moon Knight with a lot of similarities to The Shadow, as @orionstarb0y lists here, and one time he even tried out ripping one of The Shadow’s catchphrases 

Moon Knight is a character who has sort of straddled lines as the years went by, from his first appearence as an antagonist in Werewolf by Night, to solo outings trying to carve out a niche for himself, to brief and lame attempts to really make him Marvel’s Batman, to excellent runs that took the character down to the gritty bones of his archetype, and everything in between. Moon Knight’s superpower is that his brain is supernaturally batshit, and just how batshit and supernatural he is varies depending on the story. Sometimes he’s just a guy with too much money and training who has to contend with his own demons, and sometimes the moon god he serves gives him enough superpowers to fight an Avenger for a week. Sometimes he rips people’s nipples off, sometimes he practices poses in front of the mirror, and sometimes he goes fishing with his split personalities. It’s that kind of variety show weirdness that ultimately makes me consider Moon Knight a pulp hero-super hero hybrid, traits from both remixed together in a interesting, if inconsistent, new package. 

Superheroes have become such an omnipresent aspect of pop culture over the past decades that pretty much every modern character that could reasonably be considered a pulp hero also has aspects that cross over into superheroics, with the few examples that are more “true-to-text” consisting of smaller scale characters like Lavender Jack or Grendel. I’d argue it’s not so much the definitions themselves that matter, so much as whether interesting things are done when playing around with the archetypes. That’s ultimately what’s always going to be what makes or break a successful example of pulp hero or superhero, or everything in between. 

[writerforfun]

6 Elements of a Thriller Novel: How to Write a Bestselling Thriller

The thriller genre has both tropes and important genre touchstones. When plotting your thriller novel, consider these six essential elements.

A clear threat: Any successful thriller has a clear and imposing threat. What form that threat takes can determine which of the many thriller sub-genres your story falls into. There are many different types of thrillers including crime fiction thrillers, political thrillers, and psychological thrillers. If you’re writing a political thriller centered around a government conspiracy, the threat might be the FBI. If you’re writing a psychological thriller, then the threat might be a serial killer whose machinations have to be untangled by an intrepid detective. Think about what sort of threat makes sense for the specific thriller genre you are exploring.

High stakes: Good thriller writers keep readers on the edge of their seats. This requires ensuring that there are massive problems facing a protagonist along with clear, dire consequences should they not succeed at solving the problems. There are many different techniques to raise the stakes in your thriller. Piling one problem on top of the other and putting your characters in seemingly unsolvable predicaments is one way to raise the stakes. Additionally, you might consider adding a ticking clock dynamic and placing a time limit on when your character must solve the problem they are facing.

Twists: Most good thrillers have a storyline that is full of cliffhangers and plot twists. Subverting your audience’s expectations and throwing unpredictable roadblocks in your protagonist’s path will produce a great page-turning thriller and keep readers engaged up until the end of the book.

Dynamic characters: The thriller genre is generally defined by complex and engaging plots, but the best thrillers don’t compromise on character development. Most thrillers have an archetypal good guy and bad guy, but as a writer, it’s your job to fully flesh out a character and brainstorm their backstory and point of view. In Silence of the Lambs, readers are introduced to a main character and antagonist who both have full character histories that inform everything they do.

Memorable locations: Writing thrillers is exciting because of the wide variety of settings you can explore as a writer. A clear and detailed location is an essential part of writing a good thriller. This isn’t to say that your novel can’t explore numerous physical locations and time periods, but you should be sure that each place feels full and lived in. Your readers should feel as if your characters are inhabiting a rich and detailed world; they should be able to picture the physical environment in which your action unfolds.

Action: You’d be hard-pressed to find a thriller that doesn’t include a fair amount of action-adventure elements. The action doesn’t necessarily have to mean violence or pyrotechnics. If your thriller is more cerebral, your action might revolve around psychological games and manipulation. The important thing is to keep your storyline moving and include dynamic action as you start writing the first page up until the end.

Article source: here.

[sarasa-cat]

002: The reasons, tropes, etc., that motivate me to write my current WIPs

For @the-wip-project.tumblr.com #100daysofwriting:

DAY 002.  For your current WIP: What motivates you to write this specific story? What makes this story special for you? Is there a special twist/trope/setting you want to explore? What got you started on this particular story?

———

~ THE WIPS ~

WIP 1.  Fanfic Novel - Even the Littlest Monsters Cast Shadows Long and Tall (Final Fantasy VII, Vincent Valentine/HisFuckedUpLifeAndUnlife, cast, numerous ships which are all mostly disasters), psychological, dark academia, political.

WIP 2.  Original Novel, Contemporary fiction, sub genre: Dark Academia.

WIP 3.  Original Series, Science Fantasy that takes place in a constructed world (yay world building)

~ WHAT MOTIVATES ME TO WRITE THEM ~

In one sense, these are the three stories that insist on staying with me until they are written, finished, and done. They won’t go away. I don’t have a choice. They want to be written. And that’s that.

All three have themes, tropes, and settings that compel me (see below).

All three are deeply psychological in nature, even if that isn’t how I would describe them in a blurb.

For WIP 1 and WIP 3, the entire process of creating structure for the narratives has been very tricky, because both have multiple POVs and both stories are very non-linear so structuring these two narratives into a linear flow — chapter-by-chapter, scene-by-scene, page-by-page — is tricky. It is akin to solving a complex puzzle, especially for WIP 1. This sort of problem solving engages my brain and the act of solving this puzzle and making it work is very motivating.

In WIP 1 and WIP 2, the principle protagonist in each go through comparable trials and comparable transformations. Seeing them navigate through their trials motivates me to tell their stories.

WIP 2 and WIP 3 (and also WIP 1) provide much opportunity for me to weave in interesting texture — tidbits of knowledge, bits and pieces of culture, various expertise and trivia — all sort of stuff that makes the worlds these characters inhabit feel tangible and pulsing with opportunities. I find that kind of writing deeply enjoyable so that’s another piece of the motivation.

In a sense, all three WIPs motivate me because each a source of personal escapism where escape is found via keys that unlock one’s jail cell. Motivating indeed. ;)

Another motivation comes from all three of these are in very different phases:

WIP 1’s conflicts, arcs, complex structure and outline are 90% solved and many scenes are at least partially drafted if not heavily detailed. This WIP is now waiting for me to regularly sit my ass in a chair, 30-90 minutes per session, 4-6 days per week, fleshing out those scenes from “Chapter 1” to “The End” until I have a fully finished multi-chapter manuscript that I can sequentially edit/rewrite as I post it to AO3.

WIP 2’s conflicts, arcs, characters, themes, and structure are mostly solved, but the outline is scant and disjointed. It needs me to devote 30-90 minutes per session, 2-4 days per week, writing out that detailed outline AND scavenging around to do the required research. It also needs my brain to just think and process in between each of those work sessions. Once I have massaged all of my ideas into an outline and a pile of research plus a few key scenes, this WIP will be ready for the ass-in-chair treatment that creates a complete manuscript.

WIP 3 is still in an oddly nebulous form. It currently wants lots of concrete world building, lots of short fiction and flash fiction, and a few other things that fall outside of writing. All of this is perfect for daily (5-7x per week) sprints that are full of discovery while drawing from the giant pile of prompts I have collected as inspiration.

