#they are really good books with really great characters

[sp0o0kylights]

Adopt a Jock Part One / Previous Part / Part 10.1 (you are here)

A03

Chapter 10 is complete and will be fully uploaded to A03 this weekend when I can get around holiday shenanigans. It's very long so tumblr gets it in parts. I'm sure I could make a Thanksgiving food pun there if I tried hard enough but alas I am not Steve nor Dustin.

Apparently, if you stumbled into supernatural shit, you were rewarded with a mountain of legal paperwork so absurdly thick that Gareth was almost positive it included a government-approved execution clause for anyone reckless enough to speak about things better left unsaid

So, here they were: barely a week past the lab incident, eating lunch, keeping their heads down, like their entire world hadn’t been turned upside down.

(He couldn’t even appreciate the pun.)

“She keeps looking over here.” Tiff’s pen tapped out a furious rhythm, her gaze fixed on one Nancy Wheeler, “And she’s been following us.”

“Well according to Steve she knows about--you know.” Gareth said, keeping things vague in hopes it would prevent any visits from men in black suits.

“I’m sure she just wants to talk.” Jeff said with a note of sympathy.

The fucking traitor.

“I’m sure we’re not allowed to talk.” Stewart muttered darkly, pushing his peas around his lunch tray with a fork.

“Only with people who don’t already know.” Grant tried to argue, and that rapidly dissolved into an argument regarding NDA’s and tricky legal language that Gareth tuned out in favor of his new found hobby--doing his level best not to think about anything beyond his lunch and what new D&D character he wanted to play.

His last one died in the prior game, and though Eddie had--weirdly and entirely out of character--offered to revive it, Gareth had waived him off.

They needed some normalcy right now, and if that came at the cost of Gareth’s beloved druid meeting her maker, then so be it.

Plus a new character was a great distraction.

(He was set on playing a noble elf known as ‘Gregg from Accounting’, but a second dwarf named Iron the Chef had been tempting…)

“She’s coming!” Tiffany hissed, slamming her pen down.

Mourning the loss of an easy, drama free lunch, Gareth sighed and prepared himself.

“Hi.” Nancy said, announcing her presence with quiet determination, books stacked in her arms and chin raised defiantly.

No one said a word back.

“Jonathan let me know what happened, and I wanted to say that I’m sorry you got pulled into all of this.” She paused, clearly thinking her words over, before adding; “Steve, Jonathan, and I used to practice.”

Nancy stopped again, this time blatantly waiting for one of them to say something.

She got more stares in return.

“Given that things sound a little open ended, and that there were injuries, I thought it might be good to start up again. Steve suggested if we do, you all should come too.” She finished, bulldozing right through her own awkwardness.

“Practice what?” Grant asked, confused and trying to cover it with suspicion.

“Defensive measures.” Nancy answered.

Seeing their unchanged blank stares, she gathered her books in one arm, formed a finger gun with her free hand, and mimed shooting in such a deadpan manner that Gareth almost burst into disbelieving laughter.

While he was haunted by visions of Nancy Wheeler holding a gun, Tiff loudly picked her pen back up, making enough noise that all eyes went to her.

“You beat my score on Mrs. Click’s practice test by two points.”

“Uh--yes?” Nancy said, blinking at her.

Tiff's eyes narrowed. “I’m kicking your ass on the final.”

Another dumbfounded blink.

“Okay?”

“Tiff’s coping, as are we--no…defensive measures necessary.” Jeff said, in a desperate bid to soothe things over, “We appreciate the offer.”

She nodded, seemingly placated by his response. “Actually, where is Steve? I wanted to talk to him too.” Nancy asked, changing topics with ease. “I haven’t seen him all day.”

“Ah-ha.” Tiff muttered under her breath, as if catching out what Nancy really wanted.

Stewart kicked her ankle.

“He’s with Eddie.” Grant said, covering the sound of their resulting scuffle.

“He’s been spending a lot of time with Eddie lately.” Nancy noted, in that same neutral tone the Feds spoke in. All fake nice without giving a single thing away.

It was a little terrifying.

“We all spend a lot of time with each other.” Tiffany shot back, hackles very much raised and not bothering to hide it. “We’re friends. That’s what friends do.”

“Man, we are vicious today!”

“She’s really sore about that grade.” Stewart covered, offering a sympathetic pat to Tiffany’s shoulder (who looked an awful lot like she was going to bite his hand for it).

Did Nancy Wheeler even know about the weird academic rivalry Tiff had with her? Gareth took one look at Tiff’s gritted teeth, and thought better of it.

“I wouldn't be if I was able to properly finish that essay,” Tiff motioned to the now hopelessly crumpled paper underneath her pen, “ instead of rushing it because I had to pull someone out of a lab--”

“Nancy’s right.” Jeff cut in, in another desperate attempt to distract them all from eating each other. “I haven't seen much of Steve or Eddie today.”

He turned expectantly to his right. “Gary?”

Gareth frowned back at him.

“Why would I know where they are?”

“Oh,” Stewart said, far too innocently. “You haven’t realized you’re their assigned zookeeper?”

Wadding up his napkin was second nature. So was launching it at his friend's head, who expertly (and unfortunately) dodged.

“So you’re saying you don’t know?” Grant asked, a smile creeping across his face.

Gareth opened his jacket, fishing around for a moment as if he was searching for something, before pulling his hand back to show off his extended middle finger.

Pity he actually had the answer.

“They’re in the drama room. Steve sweettalked Mr. Barns into letting them set up early for Hellfire’s game.” He grumbled, ruining the entire effect.

“See?” Stewart said smugly.

With deliberate slowness, Gareth raised up his other middle finger before waving them both in a circle.

“Fuck you, fuck you--”

“Not in your lifetime.” Tiffany answered, to multiple chortles.

“Don’t bother them, Wheeler.” Gareth continued, ignoring the assholes he called friends to turn back to Nancy. “They’re setting up for the Hellfire’s last game of the year and Ed’s is a little…obsessive about it.”

As in he was known to be a complete and utter terror in the days leading up to his grand finales but Gareth wasn’t telling her that.

These games were a big deal for Hellfire as a whole. Precious things they looked forward to and the finale game was something they often worked several months, if not a solid year, to reach.

This year's game had more riding on it than any one prior. Hellfire’s shared sanity, for example, and a shining piece of normality they all found themselves desperately needing.

(Plus the problem of Eddie flunking again--and not telling anyone.

See--Eddie had been touchy the first time he hadn’t graduated and even with the appearance of monsters and government lackeys, Gareth expected this year to be even worse--but the Steve of it all added a rather explosive emotional element.

“You still have most of Hellfire.” Gareth had pointed out, when he’d hitched a ride home a few days prior and found the paper declaring Eddie’s super senior year a lost cause. “You know you’ll still have them after they graduate too, right?”

“Because they’re going to be looking forward to their old pal Eddie while in college, sure.” Had been the clipped response.

“They will.” Gareth said, with a level of assurance he hoped Eddie could feel. “And if that’s the concern, then you’ll definitely still have Steve.”

Who hadn’t gotten into college, and openly admitted to refusing to try now that monsters were back.

“I guess.” Eddie had said, looking like a deflated party balloon.

In typical Munson fashion, he seemed to realize he was giving away more “real feelings” than he’d intended too, and changed the subject with an energy that Gareth knew was fake.

He hadn’t called him out on it though, and equally, he had not called out the mania Eddie had slowly been succumbing to since that fateful day. He’d get over it--Gareth knew he’d get over it--if they could just make it past the point where Eddie’s own brain informed him the world was ending to prove it.)

All of them deserved a break, and a place to put aside all the stupid shit and simply have a good time, and heading off Steve’s nosey ex-girlfriend before she could cause problems would go a long way to help.

“I’m sure they can spare two minutes.” Nancy was saying, mid creation of the exact problem Gareth was hoping to avoid.

“No--uh,” He flailed about for a reason she couldn’t, and the longer she frowned at him the more his brain simply vanished all forms of higher thought. “Don’t?”

Nancy’s expression soured, mouth twisting in a line Gareth very much did not like. “I’m sure they--”

“Tell us what other things you practice. Besides, you know. The pews.” He interrupted frantically.

Under the table his foot struck out, and though he had no idea who he’d struck he hoped whoever it was understood what exactly he was trying to do.

“The pews?” Nancy echoed, after a painfully long moment.

“You know? Pews!” Gareth mimed a gun, and then made “pew” noises while firing it.

Besides him, Jeff gave a very Harrington-like sigh.

(He’d been doing that a lot lately, Gareth made a mental note to mock him for it.)

“You cannot tell me you guys only practice with guns.” Tiffany huffed. She had not been the kicked party, but thankfully, hadn’t needed the nudge to catch on. “What happens if you run out of bullets?”

Nancy gave her an odd, almost calculating look.

“We use whatever else we have on hand.” She said flatly.

