#the feeling of progression of an overarching plot comes from what’s going on with the side characters

[daydreamerdrew]

Iron Man (1968) #14

[writingquestionsanswered]

do you have any advice for writing/plotting a series without the plot feeling repetitive or boring and drawn out, but still be connected and feel like the same story?

Plotting a Cohesive Series

It depends on the type of series you want to write. Some series are one big story told in cohesive parts (like The Hunger Games, ACOTAR, A Song of Ice and Fire, The Earthsea Cycle) while others are more like stand alone "episodes" united by a premise (like Nancy Drew, The Hardy Boys, Sweet Valley High, Sherlock Holmes, Miss Marple).

If you want to plot an episodic series, you'll want to come up with a premise that allows for multiple, similarly themed adventures. There's a reason why most episodic series tend to revolve around detectives or investigators... that's an easy avenue for a variety of interesting plots. While there may be overarching "mythology" like Moriarty in Sherlock Holmes, or potentially an overarching situation in your protagonist's life that evolves over the series (such as their marriage falling apart, going through divorce, and finding new love), there won't be much in the way of plot that carries through from one book to the next.

If you want to plot a progressive series, where you take a big story revolving around a particular conflict, then break it up into cohesive parts that revolve around progressive conflicts that lead to the end (think of The Hunger Games series: the overarching conflict was the oppression of Panem by the Capitol, but the conflict of book one was The Hunger Games event. The conflict of book two was the quarter quell event. The conflict of book three was the war between the districts and the Capitol. Each story was a small, progressive part of the bigger story), start with the following posts: Creating an Overarching Plot for a Series Planning a Series Plotting a Trilogy

Those will walk you through the plotting. Making it interesting and not repetitive will depend on you coming up with a series conflict and related book conflicts that are compelling and do a good job of moving the story forward without rehashing the same types of events over and over again. And keeping it from being drawn out will depend on your ability to craft tight and cohesive plots that tell the progressive tale while allowing your characters to grow and change over the course of each book.

Good luck with your series!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[zbengui]

I've grown to love Singed as a character after watching act 2, which I should've seen coming considering my proclivity for mad scientist archetypes. He stood out to me in the first season too but there wasn't quite enough for me to sink my teeth into back then, so I'm glad they've decided to reveal more details regarding his lore now even if it still remains rather vague. That's actually one of the aspects that I like about him, it's fascinating how much he influences the overall plot even though his character receives almost no focus. He is constantly instigating chaos and causing so much tragedy for the main characters, and yet he is never confronted. I was actually just thinking about how it's a little funny that Jayce is getting blamed for what happened to Vander, even though Singed was the one who injected him with that serum. He brought Vander back to life and offered Jinx and Vi the chance to rebuild their family, only to immediately and brutally take it away.

That's kind of his entire thing. He brings the dead back to life against their will and they come out of it deeply and irreversibly changed (Vander, Jinx, possibly Viktor...?). He keeps his subjects breathing even if being alive is nothing but torture for them (Rio), not necessarily out of sadistic pleasure but in service to his ultimate ambition. For progress, evolution. It is then revealed that the motive behind all of his horrendous experiments is to bring his daughter back to life. It's all because of love, as he admits. I don't know a whole lot about the lore behind this, but I have to wonder how Orianna herself feels about this. Is she in pain, just like her father's other subjects? Is she grateful or resentful for what he is doing to her? Did she have any say in this?

One thing I like about his scientific methods is that he is willing to put his own body on the line and experiment on himself, like when he pumped his blood into WarWick. It definitely goes to show how... passionate he is. I also appreciate that he doesn't let any specimens go to waste. He even preserved the decapitated head of that guy he tested Shimmer on back in S1:

I'm sure most people would agree that Singed has a very impactful screen presence. Almost every single line he says is relevant for the overarching themes of the story. It feels like he's always dominating the scene, even when he was being held prisoner because he knew that his captors would immensely benefit from having him on their side and that Ambessa, the opportunist that she is, was going to ask him to join her as an advisor sooner or later. It's horrifying to imagine the biochemical warfare he is going to unleash while working with the Noxian army. He's going to invent new war crimes.

I also wanted to mention how relevant he is for Caitlyn's character arc in this season because most people seem to be overlooking it. I may have my personal gripes with her character progression in act 2, but her interactions with Singed in episode 5 were excellent. Singed isn't just a "crazed Zaunite", he is actually a Piltovan alchemist that is using the people of Zaun as lab rats for the sake of a deceased family member. Caitlyn realises that she will end up like him if she continues walking down the path she is currently on. That realisation, I think, is what informs her decisions later on.

I find his relationship with Viktor very fascinating too but that dynamic deserves an entirely separate post. They are both scientists with similar interests but very different philosophies and work ethics (or lack thereof). As I've briefly mentioned already, I believe Singed is going to bring Viktor back to life, robbing him of his autonomy once again in the process.

That is to say, I'm very invested in this weird old man and I'm excited to dive into his League lore after this season is over and find out what other atrocities he has commited.

[anneapocalypse]

Why I Love the Hinterlands

The Hinterlands in Dragon Age: Inquisition get kind of a bad rap, and for kind of understandable reasons. For anybody who doesn't know the story, some context. The Hinterlands are the first open world area that unlocks for the player, a vast and highly explorable map full of quests, worldbuilding, and NPCs. So what was the problem? The problem was that the Dragon Age series had set two games' worth of precedent that the player could get locked out of an area and lose access to sidequests and other content—and the devs seemed not to fully realize they were fighting this precedent, or how strong it was, until the game came out and completionist players were getting exhausted and annoyed running around this huge map trying frantically to knock out all the side content before moving on. We still make jokes about devs on twitter trying to tell players that they could leave the Hinterlands. Lines were later patched in for the starting companions urging the player to go to Val Royeaux and advance the plot; you'll hear those lines if you play the game today, but they weren't there in the beginning.

The game's executive producer Mark Darrah has even spoken about this problem in his Dragon Age: Inquisition Memories and Lessons video on YouTube. From a game design perspective I do not dispute this issue. It definitely represents an oversight in the way the area is presented to players and the context they are given for what they should do next.

All that said… I love the Hinterlands, and with every replay (I have beaten the game four times at this point) my appreciation for this area and what it brings to the story has deepened. And as recent polls have raised discussion about the merits of various maps, I've felt moved to rise to their defense, so... here's why I think the Hinterlands are Good Actually.

Every map in Inquisition has its own overarching story, introduced by Scout Harding when the map unlocks and revealing itself through exploration and completing the quests within. Crestwood has the story of the flood during the Blight. The Exalted Plains have the story of the Orlesian Civil War. The Hissing Wastes have the story of Fairel and the surface thaig. And so forth. For this reason, I've come to feel that once you've progressed far enough in the main quest to have collected most or all of your companions, the most rewarding way to experience each area is at one go, as much as possible. Popping in and out of maps to complete one quest at time is, in my opinion, really detrimental to exploration and makes it harder to see the big picture. This is also one place where I really appreciate the invisible approval meter, because it discourages me from always stacking my party to game approval, the way I pretty much always play DA2.

At first glance, the story of the Hinterlands is the story of the ongoing war between the rebel mages and the renegade templars. This is one reason the Inquisitor may go there: to make contact with the rebel mages. They have been offered refuge in Redcliffe and are presently entrenched in the castle and adjoining village; the templars continue to attack the mages' position, and thus there is concentrated fighting in this region. Splinter factions of both mages and templars are also entrenched elsewhere in the area.

But this is just the setup. What the Hinterlands is about, its real story, is the common people.

The Inquisitor is first sent to the Hinterlands to make contact with Mother Giselle, in hopes of gaining some Chantry support. Seeking her out requires the Inquisitor to fight their way through the conflict to reach the Crossroads, where many refugees have gathered.

In these big, sweeping stories about heroes and villains, I think it's easy for the perspectives of common people to get kind of lost. One thing I do appreciate about the Dragon Age series is that every game does make a real effort to give voice to the commoner perspective. Origins has its city elf and casteless dwarf origin stories, and the player encounters many commoners throughout the game and gets to hear a bit of their perspective. Dragon Age 2 wouldn't be Dragon Age 2 without Darktown and Lowtown and the elven alienage and our interactions with the people who inhabit those parts of the city. Oddly enough, though, every human character we've ever had the chance to play in Dragon Age has come from a noble family; sure, Hawke starts out living as a commoner, but doesn't stay that way for long.

In Inquisition especially, we don't have the option of a commoner prologue to really drive home that perspective and carry it through the story. And while a Dalish elf, a Carta dwarf, a qunari mercenary, and a Circle mage certainly live very different lives than a human noble, they also live very different lives than Giles the farmer—not necessarily more privileged, but still different, with differing priorities and different stakes in this conflict. Bron the farmhand has no reason to be at the Conclave; he's here mucking out stalls, knowing the horses still need to be fed even if there is a rift spewing demons over there in the middle of the neighbor's pasture. Elaina the farmer is putting away cabbages for winter and hoping the barn doesn't get burned down by a stray fireball. And Elaina is one of the fortunate ones: her family's home and livelihood are still intact, for now. The Crossroads now hold many ordinary people who through no fault of their own have lost their homes, their crops, even family members.

Theirs is the perspective we get in the Hinterlands.