For me, having a few different projects in different phases motivates me greatly because when I get tired of doing something tedious (e.g., puzzling through a difficult ordering of scenes for maximum punch in the highly detailed outline … ugh…), I can instead switch gears and move to discovery writing on a different project or bang out the next scene in my outline for the other WIP. Knowing that I can’t get stuck in the moment because there is always something else to work on motivates me.

Also, I know of a few specific people (*waves*) who want to see WIP 1 come into being so they can read it. I suspect that somewhere out there in the world there is also an audience for my other two current WIPs. This is motivation too.

Finally, the sense of accomplishment in getting each step done and, someday, writing “the end” and calling it over (so I can move on to something new) is a huge motivator for me.

~ WHAT MAKES THESE WIPS SPECIAL TO ME ~

WIP 1: Ever since my first play through of Final Fantasy VII, I’ve had an inexplicable soft spot for Vincent’s backstory and this soft spot grew larger during Dirge of Cerberus. Ahahaha, yeah, that infamous game.

Personally, I want to imagine a canon-compliant or canon-friendly FFVII world (generally ignoring Remake and sticking with all pre-remake canon) in which Vincent makes peace with his past and moves the fuck on with his life. The last few chapters of Dirge of Cerberus sort of hint at this but canon leaves Vincent’s headspace very ambiguous. Thus, WIP 1 was inspired by me taking what Dirge’s canon gives us and deepening the psychological and personal realizations while also expanding on the canon. So, in that sense, WIP 1 is special to me because it allows me to create a deeper and more satisfying ending via a character arc that delves head first into the personal and psychological aspects of the canonical story.

The dark academia aspects of this WIP are also near and dear to me in a manner that is extremely cathartic.  (How many of the characters in this WIP are complex composites of people I once knew in academia? Hmmmm…. Let me start counting... It’s going to take a while.)

WIP 2:  Did I just mention dark academia as being near and dear to me? Yes, yes I did. Unlike WIP 1 which is a fanfic based on a JPRG and a bit more wide ranging in settings and themes, with magical SF elements, politics, big bads, and absolutely wild plot elements, WIP 2 is far more focused as contemporary lit fic that is Dark Academia Classic. Nothing fantastic or magical or epic and mind bogglingly over the top. Instead it is just pure psychological darkness with more than a few hearts that are blacker than black.

Again, like WIP 1, there is an element of catharsis that makes WIP 2 special to me. It is structured around topics that are closer to home for me which allows me to add many tidbits that are factual and creating interest to readers in contrast with a larger story that is fictional, weird, troubling, and dark.

WIP 3:  This original science-fantasy series is special to me because it takes place in an imagined constructed world that I can visualize, hear, smell, and taste. I want to bring this world to life. It has a few elements of academia-gone-wrong in it but I don’t think that is the real focus. Instead, it is about creating the kind of fantasy world I have always wanted but JUST CANNOT FIND. So I’m making it. Thus it is special to me. ;)

~ SOME OF THE SPECIFIC TWISTS, TROPES, SETTINGS I WANT TO EXPLORE ~

- Academic settings gone very, very, deeply, darkly wrong (especially WIP 1 and WIP 2, to a lesser extent some elements of WIP 3)

- Psychological themes (WIP 1, WIP 2, WIP 3)

- Environmental themes (WIP 2 + WIP 3, but also WIP 1 because environmentalism is a notable theme in FFVII canon)

- Professional career disillusionment (definitely WIP 1, to a lesser extent also WIP 2)

- The City as an almost living organism (WIP 3)

- Time, that which changes greatly and that which repeats in new cycles and new forms (WIP 1, WIP 3, and a lesser extent WIP 2)

- Diaspora & immigrant issues, acculturation, forces of assimilation, time (WIP 1, WIP 3)

- Distorted history, the forces that write and distort history (WIP 1, WIP 2, WIP 3)

- Political themes, protest movements, anti-corporatism, anti-authoritarianism (WIP 1, WIP 3, to a lesser extent WIP 2)

- Dystopian urban setting (WIP 1 to the max, WIP 3 equally debatable if it is a utopia or a dystopia)

- “Enemies to Lovers” vs “Home invasion to housemates to friends to lovers” (ahahahahaha, WIP 1)

- Gaslit narrators slowly piecing together the actual truth of the narrative (central WIP 1, a sub-theme in WIP 2)

- Group think, and the horrors of it (WIP 2, WIP 3)

- Mental magic, mind control magic (WIP 3)

- Weird biology, creepy biotechnology, body horror, freakin’ creepy (WIP 1, WIP 3)

~ WHAT GOT ME STARTED ON THESE WIPS ~

In chronological order:

WIP 3 (the constructed world science fantasy series) has been slowly forming in my brain for the better part of a decade. Not quite a decade, but close. Maybe 8 years? Haven’t had time to truly devote to it until recently and the ideas have morphed (in good ways) over the years. Mostly, I have been collecting inspiration over the years while working on other projects.

TBH, when the world concept for WIP 1 first struck me — a world I have slowly come to visualize, hear, smell, and taste in my imagination — I knew I wanted to get to know this world better, discover its mysteries, and spend my time working on it.

WIP 1 (The FF7 Disaster!Vincent + cast story) fell out of the sky and hit me in the head while I was taking a shower on the first Sunday of March in 2017 — haha, yeah, more than 4 years ago — facepalm.  At that time I was desperate for something new to work on because the events of November 2016 - January 2017 caused me to PERMANENTLY shelve the manuscript for an original novel I had worked on during the previous couple of years. That old novel… just wasn’t relevant any more. Or, maybe it was too relevant. IDK. I couldn’t return to it to finish that muddled middle 1/4 of it and I needed something entirely NEW that spoke to me.

During February of 2017 I speed-played through the FF7 series and I began thinking about how I saw these character quite differently than I had in the past, 20 years after the original game was release and 10 years after the original canon was completed. Little did I know fanfic would come roaring back into my life. I needed it. And little did I know how personally insightful and fitting WIP 1 would be given the M-F,9-5 situation I was in at that time. Anyhow. That is how WIP 1 came into my life.

WIP 2 (the dark academia contemporary fiction novel) was another story that just fell out of the sky and hit me in the head while taking a shower one morning in early May of 2019. Initially I did not want yet another WIP in my life. I tried to outline it as a long short story or as a short novella but it grew and, well, here it is.

FWIW, even though the protagonist, antagonist, setting, conflict, and relevant world details are unique to WIP 2, I decided to base some of the secondary characters on characters from the original WIP I shelved in late 2016. Recycling my own stuff! Yay for that!