Which just boded so fucking well for the rest of this conversation (and Gareth’s life, given he was uncomfortably aware of the things that went bump in the night.)

“Well, give us an example.” Tiff continued, and given the now increasingly concerned looks that the rest of Hellfire was darting between her and Nancy, Gareth knew the rest of his idiots hadn’t caught on.

On a piece of paper he scrawled--and the underlined twice, for good measure;

‘Go. Find. Byers!’

--and then chucked it at Grant’s head. Who thankfully opened it, even if he made a face while doing so, before proceeding to pass the note around as Tiff and Nancy traded increasingly pointed words about weapons training.

“When you’re in a situation, you use whatever you have on hand. I would assume you knew this, given what I heard happened the other day.”

“Yes, but wouldn’t it make more sense to train and carry with backup weapons rather than just hoping you find something on the way? What if the--what if we’d been in the woods?”

Gareth watched the note travel from person to person, until it was dropped back in front of him.

‘You go find him.’ Someone had scrawled, followed by multitudes of doodles, two of which featured army-hat wearing dicks driving tanks.

Then and there, he decided that perhaps his friends truly did deserve death should a similar situation arise in the future.

Useless. They were all useless.

“You’re welcome to make a suggestion, Tiffany.”

“I will. I’ll make a list even.”

“Good.” Nancy smiled, with all her teeth.

“Fine.” Tiff returned, looking half feral.

Was this some type of weird mating ritual between academic types? God, they were scary.

‘Well, that definitely won’t come back to bite us in the ass.’ Gareth thought wryly as Nancy stormed off in the opposite direction of the drama room, tapping the note against the table. He glanced at the rest of the group, who appeared to be attempting to tempt Tiff out of her snit by way of asking her what dramatic bullshit she thought Eddie would be pulling in the finale.

If nothing else, he decided, they’d prevented ruining Eddie’s day--and possibly, their entire night.

Nothing, save more fucking monsters or equally evil government lackeys could manage that.

(Pity that Gareth had forgotten the third most powerful force on the planet when it came to wrecking plans.

Middle schoolers.)

xXx

The day had dragged but they'd made it, and Eddie in turn, had made that wait worth their while.

The lights in the drama room were low.

The entire table had been set up with such care and drama that Gareth almost couldn’t believe what he was seeing. Goblets lined both sides, each filled with a dark red liquid Gareth knew damn well could not be wine.

Candles--real ones, had been lit, casting shadows across Eddie’s face as he lounged in his throne, a master in their element.

A castle, meticulously crafted out of wooden sticks and painted a dark, forbidding gray towered in front of Eddie down at the end, with the layout of the insides crawling down the table atop carefully gridded paper.

Monstrous figurines stood in a row off to the side, like little soldiers, planted right in front of a plain, if not comically large, cardboard box.

It was elaborate, meticulous, and half the items had clearly been stolen from Steve’s house, if not outright decorated by the man’s own hand.

“Welcome, my friends.” Eddie purred, breaking the spell that had fallen over Hellfire.

“Oh my God.” Grant breathed, jostling Gareth’s shoulder as he pushed inside.

“Dude, you outdid yourself!” Stewart added, voice awed as he took it all in.

“He had help.” Steve confirmed, materializing at Eddie’s shoulder. He leaned forward, adjusting something in front of Eddie, ignoring the immediate angry swat and hissed warnings about “ruining the moment, Steven!”

“Glad to see you putting your mom’s party planning skills to good use.” Jeff teased, but no one missed the way he ran a hand down the table, staring giddily at the spread.

Steve gave him a shrug, but even in the dim light Gareth could see how pleased he looked.

It was magical, and Gareth felt something come alive in his chest that he’d privately thought the manticore had killed.

A childish sort of excitement, bubbling up as he realized he was about to have a damn fine time.

This, of course, is when the actual children came in.

“I made a timeline.” Dustin announced, shouldering his way in between Jeff and Grant to slam down a massive piece of paper.

“Oh my God where did you come from!?” Stewart yelped, started as more and more children suddenly swarmed Hellfire’s table.

“The middle school is literally next door. We walked.” Max rolled her eyes as she took a seat next to Tiffany. “What idiot let you guys light candles in here?”

El fell in right next to her, stealing what was clearly intended to be Grant’s chair.

Who looked like he’s about to say something about it until he caught sight of her delighted face.

Gareth would have laughed at the obvious way Grant’s shoulders slumped as he accepted his fate, if his own chair hadn’t just been usurped by Michael Wheeler.

“A timeline?” Steve asked, before Eddie could surge to his feet and kick the brats out.

(They all watched him jerk anyway, like he’d intended to do just that and barely caught himself.)

“Uh, everything?” Dustin scoffed, waving a beat up folder in the air. “We took it all the way back to when we first met El.”

Next to him, Lucas had stepped up to the table, running a hand down it in much the same way Jeff had. “We decided it might help us figure out where the manticore came from.” He said absently.

A riot of emotion exploded over Steve’s face, made all the funnier by the fact that it was entirely at odds with the setup he’d so lovingly created.

“I’m sorry, did we not hear the Chief of Police? He’s investigating this, our involvement is over.” Steve made a slashing motion with his hand, as if that would hold them all off.

(Gareth, who once watched all of these children fight each other over an arcade score for three consecutive days, knew it was a lost cause.)

Dustin made yet another scoffing sound in return.

Given how often he seemed to make them, Gareth wondered if he had problems with a sore throat.

“I thought we all widely agreed Hop’s investigation skills are terrible.”

“Hello?” Stewart said irritably. “We were about to get started?”

Eddie swung himself into a sitting position and made like he was going to stand up, likely to pounce on the opening Stewart had just given.

Pity Steve once again, beat him there.

“Yes, but he’s not investigating, is he? We,” Hellfire’s jock made another motion, this one a circular twirl of the hand. Gareth was starting to wonder if the gestures are directly linked to his stress level. “already did that part. He can now do the part he’s good at, which is fixing it.”

“He’s not good at fixing it, look at what happened with the demodogs!”

It was at this moment Gareth made his fatal mistake. In hindsight, he should have known better than to ask out loud,

“Okay, can someone please explain what the hell’s a demodog?”

Several protests, groans, and pencils are flung his way for it.

(“Do you know how often that word has been thrown around!?” He’d defend much, much later. “You guys keep saying it but not what they are!”

“If you stopped eavesdropping all the time maybe you wouldn’t be wondering about such things.” Eddie had responded snidely.

“It’s not my fault you keep talking about this shit when I’m right there you asshat--”)

“What, you didn’t think there were actually feral dogs in Hawkins did you?” One of the kids asks incredulously, like he can’t possibly believe anyone is so stupid as to buy into it.

“They were like the manticore, but small and more, well, doggish.” Dustin dismissed, this time with a Harrington flavored hand waive of his own. “Ask Steve, he was there.”

Gareth turned to do just that, D&D campaign be damned (He would not apologize for wanting to know what else might be out to kill them all even if the finale was technically on, sue him) to find Steve had slipped right into mother hen mode.

“No.” He spat, charging forward as he flapped his arms around, like the children are a flock of birds he can scare away. “You are not sucking anyone into this, and we are not getting involved! You heard Hop!”

Mike rolled his eyes. “Don’t be a coward, Steve.”

“I’m not a coward, I’m someone who doesn’t need another near death experience! There’s not a reward if you have five in a row, dickheads.”

Seething and not bothering to hide it, Eddie picked up the massive gold goblet in front of him and took an obnoxiously loud sip out of it.

“I’m also going to remind you that Henderson here,” Steve stopped behind Dustin to rattle his, “is going to camp in a few days? I believe the rest of you also have similar engagements.”

It was Mike’s turn to scoff.

“Lucas is only in summer school until 3 and camp doesn’t start for another two weeks. We have plenty of time!”

“It’s not summer school,” Lucas protested, eyes darting to Max and back as if she wasn’t aware the kid was a nerd. “It’s a creative writing program--”

“Yeah, well, the rest of us are busy.” Steve fired back. “So any theories you have, you can take and shove right up your ass.”

“Why is it always the ass with you Steve? Do you have an ass fixation?”

Gareth watched as Eddie immediately choked on the dyed Mountain Dew he had been chugging down, hacking so hard tears welled in his eyes.

Jeff shared a pained look with Gareth over the table as Grant pounded him on the back.

“I do not have an ass fixation, Henderson--”

“Okay.” Tiffany clapped her hands together, the sound ringing out throughout the drama room.

“Here’s the deal. Summer break is two days away. Steve is right--most of us here are working, if not preparing to go to college. No one needs to go snooping around where we aren’t wanted, and we definitely do not need anymore injuries. Kapeesh?”

Henderson immediately turned on her. “So we’re just gonna trust the guys who fucking started all this!?”