You don't have to stick around for all that. You can take Mother Giselle’s advice immediately, go to Val Royeaux, go deal with bigger and more important things and people. You will need 4 Power to go to Val Royeaux, but Power is easy to come by. Close a few rifts, and you’re good to go. You don’t have to care about these refugees and their problems.

But you know, something I notice is that the founders of the Inquisition spend a whole lot of breath talking about "the people." How they have to restore order for the people. How the people are looking to us—to you, Your Worship. The people need you. The people need to believe in you. That’s why we’re raising an army and building a cult around you! For the people.

Well, here are the people.

And if you talk to the people at the Crossroads, it turns out that what they actually need is less faith in Andraste’s chosen, and more blankets for the cold nights, medicine for the sick and injured, and food so they don’t starve. They need the war ended and the Breach closed so that they can return to what’s left of their homes and salvage what crops and livestock they can.

It is easy to feel a bit smothered by the Inquisition’s overwhelming Andrastian-ness, especially when playing a character who has their own religious beliefs, or none at all. We have a lot of characters trying to tell us about the importance of faith—their faith, specifically. We’re told that the people need to believe, and that’s why we have to play the role of this figurehead. And you can run with that idea and play it straight, if you want to. But there is, in fact, a different story to be found here, if you want to look for it—a story told in the world itself and the people who who inhabit it: people cannot eat faith.

And Mother Giselle, the person we are sent to the Hinterlands to find, knows this. She is certainly a devout Andrastian and deeply influenced by a life in the Chantry—but she also chooses to be on the ground helping people in need rather than arguing with her fellow clerics in Val Royeaux. After the attack on Haven, Mother Giselle and the Inquisitor have a conversation about faith, in which the Inquisitor points out, in one way or another, that faith may not be enough. Giselle may seem to disagree. Yet it is she who then leads the survivors in a song that does not mention the Maker or Andraste even once. The much-maligned “The Dawn Will Come” is so frequently assumed to be a Chantry hymn because it is Mother Giselle who starts it; even the fan wiki lists it as such. But I hear something much more akin to a folk song, a marching tune—not a high holy chorus for a cathedral choir, but a song with a simple tune and repetitive lyrics, about hope in dark times.

Perhaps she was rather more persuaded than she appeared.

When you ask your ambassador Josephine, “What do the people make of us?” she tells you how many noble allies you’ve gathered. And that’s not unimportant; this boots on the ground shit costs money, and most of that is coming out of noble coffers. But when you ask Mother Giselle, “How are the people?” she speaks of the terror and suffering of the people in the Hinterlands, and warns of mass starvation if the farmers cannot return to their fields.

This is the story of the Hinterlands.

And the density of side quests on this map reflects that. In addition to aiding the refugees with food, blankets, and medicine, there are so many more opportunities to help people in small but meaningful ways. An elven widower who cannot reach his wife’s grave through the fighting asks the Inquisitor to bring flowers there as is his custom. A grieving widow asks for the retrieval of her husband’s wedding ring from the templars who murdered him. A beloved ram has gone missing. A mage mourns her templar lover and the war that has come between them. A note speaks of two brothers, templar and apostate, torn apart by the war. A son has gone off to join the cult in the hills (no, not our cult in the hills, another one), and his mother needs the special remedy for her breathing problems that only he knows how to make. And so many more. Even the Winterwatch cult itself asks us to consider what it is the people truly need: the Inquisitor can enlist them as Inquisition agents, or ask them to aid the refugees.

Are all these sidequests vital to the plot? No. You can skip them if you want to. Are they relevant to the plot? Absolutely. Are they meaningful? To me, yes. Maybe they didn't change the whole world, but they changed something for these people.

It is so important to me that we get to actually meet the common people whose lives are depending on us. Whatever you think of the Inquisition itself, people actually are dying because of both the rifts and the war, and many more will die if these problems aren’t resolved. Meeting them, giving them names and faces and side quests dealing with their more mundane needs is so much more meaningful to me than standing around back at base being told “People are starving in the Hinterlands.”

It's understandable that the Hinterlands had to fight the precedent set by Lothering getting locked off, because in many ways the Hinterlands serves the same narrative purpose as Lothering: showing the effects of the present crisis on the common people and what's at stake for them.

I should note that the Hinterlands are not the only part of the game that addresses the impact on common people—far from it, in fact. The Exalted Plains give us a taste of how many have died for the Gaspard's attempted coup; Emprise du Lion shows us commoners kidnapped and tortured by Red Templars; the Winter Palace puts the bloody reality of the "Grand Game" in stark contrast to its gilded veneer with the indiscriminate murder of servants for expediency.

But it’s important that we are introduced to the suffering of the common people early in the game, when the Herald—not yet the Inquisitor—may still feel pretty shaky on their motivations for even sticking around.

While I've mostly been talking about non-mage commoners here, I do want to say a few words about the rebel mages as well, since they too are a part of the story of the Hinterlands. I hope that no one reading thinks I am blaming the rebel mages as a whole for what's happening in the Hinterlands, for what the common people here have suffered. The templars, notably, are not entrenched in the Hinterlands. Their present stronghold is Therinfal Redoubt, an old Seeker fortress, which is a significant distance from Redcliffe. The fact that the bulk of the fighting is taking place near Redcliffe, while we've no evidence of a mage offensive against Therinfal, makes it pretty clear that it is the templars who are pursuing the mages at this point, not the other way around. Certainly some in the region may not bother to make that distinction while their crops are on fire, but let's be clear about the story the map is telling us: it is the mages who are under attack here, not the templars. It is sometimes said that Inquisition deliberately draws a false equivalence between the mages and templars in this war. I would like to point to this piece of environmental storytelling as evidence that that is not entirely true.

Sometimes, it seems like pointing out that collateral damage happens is read as condemning an oppressed people for defending themselves. I want to make it clear that this is not what I am saying. I simply feel that those characters who have lost homes and livelihoods in this conflict are also worth seeing, and talking about. But I also don’t think it’s an accident that this is the map whose story is all about the suffering of ordinary people, and it is also the rebel mages who have their base on this map; the templars do not.

So, that’s why I think the Hinterlands are Good Actually! They contain an absolute wealth of worldbuilding, and their story frames the game’s central conflicts around the people suffering for them, early in the game when that perspective is most needed.

[characteroulette]

Hey I'm not done analysing AJ yet. Here's another one on it's theme --

The overarching theme of Apollo Justice (AA4) is your lack of autonomy. You are not the protagonist of this game. Your decisions don't really matter in the plot; yes, you make the choices which progress the game, you're the one puzzling out the truth to these cases, but you aren't the one who is in control. This is emphasized through small hints in the dialogue (Apollo knows he's out of place between Phoenix and Kristoph's spat, he feels Klavier leading him along both in Wocky Kitaki's case and in Machi Tobaye's case, and Phoenix once again is the one truly in control for the final case), narrative choices (no matter how hard you try, you must present that forged card. You have to present the envelope recreation. You have to present that forged diary page.), and even how we're connected to each client.

Each of our clients wasn't our choice to take. Kristoph was going to defend Phoenix until Phoenix requested for Apollo to take the lead. Alita comes to us only after Trucy hands her a flyer. Klavier tells us that Machi requested our services. Phoenix assigns us to Vera's case without telling us until the last moment.

Even in the flashback case, Phoenix didn't exactly choose to be Zak's lawyer. Kristoph would have defended him if not for Zak's deciding to remove him and choose someone else. (I can't explain what Phoenix is doing there, but it's possible Zak called around in his search for a new attorney and just so happened to land on Phoenix.)

Our clients are the ones who chose us in this whole game. We had no say in the matter; we're just here to keep the plot moving, to walk through the doors which were opened for us in the end.

This is, of course, not followed through in Dual Destinies or Spirit of Justice (because those games are furthering the themes of the Investigations games). It is, however, followed up in Dai Gyakuten Saiban / The Great Ace Attorney.

The very first decision we make in TGAA is about who will take on our client. Who is going to take up our defence? It's a non-choice, of course, because Ryuunosuke is panicking and wants to protect his friend. He can't trust that his best friend believes in his innocence, and through the course of the trial, has to stand more and more with this choice he's foolishly made.

We see his conviction to make this decision evolve through each case. He's fully willing to prove his own innocence once more in the second case without even thinking about it. He's pressured into defending his client in the third case, showing his own conviction faltering as it's slammed into his face that his choices no longer matter. He grapples with what it means to actually decide to trust one's client in the fourth case, deciding in the end to take that leap of faith due to his own faith in his best friend. And then the fifth case, he's the one actively choosing to defend his client, since she continuously tries to reject his help.

I really believe this is where the series would have gone had we kept the same themes from Apollo Justice into its sequels. An exploration on being told our choices don't matter, but then making those choices anyway because they do matter. It's the same sort of feeling that exists in Justice for All's final case; our decision on whether to plead Guilty or Innocent at the final hour before salvation arrives may be a non-choice, but it mattered to us. It mattered, even if the narrative pushed past it and didn't actually take it into account.

We're on the rails, but that doesn't mean what happens can't affect us. We might not have any sway in the narrative, might be led along right to each answer by the nose, but we're still choosing to continue. I think that does matter in the end.