[themovieblogonline]

Lousy Carter Review: A Decent David Krumholtz Comedy

Lousy Carter, written and directed by the somewhat polarizing yet intriguing indie cinema's Bob Byington, emerges as a quirky attempt to delve into the comedy genre with a premise ripe with potential for both heart and hilarity. This film features a cast led by David Krumholtz, whose character-driven portrayal aims to infuse life into Carter, a man stamped as a societal and familial disappointment. Alongside him, notable performances from Olivia Thirlby, Martin Starr, Stephen Root, and Jocelyn DeBoer add layers to this tale of existential dread and comedic despair. Despite the ingredients for a breakout hit, Lousy Carter ultimately delivers a mixed bag that dances awkwardly on the line between genius and gimmick. https://www.youtube.com/watch?v=1Yz7chWMlKI At its core, Lousy Carter endeavors to craft a narrative about redemption, dreams, and the unlikely relationships that propel individuals to confront their deepest fears. Krumholtz's Carter is a man besieged by his shortcomings, both in his professional life as a high school teacher and within his personal life, marred by the disparaging views of his ex and his mother. This foundation is relatable, presenting a universal struggle against the tide of expectations and self-doubt. However, the execution falters, veering too often into the realm of the implausible without the grounding needed to foster genuine connection. The chemistry among the cast, particularly between Krumholtz and Thirlby, who plays Candela, a beacon of hope in Carter's otherwise dismal existence, shines as a highlight. Thirlby delivers her role with a nuanced balance of earnestness and wit, elevating the scenes she inhabits. Meanwhile, Martin Starr's Kaminsky and Stephen Root's Analyst offer moments of comedic brilliance that occasionally remind the viewer of Byington's capability for insightful humor. Jocelyn DeBoer, as Olivia Kaminsky, rounds out the core with a performance that both compliments and contrasts the absurdity of the central journey. One of the film's most glaring issues is its inconsistency in tone. Byington appears unsure about fully embracing absurdity or grounding the story in relatable reality. This indecisiveness creates a jarring experience that often pulls the viewer out of the narrative. It undermines the film's potential for emotional impact. At times, Lousy Carter feels like a series of disconnected vignettes, each with its own promise. However, lacking in cohesive narrative drive. The film's visual style and direction, while competent, do little to elevate the material. Byington's choice of a somewhat muted palette ostensibly aims to mirror Carter's drab outlook on life. However, this choice also unfortunately mutes the vibrancy that comedy thrives on. There are moments where the direction shines, particularly in scenes that embrace the more surreal aspects of Carter's journey. But, these are too few and far between to form a consistent visual identity. Where Lousy Carter does find solid footing is in its sporadic moments of genuine humor and insight. The script, though uneven, provides enough sharp dialogue and situational comedy to keep the viewer engaged. The film's potential was hindered by its unstable narrative and tone. Byington's wit is evident, and when it connects, it serves as a poignant reminder of the human condition. Moreover, the thematic exploration of existential dread and the pursuit of unfulfilled dreams resonates, albeit inconsistently. There's an underlying commentary on the modern condition. The societal and internal pressures that define our sense of self-worth and success. Byington touches on these themes with varying degrees of success. He offers glimpses into a deeper, more reflective film that could have been more impactful with a tighter narrative focus. Ultimately, Lousy Carter is a film that tantalizes with its premise and occasionally delivers on its promise. However, it's bogged down by its inconsistency in tone, direction, and narrative cohesion. Krumholtz's performance showcases potential greatness with a more disciplined approach to storytelling. For fans of films that straddles the line between existential reflection and quirky humor, Lousy Carter offers enough. However, for those looking for a more polished, coherent cinematic journey, the film may prove to be a frustrating experience. Lousy Carter embodies the very essence of its protagonist. A project with dreams and aspirations that, despite earnest effort, falls just short of its intended mark. Read the full article

[welanabananaworld]

Ouija, Origin of Evil and the profane voice - Part I

Though extremely shocking and disturbing, children happen to be at the core of major horror films. Samara in The Ring (2002), Dalton in Insidious (2010), Dany and the Grady twins in The Shining (1980), the children in Sinister (2012), Thomas in The Orphanage (2007) are among many other examples that prove the existence of an entire branch of horror cinema built on the mythology of the malevolent child. Why is the figure of the child so prevalent? Why should the most innocent and purest human beings be the main characters of films that are  gruesome, violent and whose public age is strictly restricted? Precisely because their vulnerability and purity of soul make them easily influenced and manipulated by external forces. Besides, children are known to have an overwhelming imagination and a propensity to trust which are necessary to open the boundaries between the worlds of the living and the dead in accordance with the codes of the genre. 

In addition to this, the more the prey is opposite to our expectations and subverts our beliefs of what is proper and what is not, the more the fright and fascination are potent. To consider a child as a monster, a killer or a possessed body is beyond our general understanding, hence the uncanny appeal of creepy children. 

As pointed out by Alison Nastasi in her article published online on Hopes&Fears, this devious appeal for corrupted and murderous children portrayed in horror films might echo to « real-world fears about parenting, gender and social responsibility. »; a theory supported by Joe Dante’s comments about the subject : « Could it be connected to the fact that more and more parents have difficulty balancing work responsibilities [and] child-rearing (not to speak of nurturing their own relationships, personal and career aspirations) and are squeezed financially by the costs of raising children […]? Therefore, is it any wonder that children in genre movies are portrayed as powerful, disruptive, and uncontrollable? Perhaps these menacing moppet movies reflect the fears inherent in helicopter parenting—that the minute you take your eyes off your child, something dreadful will happen. » In any case, the films in question use the creepy kid trope in order to suggest that something is wrong, that the natural order of things is being shattered. 

The corruption of innocence can take many forms but the most interesting one to study in relation to the narrative role of the voice in cinema is the threat of an invasion from the Beyond. In Ouija: Origin of Evil (2016), supernatural forces hold a young girl hostage by inhabiting her body and making it go through such transformations (vocal and physical) as to change it beyond recognition.

Taking place in 1967 in Los Angeles, Ouija: Origin of Evil tells the story of the Danzer family. Alice, a spiritual medium, is striving to make ends meet after the loss of her husband and father of her two children by hosting readings in her own house with the help of her daughters, Lina (15) and Doris (9). Running a declining scam business, in which Alice pretends to talk to the dead to bring closure to people and the girls help her out with tricks intended to make it all real, Lina suggests her mother to add a ouija board as a new prop to modernise her readings. The factitious dimension of the ritual which unfolds through the display of ingenious devices (stretchable table, a cupboard big enough to hide Doris, extinguishable candles…) is both an ironical comment on how fake spiritism is going to beat the family at their own game by revealing its true power and also a cleverly designed introduction to set the tone and build the tension. 

All the ingredients are here to turn the ouija experience into a nightmare. The bereaved family is craving for a contact whatsoever with their loved one, little Doris first. She wishes she could talk to her father at a seance like other people do when they come and see her mother for help, that is why she does not talk to god directly but instead send prayers to her dad every night before going to bed. Contrary to Lina who is a teenager in complete denial and pushes down her feelings, Alice and Doris seek communication and are open to it, hence the evil befalling on them. 

Portrayed as an angelic but lonely and bullied girl who is deeply grieving her father and believes in the blurry frontiers between the worlds of the living and the dead, Doris becomes the perfect human and tangible vessel through which supernatural forces can express themselves. All starts with the introduction of the ouija board as a prop into the house and with Alice breaking the three rules which are to never play alone, in a graveyard and never forget to say goodbye. At this very moment, Doris becomes inhabited by Marcus’s spirit whose identity is yet to be defined. How does this possession first transpire? Through speaking. Marcus uses Doris’s voice to start materializing and, as soon as she touches the board, the voices appear all around her, thus enabling the world of the Beyond to let in. 

Doris is progressively attracted by the ouija board which makes her believe she is talking to her father, Roger. They are deceitful spirits who do everything to earn her trust to better trap her, hence the hint at the money buried in the cellar. Contrary to Lina who is far from being fooled, Alice thinks her youngest child is gifted and asks her for help. As the readings follow one another, the trap is closing in around Doris who starts feeling pain in her neck at the same time she excels in the occult. She can now reproduce the voice of the deceased summoned during the seance. 