“Given they also have better ways of handling it, yes. We are. Hopper told them about Stewarts goo, they sent some suits in to kill the manticore, and thanks to El’s heads up we caught things ahead of time for once. Can’t we just enjoy that?” Steve was beyond worked up now, repeatedly running his hands through his hair, only to fix it, pick at it, and then repeat the process again. “For fucks sake Dustin, Eddie just stopped limping!”

“I don’t think it’s over.” Mike muttered angrily, pushing a finger against Tiffany’s water bottle.

She grabbed it before it toppled over, glaring at him.

“El, do you feel anything?” Steve spoke like he was invoking a god and not an undersocialized twelve year old.

“No.” She admitted, after a long almost uncomfortable pause. “I do not.”

Steve pointed at her victoriously. “There you go!”

“But--”

“No more buts!” Steve shrieked, before seemingly to realize he’d done so. He coughed, and then said; “I thought you dorks would be storming in here trying to get Eddie to DM for you, not harassing us about the Upside Down.”

“You guys are playing D&D?” Lucas asked, as if he hadn’t been salivating over the spread for the last five minutes.

“I really like your cleric.” Will said quietly to Jeff, having leaned over to look at his character sheet at some point during the argument.

“Will, aren’t you a Dungeon Boss?” Steve asked, to the horror of those around him. “Why don’t you go sit by Eddie, I’m sure you’d enjoy seeing how he does stuff.”

A wince rippled through the members of Hellfire.

There was simply no way Eddie Munson, a man known to be possessive at best, would ever allow any of them to even glance at his notebook, let alone his entire spread laid bare behind his screen.

Those were his secrets--the result of too many late nights and an easy contributor to his failing high school yet again--and this was the grand finale.

Steve sitting next to Eddie had been miraculous enough--and that was with Eddie actively demanding he sit there, in a vain attempt to drag Steve out of his issues.

Fearing the worst, Gareth snuck a glance at their glorious--and notoriously ridiculous--leader.

Eddie sucked on his teeth, the noise painfully loud in the abrupt silence, eyes on Byers the Younger before they drifted back to Steve.

Who clearly had no idea he’d put his foot in it.

Tiff looked ready to break a pencil, eyes glaring a hole in Eddie’s head as if daring him to disappoint the group's golden retriever while Grant, Jeff and Stewart had all magically found something else to look at.

Gareth himself hunkered down, waiting to see how this would play out.

One more painful, pulsing second and then Eddie seemed to come to a decision, rolling out his hand and gesturing Will closer.

“Indeed Baby Byers,” He dropped into one of his many DM voices, something deep but alluring. “come closer and learn from the master of masters. Perhaps you’ll find something here to take back to your own campaigns. Something truly…terrible.”

He waggled his eyebrows at Dustin as Will’s Party groaned, though none of them put up much of a fuss once they saw the sheer smile that overtook Will’s face.

With the unique combination of embarrassment and pride, Will took his place next to Eddie.

Steve beamed in the corner, clearly pleased with himself and it was not lost on Gareth (or anyone else in the know) that Eddie preened only after sneaking an obvious look at Steve’s face.

“God he has it bad.” Stewart muttered, only to hiss when Jeff not so subtly jabbed him with a pen.

Gareth just shook his head, and gave Eddie a grin that said he would absolutely be getting shit for this later.

“Stevie, be a dear and fetch more chairs would you?” Eddie drawled, as he settled back into his throne, baby Byers happily checking out the items he had laid out behind his DM screen.

Which Gareth supposed was Steve’s punishment for inviting the kids along, but then, Eddie may as well have been bossing the jock around all day regardless given the look of the place.

(He’d certainly taken advantage of doing just that while his leg had been healing.)

That was their mess though, and Gareth happily put all thoughts of monsters, murder, men in black and every other awful M word aside to inside pull out his luckiest D20 die.

“Hellfire,” Eddie boomed as the all finally settled, “It's time to show the kiddies how it's done. Let’s roll!”

“And Dustin bitches at me for my puns.” Steve loudly complained as he came back into the room with chairs.

Eddie shushed him again.

[anonymousewrites]

A Not-So-Disastrous Romance (Book 2) Chapter Twenty-Two

Saiki Kusuo x Reader

Chapter Twenty-Two: Festival Play

Summary: The show must go on no matter what.

            With two days until the culture festival, casting was quick to finish, and rehearsals began. Saiki was pleased to discover (Y/N) was right—Teruhashi couldn’t choose him as Urashima because he avoided the casting meeting—and he got a background role instead of anything in the spotlight. He was happily playing Seaweed No. 4 and stood in his green bodysuit. (Y/N) was one of the other deities in the castle, which meant they also didn’t have to do much.

            “Teruhashi is coming!” announced a boy. The costumes had been finished, so everyone was trying them on.

            “How do I look?” Teruhashi stepped into the room, glowing more than ever. Her hair was intricately pinned up, and her elegant kimono fell beautifully around her.

            “Oh, wow!” was the (almost) unanimous reply. “Teruhashi, you look amazing!”

            “Wow, thank you,” said Teruhashi, smiling.��That was a perfect entrance.

            “As usual, Kokomi leaves an impression,” said (Y/N), smiling as they walked up to Saiki. They also wore a kimono, far less ornate but still a pretty pale blue.

            Oh, wow. Saiki thought (Y/N) looked amazing—as usual.

            “I wonder who the other characters are?” wondered (Y/N).

            “We’ve got a great Urashima,” said Kaidou.

            “It should’ve been me,” grumbled Nendou. He wore a giant suit that made him look like a piece of coral.

            “You couldn’t memorize any of your lines,” said Kaidou. “So you’re coral.”

            “It’s a perfect fit,” said Saiki.

            “At first, I thought Nendou as Urashima might be original and interesting,” said Kaidou, his “director” (self-appointed title) speak coming out. “But he couldn’t remember a single line. And then I thought about (Y/N) as Urashima since they and Teruhashi are friends, but we decided that two pretty people wouldn’t work. We needed someone who looked humble enough to be a simple fisherman. Sadly, for a while, we were stuck with Nendou.”

            “We had to rehearse some scenes a million times,” said a new voice.

            “Where is that coming from?”

            “Down here!”

            (Y/N) and Saiki looked down and found a turtle staring up at them with Hairo’s face.

            “What the hell?”

            “Are you method acting?”

            “Hairo is amazing,” said Kaidou. “Coming to school, during gym, he does everything as a turtle.”

            “What an idiot.”

            Hairo began crawling around speedily. “I can move this quickly now!”

            “Turtles don’t move quickly.”

            “I’m still impressed,” said (Y/N).

            “So who is Urashima?” said Saiki curiously.

            “He’s here. You look good in that,” said Kaidou as someone new entered in costume.

            “Reall? I can’t tell.” Kuboyasu entered, not wearing his glasses but looking adorable as the humble fisherman.

            “Oh, it’s Kuboyasu.” Saiki thought that was actually a good choice.

            “Putting on the costume makes me nervous,” said Kuboyasu. “Can I really do this?”

            “You look good,” said (Y/N), smiling.

            Never mind, Saiki thought this was a terrible choice in casting if (Y/N) was going to be complimenting him.

            “You’re the supporting role. You can do it,” said Kaidou.

            “Supporting role?” said Saiki. “Isn’t Urashima the lead?”

            “Make way!” shouted a familiar voice.

            “Damn. He’s here,” groaned Kaidou.

            “You’re in the way, peasant! Here comes the leading role.” Saiko walked into the room in a fur coat.

            “He’s the ‘Other Urashima,’ ” said (Y/N).

            Saiki deadpanned. “What?”

            (Y/N) sighed. “I argued against him, but he bought everyone off, paid for set and costumes, and was generally his usual self.”

            “But what does it mean that’s he’s the ‘Other Urashima?’ ” said Saiki.

            (Y/N) tutted playfully. “You should have read the script, Kusuo.”

            “It’s time for final rehearsal,” said Kuboyasu. “So you’ll see.”

            “It’s not going to be good, is it?” said Saiki.

            (Y/N) laughed. “What else could you expect from us? We’ll have fun, at least.”

            “You will, maybe.”

l

            “Is everyone ready?” said Kaidou, excited for the final rehearsal of the play. “Action! Year 2, Class 3, The Other Urashima Taro.”

            The narration began as the curtain was pulled back. Unsurprisingly, the narrator was Akechi. “Once upon a time, there was a young fisherman named Urashima Taro. One day, Urashima set out to sea as always but saw some people by the shore. He saw some children bullying a turtle.”

            Kuboyasu stood onstage watching with faux shock as Takahashi and Mera bullied Hairo the turtle.

            “Scum—I mean, how awful!” said Kuboyasu, stepping forward.

            “Urashima Taro stepped in to save it,” narrated Akechi. “But then, a demon whispered in his ear.”

            “Don’t do it,” whispered Saiko, appearing behind Kuboyasu.