[infriga]

Some random Egghead meta about Vegapunk because he was on my brain today for some reason and I just wanna get it out of my head:

Honestly Vegapunk fascinates me as a character. I feel his existence as an individual gets overshadowed a lot by his existence as an important part of the overarching series/arc plot, but there's actually a lot of interesting things to think about regarding him as a person too.

One aspect that I probably think about the most is the mole plot regarding his satellites. Oda deliberately had him make several supposedly "negative" satellites, one being straight up Vegapunk's EVIL persona, and yet the one who truly turns out to be the traitor isn't Lilith, it's York. And sure, on the surface it's easy to say that it wouldn't be Lilith because that would be too obvious, but if Oda was just going to go for the surprise factor with this twist he would have had it be one of the more "positive" Satellites like Shakka (good) or Pythagoras (wisdom). In fact they were popular choices for theory crafters when the fandom was trying to predict who it would be. But he didn't go with that because the twist was based more on Vegapunk's actual character and actually makes a LOT of sense when we learn more about who he is as a person.

York is usually called Vegapunk's "greed" persona, but she's meant to represent more of a mix of greed, desire, avarice, hunger, appetite, even passion, etc, hence why her name is written in kanji as 欲 (yoku) which can mean all those things. With that understanding it's more understandable why her initial depiction comes across more like sloth and/or gluttony, after all her "job" is just to eat, sleep, and poop for Vegapunk, which may seem like a strange job for the "greedy" persona, but does fit the "appetite" or "hunger" aspect of the term yoku.

Obviously this comes with the benefit of hindsight but I actually kind of wish translators had translated her role to something more like desire or appetite instead of greed in most instances, since part of what makes the reveal a twist is that she really is more of an embodiment of "greed" as it's typically viewed despite appearing at first to be a less dangerous form of the concept. We're lead to believe that she's not as ambitious as she really is.

Ultimately I think the thing she represents is desire itself as a whole, unchecked by things like logic or wisdom or conscience. And knowing what we know now about Vegapunk's backstory, it makes sense why she would be the one to turn traitor, because Vegapunk's greatest weakness has always been his unchecked desire. I know some people might interpret it as being his naivety, but naivety on its own isn't a flaw or a weakness, someone can be naive and still make productive choices if they're smart and diligent and let their conscious and logic temper their first impulses. Naivety isn't always automatically a complete lack of wisdom or intelligence, it's a lack of experience, and that CAN be compensated for. Vegapunk didn't realize the extent of the government's cruelty, or the dangerous potential of his knowledge and technology in the wrong hands at the start because he hadn't yet experienced it first hand and he didn't try to compensate for that potential risk. If he'd tempered his desire for progress, for knowledge, for advancement, and exercised his intelligence and conscience, he likely would have realized the potential risks from the start and likely wouldn't have relied entirely on giving the government the benefit of the doubt because he would have prioritized being responsible with his abilities. He might have at the very least done more to gain leverage and have proper oversight over how his inventions would be used. This is something he eventually learned, as seen with stuff like his secret broadcast, but it came from hindsight after the damage was done, rather than from foresight.

A lack of foresight can be an issue, but what really drove Vegapunk's actions was, again, his desires overriding his common sense. The government was his meal ticket to the things he wanted, and he reasoned it away by saying that the means would justify the ends, up until he had to witness what those horrible horrible means really were with his own eyes.

Vegapunk's satellites don't only represent things like good, evil, wisdom, violence, intelligence, and desire, they specifically represent those aspects of HIM, and for all his flaws Vegapunk is clearly not an evil man. So it makes sense that Lilith would not actually be all that evil. And he is not a particularly violent man, which is why Atlas is not actually particularly violent at least in terms of the One Piece universe. Heck, Nami is arguably more violent than her. But Vegapunk IS very greedy. Not in the classic "wants to be rich and powerful" sense, except in terms of how riches and power would help him reach his true goals. He's covetous, he has an appetite, he is driven by desire. It is as much a strength as it is a weakness, it's why he has made so much amazing technology, and why he looked into stuff like the void century despite the risks, but it's also why he chose the government as his benefactors over the revolutionary army, it's why he built so many dangerous things without thinking of the consequences of who might weild them or how they might be used to harm instead of help. He always needed more. He needed more money so he could fund more projects, he needed more projects so he could make more discoveries, he needed more discoveries so he could gain more knowledge, and so on and so on. This is of course represented quite aptly by his ever expanding brain, not unlike the common imagery of an ever expanding stomach that represents gluttony. He may have meant well with how he wanted to use the knowledge and discoveries and technology, but, well, you know what they say about good intentions.

As he grew older, eventually his experience overcame his naivety, his wisdom and good conscience overcame his desire, and he finally stopped seeking more above all else and started trying to mitigate the damages and make up for the consequences of his actions. But York? York doesn't have that wisdom or conscience, she's just the desire, unchecked. And Vegapunk's remaining naivety ended up aimed at himself, when he didn't recognize the danger of that aspect of himself.

So with this full picture in mind, it makes total sense why York was the turncoat, not someone like Lilith or Atlas, because Lilith is only as evil as Vegapunk is, and Atlas is only as violent as Vegapunk is, and unfortunately, York is just as hungry for more as Vegapunk is.

[1000sunnygo]

hello sunny

I’ve always liked your analysis and I’d like your opinion on this’s matter.

Im a firm believer that Kidd isn’t actually died, Oda barely kills anyone actually. But I’ve read some folks say Kidd coming back would considered a “bad writing”?

He doesn’t seem to have any relevance to the plot at the moment other than wanting to be the next PK, but again he cant be in the final race because lost his Poneglyph to shanks. (Only if Oda decides he is a D/ witch is a meh to me, i don’t imagine him hiding it and him having one is kind of out character(?) ).

there are many theories and speculations about the three captains forming an alliance again in Elbaf witch I dread haha, mainly because I feel like him forming an alliance again is unfair to his presence& development in the story and feels repetitive, that goes to Law too.

If this isn’t something you don’t want to discuss by all means ignore this message. Thank you.

I was contemplating about watching the last episode but decided to give it a go after receiving the ask...

God was it bone-chilling. Really felt like a farewell.

Have to admit that it was a great episode. Namikawa san (Kidd VA) posted a tweet on Sunday: "One Piece's sakuga is absurdly incredible. I remember wringing out my soul and pouring everything into my voice while recording. Shanks is too strong. Kidd deserves all the love." (x)

But, no, I don't think Kidd is dead. All three Captains were hyped until only few chapters prior to this. The Elbaf incident might've been in Oda's drafts when this came out.

Yet, we're supposed to believe that Luffy and Law will have plot relevance, while Kidd just dies? I wouldn't call it good writing, it's a cop-out. The series is reaching the final arc with packed developments, IMO it makes no sense to equip a character with advanced combative power like conqueror's haki just to kill him off in his next appearance.

The chance of Kidd being a D is very slim because the theme of inherited will isn't in his character thus far. And two major arcs with similar alliances is unlikely (Personally, I don't want Law anywhere near Elbaf). Kidd's character arc doesn't seem to have a strong motif in relation to the overarching plot progression.

If that's the case, I wonder what "importance" Oda had in mind for Kidd when he created him.

I've seen some theories floating online, my personal speculations pretty much reach a similar conclusion.

For some reason, Oda has been continuously shoving Kidd towards Shanks' direction since the timeskip. Shanks is a core character, his concept and conclusion has to be decided from the start. It's possible that Oda wanted (and still wants) to involve Kidd in Shanks's (very likely) demise.

Returning to the episode, this was the scene that felt like a farewell.

Unlike Heart pirates, Kidd pirates received an ominous end note implying that they're completely decimated. If Kidd's crews, particularly Killer - die from this, it would push Kidd to focus solely on avenging them. He may ally himself with Blackbeard. IIRC, Blackbeard pirates don't have an engineer onboard. Kidd's power and skills may come in handy in the handling of an ancient weapon or a similar power source if Blackbeard manages to nab one; there's been some convincing theories about Kidd and Vegapunk sharing some connection too. Oda has been writing Kidd as a sympathetic character, so if he's involved in Shanks's death in such scenario, his action will be somewhat understandable.

Even if it doesn't take a dark turn, Kidd can still aid in the final battle, there are many enemies to defeat. We haven't been disappointed by Luffy's choice of friends so it's possible that Kidd would eventually back track from the revenge plan and reflect on his own actions.

Many readers have a mindset that Kidd deserves a bad end because he's not a "fundamentally good person" as Luffy, or even Law. Arrogance sure, but I don't think Oda would punish Kidd for his violent track record. Oda's initial concept distinguished adventure loving pirates from regular ones, but he corrected it and blurred the boundaries. Luffy is a pirate and pirates aren't supposed to be nice people. He finds his allies from within.

[kirwell]

I don't have to voice that the new era of warrior books are,,, struggling creatively,,, to put it nicely, cus everyone's who has been here for a minute already knows. But A Starless Clan is already coming to an end,, and I just feel like it was all REALLY short. The final book drops in November before we immediately move onto Changing Skies in January, but I feel like we should still be in the middle of THIS arc. The conflict is so short-lived.

Maybe it's just me, but when comparing TBC to ASC, the former felt it had a much longer, drawn out and more involved story and plot, with all the POV characters going through plenty of experiences that impacted them before the final endgame.