Once she is fully possessed, Doris first goes through a radical physical and behavior transformation by becoming lethargic, stolid, her eyes often turned white when no one is watching her. Besides, her vocal abilities also go through creepy changes. In addition to mimic the deceased’s voice during the readings, adults’ voices, Doris keeps whispering in people’s ears in a demonic way when the evil entity starts spreading its malevolent influence on the whole family. 

When the film reaches its climax and Doris fully assumes the devil’s voice, which is guttural, otherworldly and distorted by hatred, she no longer is a young innocent child. Marcus’s spirit corrupts and perverts Doris to achieve revenge by desecrating her body and soul and making her utter bloodcurdling things. The scene which most epitomizes the figure of the violated child is when Doris explains step by step to Lina’s boyfriend how it feels like to be strangled to death. The most uncomfortable thing about it is to witness the contrast between what she says and the sweet voice in which she says it with an angelic smile on her face. The mise-en-scène that keeps stressing Doris’s vocal changes, by shooting her facing the camera (or the fourth wall) as if she was already part of the Beyond, is meant to emphasize the element through which she is channelling these powers and forces : the mouth.

The mouth as an organic element  stands as a kind of leitmotiv throughout the film inasmuch as the possession of Doris’s body and soul by the demonic entity is made complete through that means. One night, Doris is awakened by her pain in the neck and gets assaulted by a dark creature who thrusts his devilish arm into her throat. This shadowy creature, one can notice, has no mouth or rather a distorted sewed one, similar to Lina’s mouth when she looks at herself in the mirror one night. At the light of these elements, what was supposed to be a nightmare was in fact real and prophetic.

But what can be the meaning of the recurring imagery of the sealed mouth (see  also Lina’s doll)? Who is Marcus? Why is he portrayed as an evil spirit? What does he want from Doris and her family? He clearly states his purpose when trying to possess Lina’s soul : to snatch her voice.

Father Tom Hogan, a friend of the family, is the one who uncovers the ugly truth behind Doris’s pretended benevolent gift of clairvoyance. She is not channelling good forces but Marcus’s spirit, a man who happened to have been mutilated and murdered in this house a few decades ago. After the second world war, a twisted nazi doctor, called the devil’s doctor in the camps, escaped to America where he succeeded to get hired in a mental institution. He went on practicing his sadistic experiments on patients in the basement of his house. In order to do it, he cut out their tongues, severed their vocal cords and sewed their mouths so that no one could hear them from above. However, Marcus’s story does not end with his death. Violently murdered, he never rested in peace but instead was doomed to wander in the cold darkness of the underworld among other desperate, voiceless souls and malevolent creatures who must have been summoned by the doctor who was into the occult. 

In the end, Marcus, who has been silenced by force, deprived of his own voice and overtaken by the surrounding evil influence in the Beyond, seeks revenge against god and people who have the ability to express themselves, eaten away as he is by hatred, frustration and pain. The only way for him to exorcise the horrible things he has been through is to communicate and hurt others, but for that a voice and a body are needed, hence his attempts to snatch the family’s voices. That is the only way to be heard and to have an influence outside his doomed world. Helped by her father’s good spirit, Lina grabs needle and thread and silences her sister for ever,  thus fighting hard against the entity who strives to engulf her.

Ouija, Origin of Evil, like many other horror films, uses the voice and its communicative powers as narrative tools to address issues and challenge notions such as grief, loss, family unity, parenting, revenge, alternative beliefs, suffering, innocence, corruption, violation and religion. Religion…such a crucial theme whose set of practices and beliefs makes it the most cherished subject of the genre. Any idea which emblematic film is yet to be analyzed in the perspective of the profane voice and corruption of innocence?

[courage-a-word-of-justice]

Suppose a Kid... 1 | Hortensia Saga 1 | Kumo Desu Ga 1 | 2.43 1 | Cells at Work!! 1 - 2 | Cells at Work: Code Black 1 | Back Arrow 1 - 2 | Praeter 1 | Horimiya 1 | Tomozaki 1 - 2 | Wonder Egg Priority 1 | IChu 1 | Kemono Jihen 1 | YuruCamp 2 1 | Dr Stone: Stone Wars 1 | Sk8 1 | Mushoku Tensei 1 | Design-bu 1 | Wave!! 1 | BSD Wan! 1 | Ex-Arm 1

After much watching...I cut it down to 5 anime and 1 short.

Suppose a Kid… 1

I am not writing out that full title every time! Anyways, here’s the first “real” debut of winter 2021.

For some reason…this series reminds me of Pokemon. Probably how at the start, Ash tries to get along with Pikachu by doing all sorts of things like what Lloyd is doing here. (<- learnt protag’s name through synopses)

The name “Shouma” rang a bell and I was right – Shouma is voiced by Souma…Saito.

The Japanese title has “monogatari” on the end there…so it probably doesn’t fully translate into the English title.

These orange flecks in Lloyd’s eyes are kinda distracting…

Isn’t Kunlun in China, though…?

If this is just going to be Marie yelling…I don’t see why I should stay. (<- turned volume on for everything so far)

*facepalms* Lloyd is so dense…

That fight scene’s not very good…

…oh great. Selen’s fallen in love with Lloyd already…*sigh*

The missing princess is certainly going to be a plot point later.

Wow, that tiger looks impressive! If only they could’ve done that for the fight scene…

…oh great, Selen is a low-key yandere…

Didn’t Lloyd say he sucked at combat…? Anyways, I’m not keeping this. The designs are colourful and the tiger was good, but it’s meant to be a comedy and it’s not funny.

Hortensia Saga 1

Here for Ume! He’s voicing a guy called Defloitte Danois.

I-Is that CGI? So early on into the anime???

*a dude gets bitten into by the werewolf*…welp, at least this series isn’t afraid of its own gore.

I had a sinking feeling our real protag was Alfred…and I was right, according to the OP.

Huh? The song goes silent for a second near the end…what the heck?

The book appears to use English, albeit English so faintly inked in you can’t quite tell what language it is.

Alfred, governing Albert…? Isn’t that a bit redundant?

I swear all the female voices in this anime are squeaky as all get out…

All these high fantasy anime – or heck, any high fantasy series full stop – ever justify why the country is worth fighting for. It’s why I find war stories pointless and senseless.

You can tell from the voice and short stature “Marius” is Mariel…but she uses boku, which is why Alfred can’t really tell the difference. (Also, he wasn’t privy to the fact Mariel cut her hair.)

This almost smacks of a game tutorial. The CGI is still there…it’s not as bad as other examples I’ve seen, but you can tell it’s CGI when you look at it.

Roy’s kind of pretty, in a generic way.

A close-range archer! Ho, you’re kinda impressive yourself, Roy. (The feeling of a game tutorial has disappeared by this point.)

Hortense…of Hortensia…how confusing.

The scruffy guy you keep seeing with the dark hair is Defloitte. Keep an eye out for him for me, would you?

The ED seems to consist mostly of…anguished pop screams. *cringes slightly*

Anyways, this anime isn’t bad. It’s quite average though and its CGI could easily get worse.

Kumo Desu ga 1

…you know I don’t like 1st person cam, yeah?

…this is just Kumoko (as I’ve heard her being called) yelling so far…plus there’s quite a bit of CGI.

I like how the ED has an English overlay and the style they’ve used for it. The music, though…? Nah.

Wait a second? Millepensee? Shin Itagaki? That would explain the CGI!

“…a spider that just happens to have my memories.” – A butterfly dream, huh?