            “It’s The Other Urashima Taro,” said Akechi.

            “Saving it won’t make you money,” said Saiko.

            “What is this character?” said Saiki, deadpanning. (Y/N) just shrugged. They hadn’t made the script.

            “Actually, Urashima has an alternate personality,” said Akechi.

            “I feel like this has been done before,” said Saiki.

            “Only the strongest will survive in this world,” said Saiko to Kuboyasu.

            “They made this a horror story,” said Saiki.

            “But that turtle is intriguing. Hold it, turtle plebe,” said Saiko.

            “I think he’s improving some of that,” said (Y/N).

            “I can help you, turtle,” said Saiko to Hairo. “In exchange, show me the underwater paradise, Palace of the Dragon.”

            “How did you know about that?” said Takahashi.

            “Disappear, plebe.” Saiko waved a hand, and Takahashi was literally thrown back.

            “I don’t think we’re supposed to have stunts,” said (Y/N), tilting their head.

            “What was that?!” cried Takahashi.

            “It’s just a minor explosive sewn into your clothing,” said Saiko, shrugging. “Don’t stop the play.”

            “Why would you do that?!” shouted Takahashi.

            “Keep going,” said Kaidou.

            Hairo was next to speak. “Thank you for helping me. As promised, I will take you to the Palace of the Dragon.”

            “And with that, Urashima Taro was taken to the Palace of the Dragon,” narrated Akechi.

            Hairo was carrying Kuboyasu and Saiki on his back.

            “You’re up,” said Kaidou to the people watching. “Coral, just stand. Seaweed, just wave or something. (L/N), be nice.”

            “I’ll try,” said (Y/N), smiling.

            That will be an easy role for them, thought Saiki, getting onstage.

            The new set looked beautiful and elegant, with grand doors that Saiko and Kuboyasu stood before.

            “Urashima and the turtle arrived at the Palace of the Dragon,” said Akechi.

            “This is the palace of the dragon,” said Saiko.

            “At the bottom of the sea?” said Kuboyasu.

            “Upon arriving, they were greeting by several handmaidens of the lady of the palace,” said Akechi.

            The doors opened to reveal (Y/N), Miko, and Yumehara.

            “Further inside—” Akechi was cut off as a bright line shone from within the palace.

            “What is this?” said Kuboyasu.

            “Welcome. I’m the princess,” said Teruhashi.

            “Urashima couldn’t help but—”

            “Oh, wow,” said Kuboyasu.

            “—sigh in awe,” said Akechi. “Urashima fell in love with the princess.”

            They added a romantic subplot, thought Saiki.

            “Urashima Taro spent a fantastic time at the Palace of the Dragon,” continued Akechi. “He relished his stay at the Palace of the Dragon.”

            Why keep repeating the name?

            “Before he knew it, a month had passed,” said Akechi. The curtains drew back once more to reveal the beach again. “Urashima Taro left the Palace of the Dragon for home.”

            What happened to the romance? There was no continuity.

            “Urashima tried to court the princess but was rejected. He was given a box that must never be opened and was chased out of the castle. Upon returning, he immediately noticed a change. He didn’t recognize anyone. While at the Palace of the Dragon, hundreds of years had passed. Urashima opened the box.”

            Kuboyasu opened the box, and smoke exploded out of it.

            “Engulfed in smoke, he rapidly aged and died.”

            When the smoke cleared, only Saiko stood on the stage.

            “But the Other Urashima Taro did not die. All that disappeared was Urashima Taro’s life, and the Other Urashima Taro was fine. Urashima returned to the Palace of the Dragon.”

            The underwater set returned, and Urashima walked into it.

            “And married the princess. They lived happily ever after.”

            Saiko stood proudly next to Teruhashi on the stage.

            “Great!” said Kaidou, grinning. “Well done!”

            “…That’s it?” said Saiki.

            “Yeah,” chuckled (Y/N).

            “That was not good,” said Saiki.

            “At least we’re having fun,” said (Y/N).

            “We should end with me kissing the princess,” said Saiko.

            “Ew,” said (Y/N).

            “I’m going home, so have it fixed by next time,” said Saiko, waving a hand. He barged towards the doors. “Out of the way. I’m the lead actor!’

            “Saiki, what did you think?” said Kaidou.

            “I made even less sense than the original,” said Saiki.

            “Was it strange to see a happy ending for the Other Urashima?” asked Kaidou. He grinned. “Of course it was. Because that script was a lie. Saiko kept complaining, so we changed the script. In the real script, the Other Urashima will age due to the box, and the real Urashima will live happily with the princess. Set and costumes were bought by Saiko. If he were to pull out, it would be a disaster.”

            “Then why didn’t you have Kuboyasu be the Other Urashima and let Saiko be Urashima so that the right ending is ready and Saiko is appeased?” said (Y/N). “I don’t support him getting everything, but having a secret script feels like a lot of work.”

            “…”

            He didn’t think of that, thought Saiki as he watched Kaidou blink. (Y/N) just stared brightly at him, waiting for an answer.

            “Is that so?” said Saiko.

            “Saiko!” exclaimed everyone who had hidden a script.

            “You tried to trick me,” said Saiko in irritation. He snapped his fingers, and his bodyguards appeared. “Take everything away!”

            “Uh-oh,” said (Y/N).

            “Yare yare.”

l

            The day of the Culture Festival had arrived. (Y/N) stood nervously backstage. Without the costumes or sets, after the performance of the Wizard of Oz, poor Class 3 was going to look, well, poor.

            But, still, as Class 3 was announced, Kuboyasu steeled himself and walked out. The entire class had their determination behind him. Even without Saiko, they’d put on a good show. The quality would be different, but their hearts would still be in it.

            “One day, Urashima found children bullying a turtle,” said Akechi.

            Hairo curled up on the ground while Takahashi and Mera “kicked” him. It looked really bad without costumes.

            “Urashima intervened,” said Akechi.

            At this rate, the show was done for. And what was going to be troublesome was that Kaidou was the Other Urashima now, and he was a terrible actor.

            “A demon whispered in his ear,” said Akechi.

            “Saving it won’t make you money,” said Kaidou. Amazingly, he had put together a good costume and makeup

            Kuboyasu’s eyes widened, and Kaidou blushed, pleased that he had surprised everyone. They had a chance.

            “It’s, you know, only the strong…survive.” Unfortunately, Kaidou’s stage fright was still posing an issue.”

            “What?” said Kuboyasu.

            “Kusuo—”

            Saiki nodded as (Y/N) looked at him worriedly. Hypnosis. Now Kaidou could say his lines correctly.

            “But that turtle is intriguing,” said Kaidou.

            “Alright, you’re on,” said (Y/N).

            Nendou brought out a sign as the seaweed stood on stage and swayed sillily. “Urashima and the turtle arrived at the Palace of the Dragon,” narrated Akechi, having gotten through all of the “Other Urashima” dramatics while the set changed.

            “Welcome,” said (Y/N), Miko, and Yumehara, keeping on brave faces and smiling kindly at their friends.

            “The Princess of the Palace of the Dragon emerged to greet Urashima,” said Akechi.

            It was time for Saiki to put his powers to work again to make sure (Y/N) was pleased with how things went.

            “Welcome to the Palace of the Dragon.” Teruhashi stepped onstage in just her gym clothes. She still had a kimono left behind, but she had chosen to wear what her friends were to preserve the camaraderie.

            That’s fine. I can still work with this.

            “Urashima, you’re very kind,” said Teruhashi, ignoring people’s whispers about her being in her jersey.

            The crowd frowned as she acted. As she glowed and spoke, her clothes seemed to transform before their eyes. Suddenly, she wore the gown of a princess, her hair was pinned, and she was true royalty.

            “An illusion caused be her beauty and performance!” exclaimed the boys in the crowd. “And it’s not just her! Next to her, he looks like Urashima Taro.”

            “Oh, wow,” said Kuboyasu.

            “Urashima Taro just gasped! The turtle, seaweed, and seamaidens looked like humans a second ago, but now—Wow, it’s really the world of Urashima Taro!” cried the audience. “No, it’s Teruhashi’s world!”

            That’s right. I don’t need a costume. Teruhashi smiled. With my acting and beauty, I can make you see anything I want. “Make yourself at home.” By wearing the same jersey as everyone else, it made it easier to project onto them, too. And together we can share the spotlight. She glanced at (Y/N) for a moment and smiled before returning her attention to Kuboyasu and Kaidou as Urashima Taro.

            Yare yare. She’s good, but not even she can change everyone’s appearance. So I used hypnosis to make the audience seen the whole cast. Without her, using hypnosis this way would’ve made someone realize something was up. I’m an organizer, so I have to do this much.

            (Y/N) glanced at him from onstage and winked.

            Saiki smiled.

            I guess I would have helped anyways.