Rootspring dealing with Bramblestar's spirit. Direct involvement. Shadowsight being manipulated by Ashfur. Direct involvement. Bristlefrost and her complicated involvement with the imposter, the Rebels, and ThunderClan. Direct involvement.

That's not been the case for half of our protags in A Starless Clan. Not that Nightheart and Sunbeam don't do anything at all, but compared to Frostpaw, who is literally carrying everything, they might as well be background characters. Damn near the entire plot has been carried on this poor girl's shoulders, and it shows, because Nightheart and Sunbeam are suffering from lack of important character progression and main plot relevance.

Nightheart's most prominent arc was his angst phase and temporarily switching clans for his crush. Even when he and Frostpaw were traveling and met the park cats, he took a major backseat compared to Frostpaw. The book told us that Nightheart and Frostpaw grew closer on their journey together, but it really doesn't feel that way. It would've made more sense for a banished Frostpaw to stay with Thunderclan rather than ShadowClan. We'd get more Night and Frost interaction, and now all our protags are together as well.

And Sunbeam, don't get me wrong, I like her, and I've been much more invested in her emotional journey then Nightheart's, post his ShadowClan arc. Breaking up with her best friend, crush rejection, her overbearing and phobic mother, leaving her birth-clan, being abandoned by Nightheart more than once, and her family (aside from Spireclaw) living in exile. However, Sunbeam has little affect on the overarching plot, compared to Frostpaw. Sunbeam's chapters in Wind basically consisted of her worrying about her mother and crossing the border to check up on her family. As for Nightheart, all that he was really doin' was trainin' Waffle (our precious waffle boi) and being his girl's yes-man for the majority of the book. It also seems like Sunbeam's and Nightheart's romantic arc is just finished now i guess. We'll probably see their kits in Changing Skies, and Sun and Night will be put on the backburner of obscurity.

I just wish Nightheart and Sunbeam took a more pressing role in the plot and were more emotionally invested in the main conflict. Their personal stakes aren't nearly as high as Frostpaw's, who is truly burdened by the weight of so many responsibilities, on top of having damn near no one that supports her. A Starless Clan is truly Frostpaw's series- and ya can't tell me otherwise.

Nightheart quite literally has nothing to lose if Splashtail takes over RiverClan completely. He has Sunbeam, and that's all he wants.

Sunbeam has an emotional investment now with BerryHeart being Splashtail's cohort, (and now deputy), but her focus is less set on RiverClan's wellbeing, and more so directly on her family's. If Berryheart wasn't involved with Splashtail, I feel Sunbeam wouldn't have gotten herself up in RiverClan's business after the ShadowClan warriors left.

Frostpaw is carrying an absurd level of trauma and personal involvement with what's going on, as she's entangled in everything that's important within the plot from every single angle.

ASC just feels really, really short and underwhelming, in terms of it's supporting cast and main villain. Part of me kinda likes that Splashtail is a sleezy snake, but he's still just sooo,,, boring, especially when putting him up against other villains like Ashfur and Darktail. Curlfeather didn't even get a chance, and she's by FAR, a much more interesting choice for an antagonist.

Off the top of my head, a better plot could've been Curlfeather successfully pretending to be Curlstar, and Splashtail being discontent with only being deputy, and stirring up chaos and plotting to overthrow Curlstar. The endgame could've been Splashtail trying to kill Frostpaw (again), but Curlstar refusing to let her daughter be murdered, and in the end, sacrifices herself to take down Splashtail for good. And then, like what a lot of us are expecting will happen at the end of ASC, Frostpaw becomes Froststar (i love frost so much this better happen dont let the flame die out!!)

The theme of this season has 100% been family issues/trauma, as every protag has stuff goin' on with their moms, but we get Splashtail as a main villain, with no prominent ties to anyone except Curlfeather (tho we don't rlly see much of it)

but anywayy,,, enough rambling and GIVE IT UP FOR ARC 9 EVERYBODYYYY!! ARC 9 COMING SOON LETS GOO !! WE'RE GONNA BE READING CAT BOOKS TILL WE'RE 90 :)

[soullessbullshit]

Who is your favorite NPC in the whole game? 👀

As much as I suck at picking favorites, I'd probably say Raz. I'm a sucker for deeply flawed characters with a heart of gold (no shit, y'all've seen the work I've put into Cassian), and for all the issues I have with the game's writing and use of the characters, Raz is one who always seems to give us something new and interesting whenever he shows up.

There's a lot of background given to him bit by bit to imply why he is the person he is, and I like that he's one of the few characters whose underlying issues play into, but don't necessarily revolve around any of the game's overarching plot points beyond the role he plays in the setting, which allows him to meld so well into as many questlines as he has.

Even with the game's quests being laid out so that they can be completed in any order, Raz actually gives a sense of overarching progression from the beginning of the Dominion storyline through the various DLCs in which he's been featured (and even further before then via the Merryvale questline), which doesn't feel shoehorned or diluted by the relative disconnect from one zone to the other.

He winds up providing one of the game's most distinct impressions of a person who has a life and motivations outside serving as a set piece for the player character's objectives, which is one of my biggest disconnects from a lot of the NPCs in the game.

There are absolutely other characters who have similar senses of character growth across arcs and zones (Naryu, the entire world's beloved), but Raz has the benefit of being a prominent figure throughout the entirety of a faction storyline and multiple DLCs.

I've had the most time to get attached to him, and the fact that the Dominion storyline was my introduction to the game itself simply adds a nostalgia factor that the others don't. When I think "ESO character," the first character that comes to my mind, nine times out of ten, is Razum-dar.

He's the character I get most psyched to dive into every time he pops up on screen, he's the character I get most upset at the lack of overt focus the game usually allots individual NPCs, and he's the character I get most desperate to shake around in a terrarium to see what happens.

Honorable mentions go to Naryu Virian, Veya Releth, Queen Ayrenn, Verandis Ravenwatch, and Sai Sahan.

[physalian]

On Subversion through Failure (wasting the audience’s time?)

I want to talk about two arcs today, one pretty much everybody loves, and one most every fan complained about before the fandom died. Both have to do with having characters completely fail to accomplish an objective, something they’ve been working toward for chapters or episodes or maybe the whole season.

Honorable mention to Infinity War’s “did we just lose.” IW and Endgame had meta reasons for happening the way they did, not just in-story. Books don’t have to contend with actor contracts and box office sales. Personally I don’t think Tony had to die at all the way it happened in the movie, but they killed him because of ~symbolism~ and everyone knew it would be coming and, well, he can’t play the character forever. Don’t love Endgame.

More to the point, both movies were more concerned with the legacy of the MCU over the best choices they could have made for the characters.

Failure in fiction is tricky to pull off in the best stories with the best of intentions, too. You don’t want the audience to feel bait-and-switched, like they invested all this time and effort into your book, only to have catharsis ripped away for ~subversion~ *cough*Star Wars*cough*

What was the point of all the nonsense if it all amounted to nothing? Why should we care?

So!

—

The Sophia Arc (The Walking Dead)

Almost the entire second season of this show has the characters stuck in one location, a remote Georgia farm, looking for a missing character, Sophia. Not every single episode is spent searching, but the continued excuse to not move on and to not get kicked out by the farm’s owner is that they haven’t found her yet.

Compared to season 1, which was constantly moving, constantly giving the characters new challenges and new locations and had very high stakes, season 2 was much more character focused, with more personal, low-stakes problems. I like character drama, so I didn’t mind, but if you came to The Walking Dead expecting a repeat of season 1, you were understandably disappointed.

The arc ends rather infamously with the revelation that Sophia had died and turned a long time ago, and was right under their noses in a barn. All that searching, all their effort, all that hope of finding her, was for nothing.

This arc had many issues, but some I think about after the fact include:

Sophia was reduced to a macguffin. She was barely a character in season 1 and disappeared too early in season 2 for anyone to care about her as more than just “she’s a little girl, you should care”. So audiences can only really empathize with her mother, who herself doesn’t go searching for her daughter, and who we also don’t really care about compared to the more present characters.

Sophia’s arc itself made no impact on the plot at large. The barn full of walkers did, but Sophia herself was just a consequence. The plot would have been the same had she not been in the barn, because 'you’ve been keeping them like pets' was the big reveal of the episode, the crux of the debate between the Group and their hosts is “walkers aren’t people you need to adapt to the new world”.

The refusal to leave the farm because they were tied to the Sophia search, on top of having many more episodes than season 1, drastically reduced the pacing audiences were used to. One overarching goal that never got any closer is exhausting. They were never close to finding her, even when they thought they were.

Above all, though, I think what damned this arc the most was that it just didn’t matter. The Walking Dead suffered its entire runtime from redundancy and stagnation. The heroes were never allowed to build a community and grow and make any progress against the walker plague before the writers forced a reset, burned it down, and moved them to the next location. Sophia’s death was the start of it all (though it was good for seasons 3 through 5ish).

She didn’t plague the plot after she was gone. Carol (her mother) mentioned her a few times in passing. The only depth the arc had was “life sucks and this show is grimdark hope is for chumps”. It having no point and no resolution was the point.

—

The Day of Black Sun (ATLA)

Between seasons 2 and 3, the hype for the invasion of the Fire Nation took up a whole season’s worth of episodes. Once Sokka learned of the eclipse, beyond finding Appa, his priority one was reaching the Earth King to get the Earth Kingdom in on a massive invasion that could decide the war before Sozin’s comet.