…well, at least this anime is well aware of the genre space it inhabits. Maybe you could say…it’s an isekai light novel, so what? *groans from the audience*

…well, you didn’t really “bring” your “brother’s” (?) corpse in case of an emergency, now, did you?

…welp, to have guts, you must eat guts. I guess that’s how it goes.

What’s a “skanda”?

This anime’s quite monologue-y (as expected of an LN). I can live with it, but I don’t know if it can carry the entire thing through the season.

…humans? Haven’t seen them almost all episode. What are they up to?

These designs sort of look like SAO’s. They’re not a dealbreaker yet, but they could be down the line…

This ED seems to take cues from Cop Craft’s OP (same studio). It also has some…“Aggretsuko rage”, I guess you could call it.

2.43 1

…Another confusing title, I see. I normally don’t do sports anime, but I’m here for Ume.

*sees the colour of the volleyball* - Basically anything volleyball has to collaborate with volleyball maker Mikasa, doesn’t it?

This anime seems to like putting characters’ thoughts on the screen for dramatic impact. The CGI is sort of visible, but not a dealbreaker.

I’d thought I’d heard of this OP artist before, but it turns out I haven’t.

This series has a nice sense of force. You see those moments where the ball squishes, or when Yuni presses against the wall without thinking? Those.

LOL, way to burn Yuni, Chika…

These transitions are a bit hard to detect. I think I like Akudama’s more overt ones more.

LOL, Dr Popper (sic).

The serves are nothing special. Haikyuu does the same thing from the episode I saw of it. (You know I don’t like Haikyuu, yeah? Dropped it after 1 episode because everything I heard the fans talking about caused me to connect the dots.)

The way Yuni blushes…it’s more than someone usually would, even if it is out of embarrassment. It may just be the entertainment I consume, but I could swear that’s going somewhere in more of a BL manner.

I get the feeling Chika has a bit of Virgo or Taurus in him somewhere. The sort of guy who nags at everyone to do stuff his way is probably like that.

Pocari Sweat (unaltered).

I gave myself dimples by puffing up my cheeks and poking them until they became permanent. I guess you can do the same thing with ambidexterity…?

For some reason, I can detect Chika’s jealousy when he discusses blocks and natural talent.

…wow, this anime is pretty serious for a volleyball anime.

The ED scene where the face is replaced with flowers is pretty creepy. Like Jigokuraku or something.

Cells at Work!! 1

What are these blob creatures you see in the OP, anyway…?

I think I remember reading something that the numbers assigned to the cells aren’t arbitrary – they’re hexadecimal colors, e.g. RBCs get shades of red as their numbers.

D’aww, Platelets warm the heart. They really do.

Platelets have a master…? I thought they were all just lil’ kids.

“What the cell’s going on?!” – Oh, I remember seeing a tweet about this. I love that pun! Kudos to whoever was responsible for that.

LOL, no. 4989 dancing in the background.

Hmm…those nets look like CGI.

…uh, I did not need that shot of the Megakaryocyte’s camel toe…that’s distubring.

Wait, Backward Cap is a she?!

Aw, lookit WBC being a dad. That’s cute.

Backward Cap = Ushiromae-chan.

Is that…a construction worker holding a giant pudding?!

Cells at Work Code Black 1

This anime is called “black” due to black companies. It’s Code Black to avoid being racist, I guess. I’m looking forward to it because it’s undoubtedly going to show a dark side to the main series…

…and there it is, the RBC complaining.

I assume OJT = on the job training.

I knew “pespin” (sic) was a typo. It’s pepsin.

Now that I’ve been working at customer service for two years (give or take COVID), I can see where the senpai RBC is smoothing over the relations.

…that also means I know where to suppress my emotions. I’m not a person who opens up to people easily without getting used to them, so people never see me as suitable for customer service anyway, but it’s the only experience I have so *shrugs*.

…oh gosh. I haven’t seen these words since…the time I was still learning biology.

…*sigh* Rookie RBC is worried about boobs.

The fact Senpai lost his iconic hat…is kinda sad, actually.

“Don’t let his resolve be for nothing.”

Hmm…does the male WBC from the main series wear black fingerless gloves?

I thought I’d heard of this artist before…but turns out I just can’t distinguish really autotuned artists from each other…(lel)

…and stuff goes ka-blam. It’s the spiritual successor to HypMic, even if I wasn’t asking for it. (LOL)

Back Arrow 1

…I heard you said “hot guys”? (Yes, I am predictable as all get out.)

What’s with that episode title…?

Stereotypes, eh? I kind of expected as much from the promo, but where’s the title character…?

…was that yuri fanservice? I can’t quite tell because it was the aftermath of an action scene, but I can see the shippers gearing up in my head.

…after a bit of waiting, there he is. Back Arrow himself. He kind looks like Takuto (Star Driver).

“I’m not trying to hide anything!” – Well, that’s…true.

…*sigh* Why do girls always have more feminine-looking mechs? (Plus this one has boobs…*sighhhhhhhhhhhh*)

So it seems mechs in this anime are the form of one’s conviction and they have skills along those lines, eh? An interesting concept.

…you do realise I abandoned an entire anime based on a joke about lucky underwear? However, this anime is so absurd and just keeps running with the joke that I just can’t say no to it. If there’s one thing I’ve learnt from volunteering at a charity store, it’s that when it comes to selling stuff, you can’t say no to a lot of stuff…including selling potentially used underwear, so long as it’s not dirty or stinky.

Whoa! Those things break?!

Why does the title card mention the wall...?

Anyways, I…like it, surprisingly enough. Let’s keep going.

Back Arrow 2

…eh? Didn’t expect inflatable clothing, LOL.

I suspect Shu Bi is scheming something.

What’s the long thing…?

“…tomorrow might not come.” – A good reminder to have in these times of COVID.

Peath = Peace. (Heh. What a stupid name…*thinks about the name “Quattro Bajeena” suddenly* Okay, “Peath” pales in comparison to that.)

What is that creature that circles in the sky…?

I know this is meant to be a serious fight, but…that attacking guy’s hat seriously looks like a bamboo stalk and so I keep seeing it and trying not to laugh.

I only just now realised there’s CGI. CGI these days is getting much better than it used to be.

Tomozaki 1

LOL, Yontendo. It’s clearly Smash Bros + Nintendo Switch and the character designer was also around for Iroduku, so that’s why this style looks familiar.

…lemme guess, since this is a romance, it’s likely NONAME is Aoi. Or some other girl.

I would pay for a romance where it’s the girl building the guy up to be presentable, instead of a girl building other girls up to be presentable a la Ageha 100%.

Didn’t the anime show us Tomozaki reflecting to himself, though…?

“…rules working in combination.” - Well, there’s social norms (e.g. knock before entering a room), laws, contracts, societal standards (e.g. in Japanese society, you bow to others as a greeting or apology)…(continues to blabber on for a bit)

I think Aoi said something like “onitadaku”, but I’m not sure what the joke is there. Oni is in there, sure, but what’s the original phrase she’s playing off?

…LOL, it’s a good time to remind people to wear a mask.

LOL, Krout.

Anyways, this seems decent. I like how it’s going the way I want it to.

Tomozaki 2

“…make sure I’m nearby…” – Okay, that’s just being pushy, Aoi.

Minami and Hinami…so confusing…

*Minami chomps on Natsubayashi’s ear* - …okay, that’s not a thing girls do in real life unless they’re lesbians. This is likely trying to take the fanservice route.