Taglist:

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@painstakingly-juno

@characterreaderwriter

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[the-bad-guys-2-reportage]

🟢 Director Pierre Perifel explains the connection between The Bad Guys 2 & the first movie, the books, and more!

The characters are based on the popular books by Aaron Blabey. Is this new story also based on a book or is it an original story?

Pierre Perifel: "It's an original story. We borrow elements from the book, we borrow situations, we borrow names, we borrow characters."

Damon Ross:"The bad girls are elements from the books. They're not called the bad girls, but their names are pretty similar. We just changed one of the names. However, the situation in which they meet is completely different. And even their dynamics are different. But the characters themselves are pretty similar."

How difficult was it for you to find a story for a second film?

Pierre Perifel:"I always liked the ambiguity of the last scene in the first film, when you see Diane Foxington picking them up from prison. When she says, "All right, guys, ready to work?", that could mean being ready to take on more, bigger missions. But it could also mean just working. Our characters have just gotten out of prison and they're out of work and in a lot of debt. They go from interview to interview and can't get a job. And then they get sucked back into the life of crime by this trio of bad girls who want them to pull off one last heist. I think that was just our way of pushing ourselves to do super cool action stuff."

Damon Ross: "Here's a new crime syndicate that will test Wolf's decision to become good in the first film. It's one thing to become good, but another to stay good."

Pierre Perifel: "Things have changed though. Nobody runs away from them anymore because they're afraid of being eaten by the wolf. It's more of a distrust. People don't trust these people yet. Wolf believed that people would welcome them with open arms since they had served their time and saved the town from a crazy guinea pig. But that's not how it works. I think that makes the film quite realistic in a way. They have to pay bills but don't have the money because nobody will give them a job."

Have you ever thought about making a prequel?

Pierre Perifel: "I don't think we ever thought about it. We open the new film with a prologue. It's a scene that takes place years before the first film. We also have flashbacks to refer to the first film and explain what our characters went through. But we never thought about making a complete prequel."

Damon Ross: "Right now we're focused on moving the story forward."

What can you tell us about these new characters?

Pierre Perifel: "They kidnap our bad guys to force them to do one last job. They're also great thieves and really badass. The criminals are led by Kitty Kat, a snow leopard voiced by Danielle Brooks. She's super smart, super charismatic and super strong. And then we have Pigtail the wild boar, who's kind of like a MacGyver engineer. She's a crime nerd with a big brain but very shy and always wants to hang out with them. Her voice is by Maria Bakalova. And then we have Doom, a raven, and she's very dry and quick-witted and sort of the femme fatale of the group. She's voiced by Natasha Lyonne. These three are planning a big heist and need help. So they kidnap the gangster gang. And when they say that they are good now, the girls reply: "We don't really ask." And during this work, the two groups grow closer and Wolf begins to wonder if he should return to the criminal life."

You felt like you had to prove yourself to the audience of the books, the fans, and of course you wanted to please them. After proving yourself to them, you now feel pressure to please the fans of the film. Which pressure was greater for you?

Pierre Perifel: "The second film, definitely. Because now we have the entire fan base that we have to serve and that we cannot disappoint."

Damon Ross: "We now have the fan base of the books and also the fan base of the first film. So it's just expanded and gotten exponentially bigger. The books are much bigger now too. But I will say, we work closely with the writer Aaron Blabey. We talk to him all the time and we've shared early cuts of the film. And the feedback has been overwhelmingly positive. So I feel like the fans of the books are going to be super excited because he's excited. And I think that will translate to the general audience as well."

Interview from Rezensionen

[pruneunfair]

"But Rashta got greedy." Breaking down a common argument

I'm sure that no matter what character you like more you've probably heard the "Rashta could've had a good life but she got greedy" argument, it's a common one that even though I was reading and thinking "I don't see the greedy part?" I chalked that up to me just not noticing it well enough like others until I shared this idea with my mom

Ive been constantly sharing what I read with my mom, she's a writer so when I want advice on writing or an opinion on a certain book I'll either get my feelings on a topic validated or my eyes would be opened to a whole new perspective. When I explained the plot of TRE and how the mistress was an escaped slave that immediately got my mom interested when I said "She ends up getting too greedy and it became her downfall" to which she replied "so dreaming and wanting more when your life is at rock bottom is greedy now?" In fact up until I mentioned that Rashta was a slave, she was under the impression that the mistress was a noble woman.

Greed is mostly known as a never ending desire for more even when you already have everything, it's an obsession with what you don't currently have and you'll go to great lengths to achieve more then you really need especially if there is no real reason for your desire for it. Money is the most famous example but it can also be greed for social media attention or more objects to buy and consume.

Rashta never had everything or really ANYTHING as a child, there was no safety net to fall on, no real noble background, not even parents that would guaranteed to protect their daughter. So the greed factor is lowered significantly when it's apparent that Rashta doesn't have the "everything" to want even more.

when she was found by the literal emperor she took the most logical decision at the time and became his mistress even though she was technically still a slave, she was just treated better then she was at the Rimwell estate. When I reread some key Rashta chapters where she at her worst so see the greed of her character I still couldn't really see actual desires for more and more, mostly desperation, hurting others to save her skin, jumping to conclusions and holding grudges, terrible but if I had to really pick a sin to align this with, it'd be wrath with a hint of envy not greed.

In fact for most of season 1 Rashta isn't exactly clamoring for the empress seat until push LITERALLY came to shove, even if she really wanted the throne more then anything there was no way she could get it just by "stealing" Sovieshu because if I abdicate my title as empress has taught me anything, it's that being the sole lover of the emperor isn't guaranteed to make you empress. At the end of the day even if Rashta was a greedy person who wanted Naviers throne to satisfy her neverending greed it would've all been based on her luck.

when Sovieshu offers the position to her she even wonders if it's really a good idea since she has no experience and she'd just be dethroned in a year anyway but she chose to say yes because it was for her child's chance at a prosperous future, no desire for power, money or the desire social fame was minimum compared to her real goal of guaranteeing her daughter a chance at life. The closest I can say that is remotely related to greed is that Rashta wore a few over the top dresses (like her wedding dress and that one purple one with the bows)

Finally when she does become empress Rashta isn't exactly looking for more, she was ready to just live in luxury under the impression that her safety was guaranteed and that was it, she didn't want more jewels, money, power, maybe she wanted more social attention from others but even then the chapters dedicated to empress Rashta were, again, based on her wrath rather then her greed.

Honestly if any character symbolizes greed more it's Heinrey

The guy started off as a prince, then a king and then a damn EMPEROR, yet he still stole more magic from the mages, he wanted to go to war with the eastern empire for practically no reason and was willing to doom his damn country if he went through with it considering that the west is landlocked so going to war all willy nilly with potential allies when you have to rely on other territories just for water.. it took falling in love at first sight with Navier to get him to put it on hold and only stopped when she found out almost 170 chapters later and even then, his daughter ends up getting the eastern empire thanks to power of random plot holes. Before meeting Navier Heinrey really just wanted to keep expanding more and more for no reason because I looked and searched and could not on my life find a reason as to why Heinrey wanted to go to war other then one claim that he wanted revenge for the past which.. really? If that is the case we'll thanks for almost instigating something that didn't need to be instigated.

He really doesn't give a damn, one way or another Heinrey will get what he wants.

[aidansplaguewind]

Hi @andreabaideas ! We don't know each other but I follow @mzannthropy and I just wanted to say I agree with everything you said about expressing one's opinions and not caring what others think of it. And yes, especially women. I'm a very opinionated woman and as a result I've been called so many awful things by men. I just don't understand why they can't handle us having a voice. I don't understand what's going on in the US right now and why men are so offended by women in power. I mean, don't get me wrong, I can explain it in ways like they're deeply insecure and their masculinity is incredibly fragile, and they're afraid women no longer need men for anything (including sex) and that, especially, terrifies them. But even knowing all of that, I still just don't understand it. So what if a woman doesn't need you, isn't it enough that one WANTS you? But I think the problem lies there. It means they actually have to TRY to get a woman to want them because the days of women having to get married to survive are mostly gone. And now they have to try to be better people, they have to try to hold an intelligent conversation, they have to try to have varied interests and hobbies etc. And frankly I think most men are lazy when you look at that way and they don't want to put forth the effort to earn our interest and desire.

Anywho...

@mzannthropy I think we discussed this before, about how when I first got into Sam earlier this year I noticed immediately that there was a lot of appreciation and attention on his roles on The Hunger Games, Daisy Jones, and ME Before You. I'm wondering though if these are, in fact, people that I would consider fairweather fans. Not used by exact definition but its the closest I can think of to describe it. It's people who only like a celebrity for like one or two roles and are more in love with the character than the actor. Usually those fans don't stick around once the fixation on said character wears off.