They brought so many characters back for this, spared no expense in the budget for the rendering of the air fleet and the sub squad, had Aang finally back in his Air Nomad colors and shaved his new hair….

And they lost.

They lost so badly, only the kids could escape with their lives, everyone else got captured as prisoners of war.

And that’s not even mentioning how season 2 ended with “The Earth Kingdom has fallen”. Which I’m not talking about here because that’s not quite fitting the trope here. The threat was always there, but the heroes weren’t fighting all season to protect the Earth Kingdom, only to lose. We only knew about it because we got Azula POV working in the background.

But anyway—Day of Black Sun. Why it worked:

We knew it was doomed from the moment the Earth King told Azula, thinking she was an ally. It did not come out of nowhere. The shock just came from a kids show actually going through with it and not having them triumph despite the odds.

The cost was severe, and felt through the rest of the show (which did not go on for 8 more seasons unlike TWD), and the new stakes were felt immediately. Zuko changed sides, the last real chance to stage a rebellion just died, the Fire Nation has confirmation that the Avatar isn’t dead, and now they have a terrorism incident to propagandize, probably making it easier for Ozai to push his “Phoenix King” vision on his war council and his country.

Failure was imminent from the moment they arrived at the Gates of Azulon. The Fire Nation forces were competent and highly skilled, as they should be, so nothing came out of nowhere or felt like manipulative writing. They were simply an army prepared for their adversaries, fighting for their home, on their homeland.

But they did still fail epically. When you were a kid, you weren’t thinking “but wait the season must have more episodes after this, something must go wrong”. Even knowing what’s about to happen during rewatches, it doesn’t diminish the impact of this arc.

—

Last honorable mentions to the season 4 finale of Supernatural. Where Team Free Will's quest to stop the rise of the Devil became a self-fulfilling prophecy. Due to... a lot of things, namely cope and a CW budget that made the visualisation of the whole world ending a bit too ambitious. But honorable mention nonetheless.

—

So if you’re going to have characters blow it, and this is your plan from day one, you should have consequences, good and bad, coming out of it, otherwise it’s meaningless and the audience will feel duped.

“Did we just lose” was a fantastic twist, don’t get me wrong, but, to me, at least, the setup for Endgame and the execution of Endgame was just a little too polished in too many areas, sacrificing meaningful character development *cough*Natasha*cough* for satisfying the giant MCU machine.

Because the dusting certainly didn’t have lasting consequences equal to the impact in the moment. It was just a blip, mentioned a few times and not mattering at all in one show, and then mattering a whole lot in a different one, but largely the status quo returned. Such is the nature of comics, I guess.

Sophia, too, was a great twist, in isolation executed very well, in the grand scheme of things it just didn’t matter. Had she been a Maes Hughes type, haunting show for four more seasons as some symbol of the loss of innocence or humanity or the better days gone by, then maybe.

I like this trope not just because it's subversive, but because once you decide your hero's going to lose, you have a lot more room to write a conflict designed to fail. More competent villains, more desperate heroes, more 11th hour decisions.

Especially when the audience doesn't yet know failure is inevitable, there's something about not having polished, pre-determined victories that can feel a lot more intense, because subconciously, as a writer, you're not making plot armor for your heroes.

[duckiemimi]

how certain are you about gojo not being dead or his revival? do you think gege might bring him back? some buddhist revival theories make sense to me but if the main problem is that gege just wanted him gone for the plot to progress then nothing is bringing him back. i also see that a majority of people are now praising the chapter when i'm still not happy about it so it might even give the impression that the chapter is well received....

i’m not certain at all because i can’t even tell what we’re working towards plot-wise 😭

before 237, i was 50/50 about it. it could either happen because his “death” just seemed so lackluster and lacking something (a lot of things) that there might be more to come, especially knowing how capable gege was at wonderfully handling death as a subject, but it could also not happen because gojo wasn’t even given the grace of an on-screen development from his unsealing to his death. (i talk about this more here.) after 237? if he’s only going to come back as a convenient plot-device, i’d rather he stay dead.

i honestly think gege killed him off to write him out of the story because nothing is indicating to me that there’s more to what we saw in 236. not even a mention, not even a scribble of his body in the battlefield in 237. (but i don’t know. prove me wrong, gege.) 236 would’ve worked if the gojo vs. sukuna battle was a short story separate from the overarching storyline, separate from jjk in general, and instead of gojo and sukuna, they were both new characters that we got a brief rundown of prior to the battle. but like everything is, the story should be bigger than them both and the battle. 236 and the battle should fit in with everything else, even the very edges of where we started.

there’s this habit in fandoms (but especially in the jjk fandom) of retroactively justifying (and subsequently, plainly accepting) chapters/plot points that weren’t initially well-received. it’s crazy because when 236 came out, the only people praising the chapter were sukuna stans and people who heavily favor the technical side of jjk more than the narrative (and some shippers who’ve lost the actual plot long before, but what’s new).

a week later, there are all these discussions saying, “well, maybe we just didn’t get gojo’s character,” or, “well, actually it’s in-character of him.” it shouldn’t have to take a week for part of the fandom to reluctantly accept what was written. hindsight nuance is supposed to add another level of understanding, not change the whole perspective. this isn’t a case of an author withholding information to keep readers on their toes, this is a case of an author not being consistent in characterization (among other things).

we keep trying to piece mismatched puzzle pieces for it to make sense, but we’re in the long run now! the bigger picture (including gojo’s character) should be clearer than before! why are we left more confused now than before, and so close to the end of the story, too? if the majority of the fandom is confused (all of us, honestly, don’t lie), the problem isn’t us not understanding—the problem is the goddamn writing.

“let them cook!” yeah, but if you leave the fire on too long, the food burns. then the kitchen catches fire. then the house is in shambles. it’s okay to admit that the story we once knew is no longer the same. it sucks, but it really is okay to dislike a chapter and be disappointed with an author. and it’s okay to take your time grieving what you once knew (hell, it’s why i’m talking more on this app these days). and it’s okay to keep reading and following along because you still have hope.

the way i talk about this, you’d think the whole fandom is in a relationship with gege and gege just keeps negging us 😭 some people have faith, despite the downhill track record, some people are pissed and feeling cheated, and some don’t even know what to think. coping is different :’)

[dipplinduo]

So, I'm really looking to write a Dipplinshipping series myself and I really love the depth that you go into for S&D Dipplins (and its related spinoffs, I am very up to date).

Do you have any tips for keeping up with/writing longer works? I think my idea may take at least 10 chapters, but I've never been able to finish anything but oneshots before... I admire your consistency with the quality of your work (there has not been a single miss, not a one) and I hope to be able write like you one day.

No pressure to come up with anything if you don't know what to say. Regardless of anything, I hope this message reaches you well and that you have a fantastic day!

Omg I love writing talk asks and I'm so touched that you thought to ask me this question!

I'm gonna share stuff I found helpful to keep in mind:

- Take your time with storytelling. The advantage of having more chapters is that you can reallllyyyy enjoy your pacing. One way I do this is through gradual hints and breadcrumbs that build to the major plot points. It's a fun way to develop your story over time while keeping readers interested and theorizing. And when you're not focusing on the main plot, you can focus on other aspects of the story.

- Outlines and general note pages for your fic as a whole are your best friends. They will do the work of keeping track of different story elements for you.

- Listen to your readers. Their feedback is invaluable. If you get a lot of comments about something people seem to be enjoying, this may suggest that it's part of the voice of your fic. It can help you figure out what you'd want to emphasize more down the line - whether it be through side stories or through the main plot.

- Switch up some dynamics overtime. If you find yourself feeling stuck because you feel like you're trying to write similar kinds of moments, thoughts, or dialogues, this is a sign that it's time for you to move on and shake things up. I've done this with Kieran & Juliana in S&S D after I felt I have described Kieran seeing Juliana as a witch (who he has a hard time resisting lmao) so many times.

- Flush out the roles of supporting characters. They don't need their own character arcs, and they don't need to be focal points of the story. But they can influence some events, and it can help with the movement of your fic. (E.g. I often use Drayton to instigate moments one way or another, and this suits his character given that hes relatively chaotic neutral).

- Focus on the quality of telling your story first and foremost; you do not need the permission of certain chapter "markers" to progress. You don't need to wait for Chapter 10 or 15 or whatever to have a big moment happen. If everything is set up and ready to go, just do it. This is why a big moment of S&S D happens in Chapter 9 rather than Chapter 10; there was enough in place and I felt dragging it out would've diminished the moment. No one's really gonna care that much about how things line up to a chapter number. They're gonna be happy they got a big moment, and if anything, your ability to break this norm can keep readers on their toes.

- On the opposing ends of things, know when you have enough in a chapter to stop even if you know where you're going next. If you flushed out descriptions of someone's feelings or some scenery or whatever, and you feel you have enough? It's okay to stop writing and publish. Giving yourself more time to soak on ideas can improve the way you're going to pick up where you left off. I personally don't have a hard rule around this, but I tend to cut things off at the 15-20 page mark for a chapter of S&S D.

- If you feel like you're writing a filler chapter, think of ways it can build to your overarching story. You really don't need filler chapters if you think about it - even if you want to delay going somewhere specific. So if your work could be summed up when completed, what would you want someone to say? Think of ways you can slip in gradual storytelling from multiple angles - whether it be through plot or through some of the lighter moments (that may build to the heart of the fic like found family or dorm life or whatever). This can help breathe life into any chapter update.