They didn’t even show why the “kiss” was broken up…meaning they were doing it to make potential girl-on-girl look hot. Just great.

*Aoi touches Tomozaki’s butt* - Dude, that’s groping…

I didn’t think we’d get the story on Aoi’s “hexactly” so soon.

…well, that episode just made me feel mildly bitter. I’m dropping it here.

Praeter 1

…aw s***. Only a few seconds in and this looks like a terrible game…

It’s like someone barfed paint across Durarara…

The only time the background buildings look any good are when there’s a fight scene…

These Seals (or whatever those designs are called) seem to act like mini shields. Update: They’re called tattoos.

That transition was a bit fast for my liking…

Seems like the series is mildly peppered with Greek terms.

“To Infinity and Beyond” by…some author I can’t really read the name of.

Suddenly, they throw in more characters…?

Where does Eiji keep those bullet cases of his…? In his jacket?

Having a guy die in the 1st episode is cheap. I mean, we don’t quite care for him yet – it’s too early in the anime for that.

Now there’s Norse terms on top of the Greek ones…

Even more characters? You kidding me?

Lemme guess, Eiji gave up his tattoo because Yamato inspired him and now he’s a goner.

Welp, the weight of the world is in your hands, Yamato. Including that dead dude on your back. (<- sarcastic)

Sk8 1

I’ve been hearing good things about this anime! Let’s go! (<- about a week late to the debut)

That politician is probably relevant…probably someone’s dad, if HypMic taught me anything.

LOL, a beef. They call this stuff “beef”? Where’s the chicken? (<- joke from HypMic)

Haemanthus…apparently a flowering plant from S. Africa.

That’s rare, you don’t see Canadians in anime all that much. I was just thinking as I came home from volunteering how you know British people all have fancy names like William and Australians are Johnno, Danno etc., but Canadians? No clue. Update: Apparently you’d call one Arnold or something just as generic…?

Why are all foreigners in anime half-Japanese with the mother being the Japanese side, anyway?...Because people can make their character speak Japanese while looking foreign. Right. Moving right along.

Ahh…I understand your plight all too well, Reki.

…Hmm. It seems Reki’s surname is written kiya, but read “Kyan”. His name literally translates to “history (calendar/age) of bravery (military might)” Update: Turns out his surname is 3 characters (read “kiyan”, although I’ve never seen that final character ever being read as “n”) and his first name is one, so his first name is just “history (calendar/age)”.

Even I suck at balancing on bikes and stuff (…yeah, I still can’t ride a bike even though I’ve done so many other things in my life) and I know you have to support yourself with one foot on the ground before you do things like trick flips. I may not have observed Tony Hawk all that much, but he was on the periphery of my knowledge.

“What’s your hourly wage?” – Ouch, I feel ya, Langa.

Koko ni netete actually means “Lie down here”, but…okay.

These eyecatches are cute.

That’s a cute fox.

Yikes! 60 mph = approx. 97 km/h!!!

Random umeboshi, LOL.

Aghhhhhhhhhhh! Cherry Blossom’s so pretty~! I love him already!

Thank you, based Bones!

Something that can be enjoyed, even without sound: this is why I enjoy both action and comedy anime!

Okinawa? We’re in Okinawa?

Well, that was cool! I didn’t even ask where the location was until the end. Update: Why is this anime sometimes called Sk8 the Infinity anyway…?

Horimiya 1

Horimiya…I’ve been aware of this series for a while. There’s even a Chinese volume of it at a library close to me, although due to contact tracing I haven’t bothered to check it out.

Oh, I bet Hori is the otaku!

Ooh, Marketing Script!

Because I’ve been behind on the premieres, I’ve seen enough to know this boy with the chain is Miyamura.

…argh! Miyamura is cute! Y’all were right!!! (<- likes blushing bois)

I bet there’s going to be an emergency meeting!

“Sorry, it’s egg time!” – Oh, I’m laughing so hard! So that’s the context behind the Wonder Egg Priority meme!

“…see these?!” – Well, it’s not like you have a tattoo or some-*Miyamura shows his tattoos* Never mind…

Oh, I just realised they even animate the minute movements of the eyes Miyamura does…cool.

Notice how Miyamura is blocked from the other guy due to the window.

Miyamura goes “Ishikawa-kun” but “Hori-san”…hmm. No wonder he’s letting Ishikawa get Hori.

The problem I find with romance series is that they’re generally tied to heteronormativity. Hori is coded with red silhouettes and Miyamura with blue…*sigh* Whatever happened to gender ambiguity?

Good heavens, what is up with this ED?! It looks like Pocoyo! (…Does anyone else know that cartoon…?) Aside from that quibble, this anime is great though.

Mushoku Tensei 1

Apparently this is the grandad of all isekai. Why it took so long for an anime of this…who knows?

…and of course this guy’s a loser virgin. Go figure.

*sighhhhhhhhh* He’s just ogling this woman’s boobs…

…oh, sorry. I was so distracted by the man candy, I didn’t care about Rudy.

I-It’s actually quite refreshing to not have an OP protagonist from the get-go for once. (Or maybe I’ve developed such a disdain for isekai since SAO rolled around that everything here suddenly feels fresh.)

You can see the birthplace of isekai without having watched any of the others right here, it looks like.

“…what’s the point of incantations?” – To make it easier for you to cast spells, I gue-spoke too soon.

…wow, they shamelessly showed off Rudy’s privates. I know he’s still young at this stage, but that reminds me of how I dropped Dragon Ball around the time Goku was shown the same way (which is…very early on, by my own admission).

I believe, based on the name of the spinoff I see in the 7 Seas emails, the magic tutor is called Roxy.

You’re thinking about marriage?! At your (reincarnated) age?!

Oh no! The tree again!

LOL, Rudy’s acting like a kid who’s been in COVID lockdown for a while.

I think what most of the isekai that spun off from here missed is that the loser is job age. Losers at life at job age are relatable and high school geniuses are relatable (albeit sometimes insufferable), but losers who become NEETs for no reason whatsoever and then get banged up by Truck-kun are not.

Anyways, this was good, but a risky kind of good, since it seems like this male gaze will continue to be around as Rudy gets older.

Update: Dropped after learning Rudy was a paedophile in his past life.

Update 2: Apparently the anime toned down this paedophilic tendency of Rudy’s, so...now the verdict is that I move on while I let other people tell me if this is true of the anime or not.

Kemono Jihen 1

“Kemono Jihen” means something like “creature incidents”. I wonder why Funimation didn’t change the name…?

Kabane means “summer wing”.

Kanoko Villa, I’d assume, is named after the deer (the name means “deer’s child”).

My experience with Sho Aimoto (creator of this manga) is reading a bit of Hokenshitsu no Shinigami. (That, by the way, reminds me of Nube, but it’s nothing spectacular.) However, Hokenshitsu no Shinigami has a very detailed artstyle…That’s why I’m pretty shocked Kemono Jihen has such a scratchy one…

Ooh, edamame!

Oh, I see…this is like Furuba or a werewolf story, huh? Rather than a Natsume Yuujincho sort of thing.

…I thought Inugami and Dorotabo had seen everything of each other because of bathing together…I guess not, then.

…is Yataro going to die?

It seems the “immortal demons” are oni, so…why subtitle them as “immortal demons” and not just “demons”?

Ohhhhhhhh…this shite’s good. It seems to have a throwback feeling to it, moreso than even Yashahime or a lot of the sequels I’ve seen recently.