I admit, I'm not as huge a fan of Sam as you or @jesstasticvoyage are, because my heart will always belong to Aidan Gillen, but I do consider myself a genuine fan. I just enjoy watching Sam work. He's extremely talented, unbelievably so. I will also admit that he's a far better actor than Aidan. I can't really put into words what he brings to the screen. A passion for what he does, obviously, but more than that. He's simply fantastic. One of my favorite performances of his is Oswald Mosley in Peaky Blinders. He's despicable but Sam is such a pleasure to watch in that performance. As good looking as he is, he did so well, I still hated his guts as Oswald.

Billy Dunne is also a favorite, even though I know you have a lot of not great opinions on DJATS. I didn't read the book so I have nothing to compare it to, so I did enjoy it very much. I was just baffled at what all he did to achieve that performance. The weight loss, yes, and learning to play an instrument, learning to SING well, recording an entire album. That's dedication. And when he's on screen I 100% believe he is Billy Dunne.

I also really liked him in Their Finest. Devastated by the ending but I loved watching it. His performance in The Corrupted is notable as well because that character just seems so not like real life Sam but he pulled it off completely.

Anyway, I'm getting off my point, which was that I personally think if you only like an actor in one role, you can't really say you're a REAL fan of that actor. A fan of the character, sure, but how can one be a fan of the actor if they only like them in one thing? Or even just two things? Especially if you look at the characters in question. They're these McDreamy type characters written and cast to get the attention of young women and teenage girls. I don't want to sound like a gatekeeper but if you only like one role then you're a fan of the character.

Omg, I just made this post so long. Imma shut up now. I really do have too many opinions sometimes 😅

Sam Claflin and Holliday Grainger in ‘Any Human Heart’ (2010)  

[samirant]

[messiahzzz]

it’s been almost a year now… is the bg3 fandom finally ready to talk about how gale’s “hubris” is the sole product of actively feeding his insecurities further and straight up denying him help & guidance when he was at his lowest and needed it most. it’s not one of his core traits and never was. he isn’t some closeted power hungry monster that is just waiting to be enabled. what he wants is admiration, recognition and acceptance. which is also what he sought from mystra before the orb disaster happened. he had no desire whatsoever to become a god himself or challenge her rule, he simply wanted to be seen as sufficient in her eyes (“to serve her better”). to be as equal as he could possibly be in a relationship with a literal deity. he has a deep passion for magic and knowledge that affects almost all areas of his life and enjoys the display thereof. he wants to be the smartest person in the room and enjoys when his work is recognized. he may be perceived as arrogant when it comes to his skill, but he IS NOT hubristic. it truly takes so little for him to be wholly content.

[traintrainingmontage]

Yesssssss more delicious Jobey cooking! I also like a lot of what's been said here. I mentioned in my own Edward Appreciation Essay (intended solely to highlight what I think are Edward's good qualities, mind you; I didn't talk about what I think are his weaknesses there) that Edward is very big on helping engines who feel lonely and unsure of themselves. Those are feelings that he can empathize with deeply, so he likes to help others that he feels might be suffering through that as well. As stated here, he wants to help James feel more welcome. That said, he does so at the expense of Gordon's image. It's a kindness to James, sure, but not so much to Gordon, although I don't think Edward is necessarily intentionally saying this to hurt Gordon--it's to bolster James. It's just interesting to see how Edward's kindness manifests--it's not platitudes or inoffensive fluff. It's "real" in a way that speaks to people; kind, albeit not the kindest.

I mentioned in my previous Essay that Edward feels like an example of a "good Christian" and role model in the sense that he's big on turning the other cheek, being kind and giving, etc., which works great for kids. However, that's the surface layer, which makes sense given that the Railway Series is intended for all ages, including adults. The deeper layer is that I feel Edward is a realistic portrayal of what might be considered ideal behavior regarding how to deal with your colleagues, from the younger ones to the sucky ones. I don't think that Edward keeps grudges, but like Jobey said, he does remember slights. That's normal. That's human ("human"?). It's what you do with that knowledge that matters, and in Edward's case, he uses it to make others feel better (at least, a large majority of the time). However, that does have the consequence of reinforcing his own negative Gordon feelings, such that he misses Gordon's growth at times.

The idea that Edward connects with all of these other misfits, often on the basis of them being misfits, is so interesting. It adds more dimension to the fact that Gordon, while being a prototype, is still sort-of a misfit in our eyes, but to the engines, he's the most-wanted/most hoped-for engine out of all of them. That's got to sting on some level, especially for Edward, who was also built to be a beloved, celebrated Express engine and was tossed aside. That, plus the fact that Gordon acts so superior... as far as Edward can read, he's not lonely. In fact, he's half the reason Edward and the others do feel lonely/lowly (and itches at Edward's abandonment issues, but I've said that already), so Edward would rather keep his distance and not engage.

Gordon's character growth is honestly one of the most compelling NWR-related arcs to me. I love that he feels so strongly and deeply about things and comes to form alliances with even the tank engines, who were once totally below him. He's humbled, but he grows from those experiences.

All of this is to say that I really love this analysis so far. It's cool to step away from the TVS' influence and solely take a look at things from the books' perspective; there's quite a few interesting differences!

Gordon and Edward, Part 2

Hello and welcome back to "Jobey ruins beloved RWS characters for you, using the power of... the actual RWS text!" 😇

Part 1: Gordon, what's your damage? 😭 / The Doylist Reason / Rent. Free. 

Post 2 (this post): Edward's Defences / Gordon's Growth

Post 3 (upcoming post, link later): Collision / Uh… Cleanup Crew?

Edward's Defences

Pretty consistently, through the next 45 years, Edward (most conflict-avoidant engine ever built?) takes a four-pronged approach to dealing with Gordon and the threat he represents:

He keeps Gordon at a distance. He focuses on building connections with… Literally Everyone Else. Gordon is kept more than a good buffer's length away (and when they must be in close proximity things do tend to go south in a hurry).

He tries to never give Gordon a reaction, or any other ammo. Will not admit weakness or discomfort or upset. Difficult, because he has a transparent face when he's sad! And he's comfortable confiding in others! But he'll never, willingly, let Gordon see him bleed. 

Instead he treats Gordon very lightly. Adopts a sort of affectionate knowingness, which allows him to "laugh off" Gordon's more irritating or threatening qualities. 

He takes control of the narrative. He doesn't shy from telling humans the engines' business. He spreads stories (I'm not saying false stories) that counter Gordon's branding of himself as supreme and infallible. He also builds his own brand as reliable and sensible. 

Where do I get all this from? The text: 

"I've got some trucks to take home tomorrow," he told him. "If you take them instead, I'll push coaches in the Yard." (~1925)

We're less than one full book away from "now all three engines are great friends" and Edward is already shedded somewhere else, baby. That move was likely integral to developing those two new friendships with Henry and especially with Gordon… ironic but true. Hey, we know that the big engines seem to have only learned to appreciate Thomas after he left, too! And, of course, it gives Edward some space from all of the *waves hand vaguely* at the Big Shed. He doesn't like conflict (and Gordon is a conflict-generating machine). 

They both rested at the next station; Edward told James how Gordon had stuck on the hill, and he had had to push him up! (1925) 

Bro. Bro bro bro bro bro. I am pointing urgently. 

This bit is so telling. It's been two years since the events of EDO/E&G and Edward is already seen defining Gordon's whole brand as we now know it to newcomers. 

If it wasn't for that moment, I wouldn't insist with nearly as much confidence what I think then comes into focus as a clear fact: The early RWS itself is all evidence that Edward is winning the propaganda war, lol. Gordon's opinion of himself is a silly, endearing, limited point of view. Edward's opinion of himself is canon, bitches! 

Incredible stuff. 

This scene is a glimpse into the tactics that allowed Edward to eventually win this game (poor Gordon has no idea they're playing). Here he is laying the groundwork a good 20 years before the books about them were even published! And this is a good place to remind readers that, unlike in TVS where they make Gordon's hill problem a recurring gag, we only see Gordon stalling out there and requiring a banker's help once. In Christopher Awdry's Gordon the High Speed Engine, he also specifies that Gordon (who is about to have trouble on the hill again, in the 1980s) stuck before on this hill. "[O]nce." Once. 

This is not a habit of his. It was a one-off thing. It's only remembered at all because his superior attitude and his ignorance of the words "thank you" offended Edward so deeply that he kept the memory of this event alive for over 20 years, until the Thin Clergyman got the story in print. 

It's a bit messed up. 

It's more than a bit petty. 

It's so bloody funny. 