- Remember that by taking your time, you're actually developing the voice of your writing and of the story. My original conception of S&S D and where it's at now are wildly different, and that's because there's no rushed time table. That goes for the storyline, the characters, the plot points - everything. LMAOOO, even the beach episode content is going to be very different because I gave myself permission to delay it until I figured out the exact roles I want Paldean Squad to play! It was a better decision that will lead to better characterization (even though I'm nonetheless very grateful for people's patience).

- Write on your timetable, not anyone else's. I occasionally put due dates on myself to get me going (e.g. by teasing a chapter update), but I never promise that I'll have chapters out on a weekly basis or whatnot for anything I write - S&S D related or not. This is deliberate. Life happens and the last thing you need is to write for the sake of writing and nothing else. I feel it's the easiest way to kill your passion if it becomes stressful for you.

- Lean into what inspires you. I find a LOT of motivation through comments, reactions, asks, fanart, etc., so I make it a point to respond to every comment on AO3 and engage continuously with the community on here and whatnot. I've also been loosely inspired by art pieces that have nothing to do with my work. This is just what works for me, though. Sometimes you might be inspired by other media, or maybe by things that you've seen or experienced in your own life. Whatever it is, draw from it.

Hmmm that's what comes to mind for now. Happy to give more later if they come up, & hope this helps! Best of luck with writing YOU GOT THISSSSS 🤗💛

[avalonauggie]

Re: last reblog bc I don’t want to put my outright criticism on a post full of Bridgerton fans BUT—

there’s accepted norms of a romance novel series that straight up make for bad television, and just because it’s escapist fluff doesn’t mean it should be immune from all analysis.

F’ex: the structure of the seasons is repetitive in a way that makes sense for a book series. Each installment covers a different couple meeting, encountering obstacles and overcoming them to get their HEA. That is what people come to the romance genre FOR.

It’s absolute dogshit for a tv show, though! We have all joked about tv shows being allergic to change, shows where a major development at the end of one season will be returned to the status quo by the end of next season’s premiere, because to resolve the larger story means the show is out of gas.

Romance series run on variations on a theme. Tv series run on keeping the larger story spinning out, and in a lot of romance series there ISNT a larger overarching plot. For the pure fluff escapism value authors/publishers/readers want something they can pick up any installment of and not have trouble following it. These types of books I feel like…just can’t be adapted for tv in the same way bigger grander fantasy epics are.

Netflix made a passable effort and clearly it has a dedicated audience, but the fact is that by season 3 the plot feels repetitive and boring in a way that if wouldn’t, if I were reading a book.

The OTHER problem is, yeah, the efforts at diversity. And I feel like it’s only gotten more glaring as the show has progressed.

I honestly feel like Netflix and Shondaland could have just gone ahead with the colorblind casting in season 1 and not made any mention of it, or leaned on the “it’s escapist fantasy!” angle and who gives a fuck about the pedants on Twitter who’d rage at the altar of Historical Accuracy. I feel like that would have been the braver choice tbh.

But they didn’t do that! They supplied a Watsonian justification for Black nobility in regency England, and making that kind of choice about your worldbuilding raises a shitton of questions that I don’t think they were prepared to answer.

Alix, you may say, it’s not meant to be questioned like that! It’s a sugary cupcake! well I’m sorry but it’s a different experience watching a show vs reading a book, where everything between the covers exists in that little bubble. A show expands the world of the story, there’s colors and fabrics and the narration isn’t just following the MC, there’s a camera capturing the MC, and her friends and family, and the servants in the background, and I can’t NOT think about the things implied by what the camera shows.

So here’s the thing: Bridgerton rests on an ahistorical conspiracy theory that Queen Charlotte had African ancestry, which is problematic on its own, but it takes this assumption and extrapolates it to “hey the king was so in love with his wife that he ENDED RACISM (for some people)(in this specific place)” in order to justify the casting choices of the showrunners.

So yeah I don’t think it’s unreasonable to wonder what Black Queen Charlotte feels about the slaves in the new world who are making her wealth possible so she can have clockwork ballet dancers in her giant wig. Or what Lady Danbury feels, or what Simon Basset feels, or MY GOD what Will Mondrich feels. (The mondrich’s arc in season 3 is honestly the most disappointing because it was legitimately interesting to see the contrast between free Black britons and how their lives touched the bejeweled elites in precarious ways, but no! Their son is a duke or an earl now so hey, they get to wear the fancy clothes and go listen to Vitamin String Quartet with the rest of the characters!)

But none of the Black characters (the ones who are given personalities and are more than tokenized room meat, anyway) seem to have any response to this world other than “we’re very lucky to be here.” And that’s disappointing but hey it’s a romance novel the audience doesn’t want to be bummed out.

But now I have to wonder, what’s the East India company doing in this world? what’s happening that caused the Sharma sisters to come into the story in season 2? Was there a similar anti-racist royal triumph for the Desi nobles at all the balls? For the East Asian nobles? where did they COME from? And what’s it like for their cultures OUTSIDE of England? But bridgerton isn’t interested in exploring any of that, and we just need to forget about it and enjoy the fluff. Right?

Season 3 seems to be leaning into the “hey look, this world is so wonderful that ANYONE can wear fancy dress and find love! Look how diverse it is!” even harder than the previous two installments, which is honestly…worse? I feel like it’s worse.

I can believe the nobleman in the wheelchair, especially since he’s introduced as a sort of lowball training wheels flirt target for Poor Awkward Penelope, and ok he does come back in the balloon ep so it’s not like they put a disabled man in the show for one scene to prove how progressive they are 😑 he’s in TWO scenes, guys! Totally different! But honestly this is the regency, there SHOULD be some fucking…napoleonic war vets around somewhere. It’s not completely unbelievable.

I have GOT to wonder what the fuck is going on with the one Deaf debutante signing her dismay to her mom in BSL that the Queen wasn’t impressed with her curtsy, though! In what world was this girl not left to waste away at the family estate???? How did George and Charlotte’s love conquer racism AND uhhhh longstanding historical attitudes towards disability??? It strains belief. Also she’s only in that one scene so she is ABSOLUTELY just a token. Thanks lady so and so! Hope you find a husband, I fucking guess!

And speaking of finding a husband, here’s the thing that really pisses me off personally about Bridgerton. the more diversity the show puts into each scene and season, the more glaring (and, frankly, insulting) it is that queerness is still demonized in this beautiful fluffy sugary escapist fantasy.

Benedict had one (1) artist friend in season 1 who turned out to be a Secret Homosexual living in Bohemian Debauchery, and two of the prostitutes Colin sleeps with in season 3 share a really tepid nude embrace with off-camera kissing noises when he’s too troubled by the realization of his feelings for Pen to like. Enjoy his threesome he paid for. Hooray.

It’s fucking rotten, really, to be presented with this world that says “everyone is welcome here!” In big glittery begowned spring colors, and then offhand says “not YOU though.” It’s disgusting, and cowardly, and really exemplifies how the people making this show want to have their cake and eat it too, be diverse but not too divisive, and toe the line of mainstream audience acceptability. Yes there’s a lot of steamy sex scenes and female pleasure but in the end, it literally is all in the service of a world where everyone, EVERYONE who’s allowed to be a character, is focused nonstop on finding love in a marriage.

I didn’t know a lot about the Bridgerton books when I started watching season one, and I was pleasantly surprised by the very clearly baby gay sibling Eloise, who chafes at the feminine expectations her family and society puts on her. But then…in the books, she marries a widower and eventually falls in love with him I gueee, and in the show….all of her individual potential is sidelined in favor of her now-rocky friendship with Penelope. And I need to give the show credit, the writing of these storylines about growing pains and female friendship and social ostracism fucking HIT. It’s deeply affecting and done well.

So it’s clear that the show isn’t afraid to shy away from SOME heavy emotional content! Just not the queer kind! Or the kind that questions where the money is coming from. Or the kind that questions whether Francesca needs to find romantic love at all, mom, since she’s clearly happy without it!

I don’t know if I’ll watch the second half of season 3 when it drops. Honestly, the ball scenes, the gossip, all that was done SO well that it left a bad taste in my mouth, just like real middle/high school dances did. I am left feeling like in this beautiful glittering amatonormative world, someone like me would still be too much of a freak to find any happiness, despite how welcoming it purports to be. And that just sucks.

Another quibble I have with season 3 is how vastly it’s expanded the characters it gives plot lines to. Like. Ok. Sure. I have to question why it was ok to do this and divide the screen time away from the main character in the installment when the MC is a fat girl. As opposed to the previous seasons. And I don’t think this was even a conscious decision, likely. BUT it’s a little odd to have the steamy escapist sex romp elements be given less screen time in favor of redeeming Caustic Bully Mean Girl Cressida, you know? Why does Penelope have to share tv real estate when Kate and Daphne didn’t? Kate HAS MORE SEX SCENES IN THIS SEASON THAN PENELOPE????

Last point and this is mostly a joke but HEY at least the overwhelming amount of synthetic fabrics means that England isn’t obsessively focused on destroying India and the Americas in its insatiable hunger for cotton, right?

Right?