Cells at Work!! 2

I was going to move right along to Wonder Egg Priority because I’m really behind on the debuts right now, but I accidentally opened this up while I was cleaning up so I might as well watch another episode or two before setting it aside.

He’s dead, Jim. (<-joking)

…gosh, these walls look like Hover all over again and that’s from 1995…

LOL, these background cells don’t even have any details. They’re basically stick figures with fat bodies…

I think that phrase that appeared, “Take good care of B Cell!”, may be a pun on Give My Regards to Black Jack (written with similar Japanese, “B Cell wo Yoroshiku!” vs. “Black Jack ni Yoroshiku!”).

LOL, “you sure have the guts”…while they’re in the guts.

The certificate says something about it being presented to someone in the face of bravery, I think (<- just looked at it briefly).

“You have a good head on your shoulders,” says the T cell as WBC struggles with the disguise…stuck on his head.

Wonder Egg Priority 1

I’ve been hearing this series is surreal, but no more surreal than Flip Flappers. So…I don’t know if I’ll like it or not.

What’s this K?(?96…?

There’s a sunflower on her raincoat…so that’s why I saw a post called “You’re the sunflower”. Personally, that just reminds me of Post Malone.

Those Seeno Evils…they’re CGI, aren’t they?

As Boueibu once said (but I may be paraphrasing here), “nothing is more scary than free”.

…to be honest with you, I haven’t had a best friend for at least 2 years now. I only really feel close to people who are like me and who I have sustained contact with over many years, so I end up cutting contact with people after we part ways and never trying to fix it.

I always find it slightly absurd when anime girls get a little pudgy and go, “I’m so fat!” (See, for instance, the Dumbbell series.) Or, in this case, Ai’s going, “I’m so ugly!” when there’s nothing wrong with her. She’s only a bit different from everyone else due to her heterochromia - she doesn't have any physical or mental difficulties.

IChu 1

Here for Ume and, of course, dem bois. Bring it!

I seem to remember one of the magazines called an “Ichu” “an idol egg” (i.e. a fledgling idol)…More egg puns for me, then.

I found him! Ume! He’s Akira Mitsurugi! Update: Turns out that’s Toshiyuki Toyonaga…Oops. (Ume is actually Lucas from I*B.)

Huh? For a second, I imagined Akira with a dubbed voice. Of course, I could only be dreaming, because idol anime normally don’t get dubs, but…it was interesting to think about.

LOL, “Onsta”.

This Akio-type character is popular lately. The sort who’s timid but has an outstanding talent they themselves might not see.

…uh, but Kocho means “Principal”…?

An idol bear?!

Torahiko is crazy…(Note the tigers. Tora = tiger.)

Specifically, that’s black coffee with no sugar.

As much as I want to keep watching this, I’ll hit pause on it here. There’s much better offerings this season.

YuruCamp s2 1

…grandpa’s writing is so…neat.

*glares at CGI car…*

This OP just doesn’t compare to Shiny Days, y’know…?

OOPArts.

Talking pine cones! They’re back!

Curry rice! Literally had some of the Japanese-style stuff the other day. It was great.

All this talk about jobs…I personally don’t like jobs because I like to work at my own pace (hence one reason why I’m working on being a translator), but…money…I’m jealous, girls.

I’m trying not to rely on the subs for those texts that appear on the screen so that I can keep my reading skills up…I kept up with them for the most part…but then I got distracted by the croquette sign at one point…

“…buy you some local food?” – That’s omiyage, normally translated “souvenirs”. “Local food” actually does make more sense in that gap, though.

…man, I’m jealous that the girls all got jobs suitable for their personalities and everything. Lil’ ol’ antisocial me sucks at retail, even after 2 years.

Design-bu 1

LOL, that man and his bunny. Update: That’s Unabara-san.

…geez, these utaite are everywhere now. I’ve seen 96neko, USSS, Eve and more being more central to anime song creation…

Thise characters in the OP seal (<-the stamp, not the animal) are saiyou, meaning “recruited”, or in this case, “accepted”.

OEM = original equipment manufacturer.

Hrm…you can tell it’s a giraffe by description, but…that “base everything on the horse” is interesting as you could count several things as horse derivatives. Also, the angels’ names are all standard Japanese names with natural components to them (Ueda = upright rice field, Shimoda = frost rice field etc).

Is this pink-themed guy…a guy? Or a crossdresser? Update: That’s Kanamori-san.

I like how the suits have little wing-like flaps. Also the wings on Shimoda’s back.

…I never thought an anime episode would make me so concerned about giraffes.

That guy in the green I remember from the Wave x Tendebu (Heaven’s Design Team) collab, his name is Kimura.

Oh, so there is a bird like that!

The random wiggling the chibis do in these short segments…it’s a bit disorienting. (<-Just a small quibble of mine.)

Oh! Galapagos effect!

Agonistic: “polemical; combative.” I thought they meant “antagonistic”.

Oh man, that punch line was great! It took me a while to get into the spirit of it, but this anime is great!

Update: Oh, that’s where those nature names come from! They’re actually meant to be gods! (Or…named after gods…?) Also, Ueda vs. Shimoda (the “shimo” could be the kanji for “below”).

Ex-Arm 1

I’ve heard this anime looks bad…even well before its debut. How bad? Let’s find out.

*stifles laughter* From the first pan, I know this anime is doomed on my list. Even Praeter was better than this!

*stifles laughter again* This OP really does look as bad as the stuff I was seeing prior to winter 2021! Like a game I shouldn’t take out of my archives! (It’s not as bad as Hover’s graphics, but still…that’s from 1995. Cut it some slack.)

That’s the 2nd Kimura this season…

Yugg is just…ugly. Never try to render elaborate eyelashes in CGI again, people.

Dimension High School was better than this because at least that had puzzles. This is even jankier than that!

Wait, why is Akira 3D when his dad is 2D? It’s not that obvious, but I notice these things. Update: That’s not his dad…but close enough. (That’s his brother.)

…and here comes Truck-kun! (LOL)

This would be good…if it weren’t rendered in the jankiest CGI known to man…

Alma’s gun strike doesn’t have a lot of force to it.

The fire is rendered so terribly…*stifles laughter*

This part with a disembodied Akira is what I assume I got up at 6 am for…but I can’t hear it, due to background noise. Remind me to confirm this later. (Minami’s mouth is rendered so terribly…augh.)

No force to any of these recent motions, either.

LOL, this censorship.

Wave 1

Ever since this project was announced, I’ve been watching developments unfold on Anime News Network. I knew it would get an anime or something similar I could follow…and now here I am. I mentioned in the Sk8 comments I have basically zero knowledge of surfing, so…this is very unexpected, in one sense.

Was that a drone…?

“Wizard of the Waifu Board”?! Are you kidding me?! (LOL)

There seem to be shots where I can see the CGI here, but…anything’s better than Ex-Arm. Let’s say that.

Actually…yappe is a derivative of yabai, meaning “cool” or “crap” (in an ironic sense). So it would probably be better to translate it as “Surfing’s the greatest!” or “Surfing’s the coolest!” Anyways, what I was thinking before I was going to say this was that the waves are so enticingly animated, it feels like a summer anime. Basically the only other anime I’ve ever said that for is Grand Blue.

If I’m understanding where Isokichi’s name comes from right, “iso” is the character for seashore or a rocky beach (磯).