No, I don't think Edward is some consciously evil Machiavellian genius. He's neither vindictive nor that far-sighted. But he's resilient, and creative enough to instinctively change the rules of the game when otherwise they'd grind him into rust. And there is his characteristic kindness mixed up in all of this, too: He needs to find a way to welcome Gordon's presence in his life, so he finds a narrative that makes Gordon funny and lovable instead of a threat. He sees James is insecure, so he tells that story at least partly from real solidarity and empathy. It's not like he's trashing Gordon, either – there is no lie told, and James is not put off trying to "motor-mouth" his way into Gordon's good graces. I'd characterize it, not as trashing Gordon, more… injecting an element of realism into his growing legend ;) We see in the same book that Gordon is continuing in his superior attitude (which involves putting others down, even if it's a bit more indirectly than he did two books earlier) and that his attitude depresses and dejects newcomers like James. There is good, civic-minded reason to slyly undermine Gordon's branding of himself as all-powerful and invincible – it's not good for the railway as a whole if Gordon is allowed to lord over them all on his throne unchecked, the new engines forever overawed. It is kind of Edward to welcome James and give him a boost, it's genuinely useful for everyone that in the end James triumphs to seize the role of a darkhorse rival junior but trusted colleague of Gordon's. 

At the same time, while it's all justifiable and even beneficial, this action is also very useful in cementing Edward's own position. Let's just be clear-eyed about this. 

"Shall I help you, James?" called Edward. / "No, thank you," answered James, "I'll pull them myself." / "Good, don't let them beat you." (1925-6) 

Edward and James show a perfect understanding of each other in this moment – different though they may be, Don't let them beat you is a shared value. (Shared by a lot of engines, of course; probably a steam engine culture thing. Douglas says something similar in RWS after accidentally destroying the spiteful brakevan.) It applies here to trucks, but no doubt that's a value that motivates them in other areas, too. 

It's just worth remembering this, when it comes to Edward's stance re: Gordon. He's more subtle about it than James is. He sort of has to be (he cannot directly compete with Gordon, as James can). But he's still determined to not be beaten. 

Errr, but then Gordon triggers a chain of events that Edward could have never conceived of. The Fat Controller sends him to Tidmouth, Edward goes in with no idea what he's facing, and wham. We have the first of the two really severe strains on this relationship: 

Gordon came clanking past, hissing rudely[...] / "They all hiss me, Sir," answered Edward sadly. "They say 'Tender Engines don't shunt', and last night they said I had black wheels. I haven't, have I, Sir?" (~1927)

Two things to note here. This clash doesn't only represent Gordon's and Edward's differing views on what is proper to the dignity of an engine and what he owes to his railway. That's all The Author can see of it, of course… The Author being a human, and thus with a vested structural interest in vindicating Edward's point of view on this matter — and in mocking Gordon's view to scorn. This is why, so far as the book is concerned, Gordon and his two big-engine followers don't have a wheel to run on here. The Gordon position is portrayed as thoroughly unreasonable (even if, despite the narrative's best efforts, the text must admit that the Fat Controller does actually have to get a new tank engine – which was Gordon's demand all along!) 

Because of The Author's interest, there's no chance of any acknowledgment that the other tender engines' anger might have the slightest validity to it. However I think we are seeing another, parallel clash going down here:

Gordon naturally sees friendship as, well, as an Alliance. My friends are your friends and your enemies are my enemies. United we stand, together we fall. The problem is that while Edward is mild-mannered he's not a follower, like Henry and James – he has his own mind and he's not about to substitute Gordon's convictions for his own. Edward's idea of friendship is mutual sympathy and support. Emphasis here on mutual, because you just know that young Gordon was quite prepared to receive support (as his due!) but had trouble returning it. That's something Edward considers a serious insult… whereas his own idea of friendship simply has nothing to do with "how dare you cut the branch out from under me when I'm risking my tender leading collective action against management!" To Gordon that's a real betrayal. I suspect when Edward undercut his strike Gordon was genuinely hurt and felt a real righteous indignation – one that is never expressed in canon because to the Author there's nothing even slightly valid in Gordon's hurt. But canon (the Author, the railway, the whole institution of human society that made and employs these guys) does validate Edward's position that boasting and one-upmanship are hurtful, itself a sort of betrayal – which is a big problem, since for Gordon they're alarmingly close to a damn love language.

This is a position on which I feel no need to take sides. I know the Author's position. I think they just have irreconcilable values and that Gordon's values, while I don't share them, aren't just shit, either. I don't condone all his behavior here but I do think his idea of friendship is consistent over the course of the Wilbert books and that he would feel genuinely betrayed here. And if you've been betrayed then it makes sense that you are hurt and angry. 

What a mess. 

"Tender Engines do shunt, but all the same, you'd be happier in your own Yard." (~1927)

Guys, I'm telling ya, the Fat Controller knew what he was doing when he separated Edward from the other "great friends" after the events of TTRE. He knows. Letting Edward have distance from Gordon is policy. Pre-existing policy. Drafting Edward to Tidmouth was a last-ditch effort to avoid buying a tank engine but TFC is unsurprised when it takes less than one (1) day of proximity for Edward's "laugh 'im off" strategy to fail. Proximity causes the fragile Edward and Gordon relationship to collapse immediately – which inevitably means that it's Edward who gets hurt – and so Hatt is resigned to his new expenditure. Off to the engine orphanage. 

After Percy is brought in, Gordon et. al. are suitably punished, and equilibrium is restored, there is again a long period of relative peace between 2 and 4. And it's not because Gordon has lost his capability to be an asshat to others (see "Gordon's Whistle" and "Off the Rails" and "Duck Takes Charge" and – etc.) But Edward's defences are restored and he continues to reinforce them. Again in safety at his own station, he regains his ability to laugh knowingly and to gather intel for the oppo file: 

“It sounds like Gordon,” said Edward, “and it ought to be Gordon, but Gordon never whistles like that.” / It was Gordon. / … / He screamed through the station and disappeared. / “Well!!!” said Edward, looking at Henry. / “It isn’t wrong,” chuckled Henry, “but we just don’t do it,” and he told Edward what Gordon had said. (1935-6) 

After Henry's rebuild, there is a long "dark" period – end of Depression (including Gordon's rebuild) and WWII. During the course of the war the Thin Clergyman begins (and ends) his stint as publicity director for the NWR, and in 1945 TTRE is published. I reckon the focus on Edward, Henry, and Gordon reflects that this was a high-water mark in their friendship. The qualities and values that these three actually do have in common – duty, loyalty, determination – would have been at the forefront for those years. They would have faced a lot of very difficult days together, and together they got through them. The bond might have been heightened because frankly this is the sort of circumstance I can see them at their very best but the opposite being true for James, so there might have beena bit of "the old band getting back together" and re-bonding. In particular I can see Edward and Gordon during the war years learning to better appreciate the other's strengths. In 1945 you can easily imagine 'the three railway engines' looking ahead to a happy new era and genuinely believing that all their petty squabbles are in the past, they will never have problems between them again. 

Lmao. 

Well actually, of course, life goes on. By 1952 Gordon in particular is achieving brand-new levels of asshattery in the lead up to his ditch tourism. However, the interactions between him and Edward this year support my guess that this was a period of detente: 

“I won’t go, I won’t go,” grumbled Gordon. / “Don’t be silly, don’t be silly,” puffed Edward. (1952) 

This is their most obvious "tug-of-war" moment ever, but actually the stakes here are soooooo low lol. To me this is one of their cosiest and most comfortable interactions, actually. This is a rare case where they don't sound like stuffy, old-school, vaguely-to-explicitly dysfunctional colleagues. They just sound like siblings. For once they're being fairly frank with each other. 

Wait… what's this... for twice? 

1952 was a banner year for them, guys!

The engines in the Shed were excited and wondered who would pull the Royal Train. "I'm too old to pull important trains," said Edward sadly. / "I'm in disgrace," Gordon said gloomily. "The Fat Controller would never choose me." (1952) 

This is a remarkable moment in this dynamic. It's the only time Edward ever admits vulnerability in front of Gordon. Fascinating. 

I think it's extremely relevant here that Gordon has been in dire disgrace for what appears to be at least two months by this point. His status (though soon to be restored!) is currently nuked. Gordon's been in a very amiable frame of mind towards everyone. He has never been less of a threat.

It's also extremely probable that, even if this book was published first, this scene almost certainly takes place after EtBE. So earlier this same year where Gordon hits his lowest-ever status, Edward has hit his highest since Gordon arrived – the Fat Controller has overhauled him and Edward returned to an enthusiastic hero's welcome from the other engines. Everybody's drinking their respect Edward juice just then. 

So this is a very brief period where Edward does not seem to feel any need to keep a wall up around Gordon – nor the others. 

Now, with James and especially Henry, perhaps that wall never goes up again. But with Gordon, well. Let's just enjoy the moment. Presumably the whole royal visit prolonged this high point in their relationship even a bit longer. But it won't last. 

When Gordon and Henry heard about the accident, they laughed and laughed. "Fancy allowing cows to break his train! They wouldn't dare do that to us. We'd show them!" they boasted. / Edward pretended not to mind[.] (1952) 

Backtracking to earlier the same year. Gordon's acting an ass here – but not like the asshole of the tender engines' strike affair. We're back, not to insults, but to mere boasting. But... reminder that while Edward probably feels an insult keenly (he feels everything else keenly; why not this?), it's boasting that really seems to get under his paint.