Ok anyway Bridgerton is afraid of the questions it raises by the choices it makes, it is a cowardly show attempting to hide all criticism under the veneer of escapist fantasy, and it’s increasingly straining to work as television as the charm of the novels grows stale and repetitive.

[red-dipped-feathers]

Moon of the Crusted Snow

(picture taken by me)

I am starting off the year with this amazing book written by an indigenous author. Not gonna lie, what attracted me to this book was the beautiful book cover and title with its wintery desolated landscape and mysterious name. Usually, the apocalypse or post-apocalypse genre isn’t something I would read but I was very interested in seeing this genre being explored from an indigenous perspective and boy was I not disappointed! This book was captivating from start to end and it’s definitely going in my recommendations. So here is my review of it. Hope you like it and that I convince you to give this book a shot 😊

Title: Moon of The Crusted Snow

Author: Waubgeshig Rice

Genre: Novel, Apocalypse, post-apocalypse

Publication Date: 2 Octobre 2018

Rating: ⭐⭐⭐⭐

Introduction:

In Waubgeshig Rice's "Moon of the Crusted Snow," the tranquil existence of a remote Anishinaabe community in Northern Ontario is shattered by an unexplained societal collapse. As winter blankets the land, the novel explores the community's struggle for survival amid diminishing resources and isolation. Rice skillfully blends traditional Anishinaabe storytelling with a stark portrayal of the post-apocalyptic landscape, offering a poignant reflection on culture, community, and the resilience of the human spirit against an unforgiving backdrop of crusted snow and encroaching darkness.

Plot:

The overarching plot of the narrative proves to be a compelling and intriguing aspect of "Moon of the Crusted Snow." Waubgeshig Rice skillfully introduces a palpable sense of anxiety that permeates the characters' experiences as they grapple with the impending end of the world, all while remaining oblivious to its occurrence. Although the story begins at a deliberate pace, it progressively gains momentum, ensuring a smooth and well-paced development without feeling rushed.

What sets Rice's storytelling apart is his ability to sustain a high level of suspense throughout, even when readers are privy to the impending apocalypse. The narrative skillfully keeps readers on the edge of their seats, evoking a genuine sense of unease for the characters and their uncertain fate. Remarkably, despite the limited action, the storyline remains engaging, avoiding any dull or stagnant moments. The brevity of the chapters contributes to the overall dynamism, allowing the narrative to maintain its momentum and ensuring that the reader remains captivated by the unfolding events.

Plot rating : 4/5

Characters:

The narrative predominantly unfolds through the lens of the central character, Evan, serving as the focal point through which the actions of the other characters come into view. While it's worth noting that the book doesn't delve into extensive character development, I find it to be fitting for the genre. In the context of this apocalyptic tale, the emphasis on character evolution might be secondary.

Evan, as the protagonist, provides readers with a vivid portrayal of life in a secluded community during the apocalypse. The narrative encapsulates the prevalent mistrust and paranoia that takes root within the community, creating a palpable atmosphere of impending doom. This thematic focus, coupled with Evan's perspective, adds a layer of intensity to the storyline, making it a captivating read.

Notably, the narrative occasionally shifts its lens to Nicole, Evan's wife, offering a valuable alternative perspective. This additional point of view provides a nuanced exploration of the unfolding events, enriching the reader's understanding of the characters and the dire situation they find themselves in.

Character rating : 3.25/5

Themes and Messages:

"Moon of the Crusted Snow" by Waubgeshig Rice delves into the themes of survival, resilience, and cultural identity within an Anishinaabe community facing an apocalyptic scenario. The narrative underscores the importance of preserving traditional knowledge, emphasizes community bonds, and explores the fear of the unknown. The novel subtly addresses the impact of modernity on indigenous communities and reflects on power dynamics within the community during times of crisis. Against a backdrop of a harsh winter landscape, the story intertwines environmental resonance with human experiences, prompting reflection on the interconnectedness between nature and humanity. Overall, Rice weaves a compelling narrative that goes beyond the typical post-apocalyptic tale, inviting readers to ponder cultural preservation, collective strength, and the profound effects of societal collapse on a community deeply rooted in its traditions.

Theme rating : 5/5

Strengths:

Brings a different perspective to the end of the world

Well written story line

High level of suspense, you can feel your anxiety building with each chapter

Weaknesses:

Does start off at a slow pace

Not a lot of action (personally, I don’t feel it was needed for this story but I know some of you might find the story a bit lacking or even boring)

So here you go, the first review of the year and the first review on this blog! let me know if you liked it and if it made you want to read the book.

Also, if you already read this book let me know if you enjoyed it and if you agree or disagree with my review 😊

See you next time !

Red dipped feathers

P.S. I’m def going to read the second book to this story called “Moon of the Turning Leaves”, so make sure to stick around for that review!

[sciencelings-writes]

My tLoZ and LU Masterlist

UPDATED 11/19/2023

Of Dubious Sophistication: 6/? posted chapters, Wild meets the chain on a day when he has to act like an important person and decides to fuck with their initial misconceptions of him. Mostly formatted to give each of the Links to come to their own conclusions about Wild, a Compilation of oneshots with a vague overarching plot.

Another Second Chance: 2/? classic Wild gets pulled into the AOC timeline and is tasked to help prevent the calamity. But he looks different enough from his counterpart that he doesn’t reveal his true identity. He accidentally parallels Astor in the whole mysterious sorcerer/ seer vibes as he both knows the future and popped out of nowhere in a dramatic cape and ancient technology. Lots of interaction between Wild and the champions and there is both angst and hijinks. There’s also stuff about the new champions as most of it follows the plot of AOC. Also Wolfie is there because I thought it would be funny for him to bop around the baby egg guardian.

The Silence of the Knight: BOTW pre-calamity fic that’s mostly an introspective fic about why Link went silent and how everyone around him reacts to his lack of outward emotions. I just saw the concept of people seeing him as not quite human because of his refusal to show any emotions and wanting to catch a glimpse of how/ if he reacts when tragedy strikes, just to see if he has the ability to feel anything at all.

Heavy in Your Arms: Wild hated getting his memories back. They could be triggered by seemingly anything, they forced the entire group to stop or have someone stay with him until he got over it, which mostly ended up being Twilight, and he tended to end up feeling terrible. Even the good ones were bittersweet, when he saw glimpses of a family that was long gone or a fleeting moment when his life wasn’t destined to be a nightmare, only to open his eyes a century later having lost everything.He knew it was starting to become a hindrance on their quest and the last thing he wanted to be was a burden. (part of a series focused on the Wolf Trio)

I’ve Seen Hell (But This is a Bit More My Style): BOTW Fem!Link fic focused on how being the first female incarnation of the Heroes Spirit would be treated with a little bit of Zelink as a forbidden relationship. Link is angry and all of her past lives are just as pissed as she is. She’s seen as a harbinger of the calamity rather than the hero sent to stop it. And she’s seen as a mistake of the goddess and proof that the 10,000 years of peace was now at an end. General woman problems you know? (Sequel incorporating LU in progress) also please mind the tags.

Swordcrossed Lovers: Fluffy oneshot of the above au, Link and Zelda go to Gerudo Town and flirt while sword fighting. Zelink Week 2022 prompt: Sparring. 

Champions Possessing Wild Oneshot Collection: The champions possess Wild sometimes, it leads to some shenanigans 

The Unironic Magical Properties of True Love: totk role swap, Zelda find where Link has been hiding since being stuck in the past.

*NEW* Forever Changed: post totk zelink, where they both come back a little differently and have to deal with the immediate aftermath of... everything.

Requests/ short oneshots:

The Idiots of the Wind: Wind makes friends with the spirit of Revali and they team up to mess with Wild, mildly traumatizing him in the process. 

A Waste of Pretty Faces: Wild and Warriors bond over something they didn’t expect (mind the warnings and tags)

To Kill What’s Already Dead: Set after sunset pt.7, Wild deals with not being allowed to see Twilight and with the very real possibility that his mentor is dying.

A Mosaic of Broken Glass: Link has a lot of scars, they don’t like them very much. Zelda is determined to help them work on loving themself. Non-Binary BOTW Link and I accidentally made Zelda asexual.

On Top Of The World: Day 1 prompt for Zelink week 2022- One Last Look, Link and Zelda reunite after the final battle with the calamity. Idk what to say it’s just pure fluff. 

Frightful & Delightful: Wintery LU fic that is Hyrule-centric for a secret santa. Hurt/comfort, but mostly fluff. 

3 Sentence Fics: Lots of short fics in one place, including LU, botw Zelink, and my own AUs!

The Many Duties of the Princesses Appointed Knight: Fluffy pre-calamity zelink hair braiding, not me basing a whole fic off of a vague idea... 

The Caretaker of Holy Things: OC fic made for a zelda creators collab, the Priestess of the Temple of Time remains at the great plateau while the calamity rages around her, unfortunately, she’s due to have visitors. 

Whumptober 2022:

Prompt 2: Nowhere to Run: Aryll from my priestesses AU meets the Fierce Deity for the first time.

Prompt 5: Hypothermia: Link and Zelda from my Golden Priestesses AU journey up to the Temple of Nayru to the spring of wisdom.

Prompt 9: Caught in the Storm: Zelda spends one hundred years fighting the calamity, even though he’s slumbering in the shrine of resurrection, Link still finds a way to help her keep her head above water.