LOL, the teacher just wrote “Show must go on.”

Hayama, Kanagawa. Kanagawa’s capital is Yokohama, so it’s not quite Tokyo, but somewhat close.

“Murphy”? I have zero clue what that means.

Oh, I see. The title is translated that way due to context. Now that I can accept.

I just burst out into laughter when I realised Nalu hasn’t dropped or put down his ukulele once.

BSD Wan! 1

Here comes my past to haunt me…aside from me being a fan of BSD, I’m here because I influenced this series. How so? Once upon a time in the now-distant year of 2016, I was a scanlator for a brief period. Most of the work I’ve done hasn’t influenced the world at large, but this is the most influential manga I had a hand in working on.

Oh no! They’re starting with the dog AU?! (That comes from pretty far into the manga, IIRC. Further than my work was on it, at least.)

It’s Rashomon, but Rashoken (that last bit means “dog”). Hence Ruffshomon.

Basically, they just insert dog-related words everywhere…don’t make me explain every one!

Ouch, I can only imagine how much pain it was to translate Inu Shikkaku. Literally, it’s “No Longer a Dog”, but how would anyone make it in line with the other puns…?

I wasn’t fully aware of how the dog AU was connected to the main Wan series because I haven’t really looked at it after I quit due to aggregators, but…that was a nice fakeout. Also, I was concerned as to whether this was going to be a full-length ep or a short…seems like it’s a 10 minute short, so I have more chances of taking it.

…oh gosh, that pose! I remember it! I worked on this one! (Now that I know it’s a TV short, I won’t cover future episodes, but I want to at least finish this one because I started it.)

I think they added a bit there. I remember Kunikida’s and Yosano’s were in the manga, but not the other members or Fukuzawa going “the wind is smiling” + Kenji working on the roof at the start.

Oh yeahhhhhhhhhhhhh, I remember Rampo. I think I had to approximate how he would say stuff with Pocky in his mouth, but Slug (current scanlator) went the extra mile and stuck food in his mouth to do the same panel.

It seems to make a short ep., they strung a bunch of the chapters together. Also, I don’t think we ever found out what Yosano’s puddle was and that was…probably for the better.

Oh yeah…I think I remember this one.

Now I remember it! I remember having fun explaining what a youkan was.

Whoa, Higuchi scrapped the SFX! That wasn’t in the original…

The ED seems to be an Atsushi cover of Namae wo Yobu yo.

Oh noooooooooooo! The flower gazing episode! That’s the one I remember most, because I was trying to figure out how to translate 移動 while making it smooth-sounding English…(I remember the final result was something like, “Move! Move~!”

Dr Stone: Stone Wars 1

Final debut! Let’s go~!

The last time this series was on the air was about 1 year ago. I can remember that far back…

I like how that recap is framed as Gen talking to the kids.

Senku overcomes every problem with science.

…not much to comment on here.

[haeddoti]

The Reader Trilogy

Traci Chee

Genre: Fantasy, Adventure fiction

“Sefia knows what it means to survive. After her father is brutally murdered, she flees into the

wilderness with her aunt Nin, who teaches her to hunt, track, and steal. But when Nin is kidnapped,

leaving Sefia completely alone, none of her survival skills can help her discover where Nin's been

taken, or if she's even alive. The only clue to both her aunt's disappearance and her father's murder

is the odd rectangular object her father left behind, an object she comes to realize is a book-a marvelous item unheard of in her otherwise illiterate society. With the help of this book, and the aid of a mysterious stranger with dark secrets of his own, Sefia sets out to rescue her aunt and find out what really happened the day her father was killed-and punish the people responsible.”

I highly recommend the book to everyone who likes the genres mentioned above and if you don’t want to get spoiled please stop reading and BUY THE BOOK.

SPOILER DOWN BELOW

These days, a lot of plot is so similar to another that the story blur into each other and you sometimes even forget what you’re reading in the first place. Happens to me quite often but that’s also due the fact that my usual attention span is like, 5 seconds. This got worse over the years but what can I do.

This being said, it did not happen once while I read the books. It takes one of two things for me to be complete absorbed into a story

A). The story is so entertainingly written that I have fun while reading and/or the character dynamics are so interesting that I keep reading to see how the relationship develops.

B). There are some sort of secrets in between the lines and I really, really want to find them.

These books had both. Interesting, intricate relationships and fully developed story strings that deserve whole books of their own. Multi-faceted characters with interesting lives and A LOT of diversity. Speaking of diversity, I personally feel like some authors implement their LGBTQ+ characters in a way that sometimes just doesn’t feel natural or even just plain forced. Again, not the case with this book, the non hetero relationships were constructed carefully and the dynamics felt real and heartbreakingly beautiful.

Even the love relationship between Sefia and Archer, the two main characters, is great and the pain the two experience is displayed perfectly and doesn’t feel unnecessary because the story actually wouldn’t work if they were just “really good friends”.

I mentioned above that there are a lot of different strings of story and characters that at first don’t have anything to do with each other. The way Chee managed to fiddle all these different strings together into the best character-connection-net I’ve ever seen amazes me.

We have Sefia and Archer, an infamous pirate captain, a wanna-be sailor, a dying king and his lover and many, many more. This feels overwhelming at first but once you understand the concept of the book, it all makes sense.

Speaking of which, the concept. The fucking concept. It says on the first page (this is translated roughly into English, I only have the German book) the following

“Hello

If you’re reading these words, you may know that you have to read all of it. And maybe you know that you have to read really carefully. Because between the lines there is magic and a bit of witchcraft. And once you learn how to find secrets in the dust and how to discover the secrets of the ocean, then you learn what it means to be reading.

This is a book. You are the reader. Look closely. This is magic.”

The only thing Sefia has left from her parents is a book.

Some pages of the actual book the reader is reading seem to be pages of the book Sefia has and there are secrets woven into the letters and pages. Bolt letters form warnings or names of things that will happen in the future. Some pages have written words on the bottom of the page and these form a poem.

The Sefia is magical. If you know how to use it, it shows you what happened, what is happening right now, and also what will happen. And there is a mantra repeated throughout the book, the sentiment that whatever is written down WILL eventually happen. And while at first you don’t really notice what this means at all, you later realize that this is what is happening EVERY TIME you read a book. If you are on page 50 of a 400 page book, the characters’ destinies are already written, literally.

Sefia struggles with this reality throughout the books and at first you don’t think much of it but at some point you as the reader, the one who wants to read a good ending, you realize and understand BEFORE THE CHARACTER IN THE BOOK that some endings are inevitable. This hurts, the ending hurts but any other ending would have destroyed the story and to be fair, you basically learn how the whole story will end during the first book but that doesn’t make the story in between the start and end or in between the lines less captivating.

Are you the reader or the read is also a big theme in the book and it makes sense. With the book, Sefia can see what will happen and she basically reads what will happen to her and the people around her. But sometimes the book doesn’t show all of the stories she wants to see but only snippets. The book is magical.

Kelanna, the world the story takes place, isn’t as magical. There are 5 nations spread over 5 islands and gigantic oceans between them. Stories are shared trough speaking since there is no known alphabet and the inhabitants don’t believe in ghosts or mourn the dead. When someone dies, their corpse will be laid down on a boat, set on fire and send away on the ocean.

Even explaining doesn’t really take the magic of these books away. Please read the books. They are so good and I was captivated to an extent I never thought I’d reach ever.

See you around!