Prompt 10: Whipping: Wild from my Fem!Wild AU has to reveal some things about her past after having a panic attack post-battle. Kind of a rewrite of part of the comic where Wild throws himself in front of Wind during a fight, you know the one. 

Prompt 15: Emotional Damage/ New Scars: Wild visits the forgotten temple after the events of LU, he mourns. 

Zelink Week 2023: 

Day 1: Yearning: All In Good Time: Fem! Zelink AU during the events of LU, Wild misses her Princess. 

Day 2: Forbidden: The Ballad of Frost and Flames: Fem!Zelink AU, pre-calamity while Link is still in hiding, they meet at a masquerade ball. 

Day 4: Hand in Hand: The Fable of the Dragon and the Phoenix: MAJOR TOTK SPOILERS, Zelda makes and eternal choice and Link learns to rise from the ashes.

[plague-stricken-marionette]

So! I feel like rambling and gushing about everything I love about this comic which means... y'all know what time it is

Below the cut is my passionate ramble which is stupid long (and took three hours to write according to my drafts if you were curious). You have been warned before you open that

I got to The Dummy's Dummy pretty late all things considered because I came in after Season 2 wrapped up (at the time of writing this, there is no Season 3 yet so I will be exclusively gushing about everything that was shown up to the Season 2 finale). I found out about it because a close friend convinced me to start checking out some Webtoons they love and started going through their rec list

I've really enjoyed all the ones I've read so far and have a lot of thoughts about them too (maybe I'll dump those in a different blog one day), but THIS ONE- This one has just completely gripped my brain with the force of a vise grip. I'm in love with everything about it to the artwork, the plot, the character design, and of course the characters themselves

I love Paris and Yumi and Lily. I really do. I love all three as individual characters but I love them even more when they're all together because I love their dynamics together and how it progresses over the course of the comic

Lily is absolutely hilarious at times and such a freaking mood too which makes her super fun to watch- And she's so good with Yumi too from keeping an eye on her to backing her (and Paris!) up when crap hits the fan

Yumi is adorable in a lot of scenes, but she also gets up to a lot of cool stuff too. And scary stuff! Poor kid is eleven years old (at least according to the old canvas/tapas version of the comic) and basically has the weight of the world sitting on her shoulders right now because she also happens to be a psychic who gets premonitions of people that might get hurt soon or die

And then there's Paris. The damn puppet that's consuming most of my free braincells

I'd be lying if I said Paris isn't my blatant favorite character, but make no mistake that I still love the rest of the cast too. Paris is so... His design aside, he's just fun to listen to because of the way his dialogue is written and he's- an extremely complex character that has a lot of layers to him. He's not a good person (or at least not a perfect paragon of good/a selfless hero), he even says so himself during the comic, but he's not evil either. He's so perfectly morally gray imo and he's- well- he's learning

A lot of his behavior is hardcoded into him by virtue of how Ivan's curse works and how it animated Paris (though even then, even more of his personality was shown to be influenced by his past experiences), but you can see that he can do kind things and he grows even kinder and perhaps a tiny bit softer over the course of the comic as he comes to care about Yumi and Lily and they start to break down a lot of the walls he's built up around himself

And I think that's beautiful. I love a character that isn't the perfect embodiment of good or evil. It ironically makes him very human and I think the storytelling is great because of that on an individual character arc level

That's not to say the overarching plot isn't good though because, make no mistake, it's incredible too. Yumi went seemingly her entire life seeing things that terrify her but when she meets Paris, she realizes that she can use those powers of hers to save people

And that's a lot of what the plot is. A lot of the early plot is them dealing with the things she has premonitions about until the big bad is introduced. BUT EVEN THEN- There's just so- So much going on and it's scary and it's terrifying and that's why Paris and Lily's dynamics with Yumi is fun

Paris and Yumi sort of settle into this big brother-big sister relationship and it's just... God it's so sweet. It's everything to me. Yumi trusts Paris completely and she worries so much about his wellbeing and wants him to be okay. And she calls him her hero!! HER HERO!

And Paris is just... He worries about her too. He admits with his full chest that he was just using Yumi for her psychic abilities earlier on, but by the time he admits that in the comic? He follows it up with the fact that he now cares about her so much to the point where he'd rather be destroyed than see her hurt or let her get hurt. He cares SO MUCH even if he's struggling with and/or refusing to admit that

And that's so... So... It plays into the last time he really cared about a human (his creator) and everything that came out of it. ESPECIALLY given how things ended with Ivan by the time Paris was put into that trunk for 80 years and left to be found and freed all that time later by Yumi

That's all just gushing about Yumi and Paris too. That's just touching on the two characters we see the most of. There's so many more unique and colorful characters in this comic I haven't even touched on yet- Like Lily!

I mentioned Lily already but I need to deep dive on her for a minute too because she deserves it as much as Paris and Yumi do. Lily is Yumi's babysitter which is how she winds up as involved with the other two as she is (besides the fact that they had to rescue her from a scary situation too)

And because she's her babysitter... That means we get a lot of big sister Lily vibes in there too because she's absolutely ready to kick ass on Yumi's behalf and protect her from creepy things. She routinely voices the fact that she's creeped out and scared by all of this weird creepy stuff and ghosts and possessed toys and all of that but she keeps putting herself out there anyway because she won't let Yumi go it alone

That extends to Paris too! Lily and Paris definitely have a rivalry in the beginning and Lily absolutely does not trust Paris at first when it comes to things with Yumi. But she comes to care about the guy too because she rushes straight into danger on Yumi's behalf to save Paris' life later on

And that's not even counting the way she immediately jumps to Paris' defense when everyone is talking after an encounter with the big bad and Paris is telling his backstory. Without even hesitating, she jumps right in to his defense to tell him that he's not broken for having the choice to act how he wants to act. That he's not broken for being a person with thoughts and feelings

I just- I can't with these three. They all work so well together and their friendship is something to behold. I need so much fanart and fanfic of these guys together and doing stuff as a team

AND THAT'S JUST THE THREE MAIN CHARACTERS- All of that rambling and gushing is literally just for the main characters. Even the freaking side characters have a lot going on with them or have a lot of depth to their characters

Let's take Darla and Dorothy there as an example. The Darling Dolls. Dorothy in particular has a lot of interaction with Paris and proposed a major character defining moment/question to Paris in the past, but we see some of Darla too and what we do see of her is just...

They both got mixed up with the big bad, right? Our introduction to them is that they're mixed up with the big bad. Dorothy is helping the big bad because he threatened Darla. Darla, her sister, who outright told Dorothy to run and bought her time because she didn't want Dorothy to get hurt too

So there's some big character stuff right there. And while we're on the topic of the big bad...

Even he's got a lot of depth behind him and his motives if you start to read between the lines and think about some things based on other plot clues we get. He's horrifying and he very much does pose a threat to our main characters as well as everybody else around him, but...

He's not pure evil either. First of all, he's dealing with an absolutely terrifying situation of his own (that I'm not sure if he even fully understands what's happening to him) which does drive the villainy he's getting up to, but that's the thing. He's being driven to do what he does because he is- Uh- He's not doing great actually!

And second of all- The big bad was made by the same guy that made Paris and the rest so in a way... The big bad is as much of a victim as some of the others in the sense of Ivan's curse took him and twisted his mind and made him turn out the way he did

Because the kicker is that the big bad guy thinks or at least thought he was doing good and bringing justice to people. He says he was designed and specially created to be a hero, so anything standing against him has to be evil, right?

That makes for... a really complicated villain of the story if you sit there and put all of these things together (and interpret them the way I am, at least). Just like how Paris isn't the picture perfect of good, this guy isn't the picture perfect of "evil villain without a cause" either

Personally, I don't think Ivan helped either. It's clear that he wanted to stop his wayward creations from hurting people (read: other humans) which is why he created Paris. But... I think in his doing that... He managed to hurt people like Paris and our big bad by failing to see them as the complicated and complex people they are too

And that gets into even more morally gray stuff because Ivan wants these toys rounded up before they can kill humans... but his insistence and way of going about it kind of bulldozed the people he created and was using to get the job done. You can absolutely draw connections between present Paris' behavior and cageyness to his experiences with Ivan in the past once the backstory reveal comes up

It's just an absolute mess. The whole backstory with Ivan and Paris and our big bad is just... It's just a mess and I don't mean that in a bad storytelling kind of way. I mean that in a good storytelling kind of way because it's so freaking emotionally complicated and hard to pin the blame on any one person.

Do people deserve blame and should they take blame for how some things turned out or what some of their actions were? Oh absolutely. But it's more complex than just "this guy was bad and only ever bad"

That whole stretch of backstory episodes is just... exhausting to read in a good way. At least if you're the type that really sinks into a story and empathizes with the characters like I do. It is draining and it hurts and it is beautiful in its tragedy

And that's all just what we see in the first and second season. I don't know what's going to happen next in the comic but that's everything I've seen thus far

I may think of more thoughts to add to this later or make a second post to ramble in, but I think I got it all out for now. This comic is just... It's gripped me in a very strong way and I want to talk endlessly about it and make a lot of fan content for it

Anyway ahem yes this is basically my long winded way of saying you should go read The Dummy's Dummy if you haven't already. It's 100% free to read and costs nothing but your time to read it