I cannot overemphasize the line He pretended not to mind. 

Edward is not a pokerfaced engine! This is not natural behavior for him! He's the "why are you sad?" "hullo Edward, you look upset" "Where is Thomas??? peepipeeeep!!" guy. This is play-it-cool stuff is behavior he developed as a shield against Gordon. 

To be sure, we also see him employ it later this same book, this time against James: "Late again?" / Edward laughed, and James fumed away. The difference is – well, the need for the life-saving chase was pretty lucky, of course ;) but the real difference is that at the end of the affair James makes a real apology. As a result, the narrative tells us (doesn't show us, which is too bad, but I'm going to trust the telling), their old friendship is restored, strengthened even. Unfortunately making a real apology seems to be something completely beyond Gordon, at least at this point. And even if it wasn't, well, Edward never directly asks for one or complains about the behavior of the other engines to their faces. I don't know if Gordon is capable of apologizing to Henry either, but at least in that case Henry is going to be very loud and clear that he wants one. (This is probably at the bottom of the success of the 3+4 friendship. Gordon needs things spelled out for him – and Henry complains and grumbles without restraint, no Gordon will always be kept up to date on exactly where they stand.) Edward doesn't do that, perhaps can't do it because it violates his "never admit weakness in front of Gordon [or, in this one case, James]" defense mechanism. His remark referencing the "Old Iron" insult hints that he's ready for an apology – and James is able to take the hint and respond appropriately. Maybe that's why we've only ever seen Edward have to use the laughing pokerface strategy with James once, and we see him using it re: Gordon many times. 

Going back to "Cows." At the end of that story Edward needles Gordon the same way he later does James. Gordon responds, not so humbly and sincerely, but arguably a form of relationship repair happens: 

"Well, well, well!" chuckled Edward, "two big engines afraid of one cow!" / "Afraid – Rubbish," said Gordon huffily. We didn't want the poor thing to hurt herself by running against us. We stopped so as not to excite her. You see what I mean, my dear Edward." / "Yes, Gordon," said Edward gravely. / Gordon felt somehow that Edward "saw" only too well. (1952)

Well… they too are restored to their status quo. 

It's just that their postwar status quo is polite, passive-aggressive points-scoring. 

Now, at least it's civil! It sounds friendly. It sounds like there's mutual respect there. But...  

It's not enmity. But you might call them frenemies.

I also need to remind us that we are reading the above quote because it is in print. Post-war, there is a new factor playing in this dynamic, a nearly-invisible but probably incredibly important one: the Thin Clergyman keeps publishing one or two books about their goings-on, every damn year. His interviews and his publications have already stirred up all sorts of old history (notably Troublesome Engines came out like two years ago, so they got to re-live that pretty recently). But now the RWS has "caught up" to current events so the engines are having the interesting new experience of an account of their doings for the year coming out, like, right away. Everyone becomes famous, but this also means that the books (and The Author's take on them) are shaping more and more people's perceptions of these guys, who have enough foreign traffic on their railway in this era that they cannot be ignorant of this effect. You know what they say about fame: it takes already imperfect relationships, and makes 'em better! 😇 Wait, no, they definitely do not say that... There is no chance that this sort of meta "reality tv show" factor didn't affect their outlooks and relationships. 

Especially in a relationship like this. Where the Thin Clergyman's account of things heavily favors Edward, and rather severely trims Gordon's wheels. 

Ooooooooooooof. I don't even want to speculate about the details of how this play out, but just bear in mind that it's. there. 

Maybe it illuminates a lot of stuff going on in Duck and the Diesel. Including this… 

“[H]e told Edward what Gordon had said. / “Don’t take any notice,” soothed Edward, “he’s just jealous. He thinks no engine should be famous but him.” (1957) 

Erm. That's a pretty blunt assessment. Especially from an engine who usually has rose-colored glasses firmly attached. 

I've never heard Edward say anything negative before about… anything. Literally anything. Let alone an anyone. 

His prior remarks about Gordon always had the air of "haha… lol… Gordon, we love him of course 🙃…" There's no laugh here, no fondness, no attempt to soften things. 

Not that this bluntness is a bad thing, in and of itself. But if the goal of Edward's defences was initially to find a way to maintain a good relationship (and I think it sincerely was), then the last example, from DatDE, is a yellow flag. It's been over thirty goddamn years now, and Edward is not growing more accepting and comfortable with Gordon – the opposite, actually. I don't hear Edward being unfair to Gordon there, precisely, but I do seem to hear markedly less tolerance than before. 

And this is interesting, the hint that Edward is losing patience with Gordon. Because Gordon is actually engaged in a lot of self-improvement. 

Gordon's Growth 

He's been on a magical journey of character development, guys. 

And it started way before his book/1952. 

We see the little crocuses of Gordon's emerging awareness that Other Engines Have Something To Offer, Too almost from the get-go. I would count the fact that (back in 1923) it's Gordon who proposes that Henry is let out of the tunnel to try pulling his train. Which. Crazy idea, really. But even crazier because Gordon's been shown to have previously spent day upon day upon day whistling "Serves you riiiiiiiiight!" 

Honestly, this is yet another hint to me that Gordon comes across as way harsher than he means to. I almost called the above "openly taunting Henry." But honestly, given his immediate and unexplained turnaround by the end of the story… once again, I think Gordon was being judgey and blunt, but really had no idea that what he was doing was so hurtful. Or that other engines have, like, feelings. Real feelings. 

We see this pattern again and again. Gordon tells Edward "[I'll] be a splendid sight for you" and James "Ah well, we all have to begin somewhere, don't we? Run along now and fetch my coaches" and the two smaller engines, quite understandably, seem to say in their hearts oh my God, what an insufferable asshat. Meanwhile Gordon thinks he's being friendly. Or at least condescending (but, like, in the fun, benevolent way). Similarly, Gordon tells back-from-major-reconstructive-surgery Henry that he's been really letting the side down in, like, three different ways – and I bet if anyone had directly challenged him he would have sincerely been like "... What? What's the problem? I told him we were happy to have him back!" Even his spat with Henry that led to his boasting in "Off the Rails" began with what have may been genuinely mother-henning his friend. I would not be too shocked to learn that Gordon gets twinges of unease that he never examines every so often when he sees Henry with a train and has a subconscious flashback to their fears for Henry's life after the Kipper accident. Altogether, there seems to so often be a good and commendable instinct on Gordon's part – it's just that for the longest time he doesn't seem to have a clue about how to transmute those instincts into something that other engines are going to find legible. And then if he gets even slight pushback his good instincts collapse and he reverts to his childish "meee! meeeeeeee! 😤😤" instincts. 

It's a slow hard slog for him to learn how to Use His Words and Relate To Others, but we do get to see progress. And it starts early! He makes friends with James after James successfully takes the Express (1925-6) – and it's really quite a gracious overture. He, along with James, sympathises with Henry after the elephant incident (the Author, of course, explicitly denigrates this, suggests that it was purely a matter of politicking and scheming and that it would have been healthier to have mocked Henry, the way the proletariat should always be cutting each other down at the slightest opportunity, really sticking the boot in each other's neck gratis. But hell with that! Lmao. Catch me ever swallowing Management's narrative about how their striking workers banded together. Anyway, even if I granted for the sake of argument that Gordon was faking his sympathy, well, I mean. Gordon faking sympathy is still #Growth. Fake it till you make it!) He is also friendly and kind when he rescues Percy from the Big Bank of Earth – he indeed shows so much tact that he finds something to give Percy credit for, instead of saying (which would have been true) "This is all your fault, dumbass…" 

"Off the Rails" represents a bad week or so for him, but the incidents in the rest of Gordon's book don't show us a newly humbled Gordon – more just a recently re-humbled one. His behavior to James is perfectly in line with those previous incidents. His behavior to Thomas doesn't come out of nowhere either… although in that one Gordon is trialling some new material: 

“I’m sorry I was cheeky,” said Thomas. / “That’s all right, Thomas. You made me laugh. I like that. I’m in disgrace,” Gordon went on pathetically. “I feel very low.” (1952) 

We all see what's new here?

1) The Alliance. Now, Gordon putting words to it (and words that make it into the RWS) is new. The concept overall is not new; this seems to be a verbalization of an attitude that Gordon has adopted long ago. As I argued above, this is just Gordon's whole concept of friendship. It is worth pointing out, though, that he never before extended this concept to tank engines. (He could condescend to them. Not offer them alliance and equality, though. Therefore didn't get upset when Thomas didn't "understand" his concerns as A Tender Engine, either. There was no expectation of a pact. Not back then. It's only now that this changes.) 

As the next decade or so goes on, we're going to see that Gordon (and Henry) seem to continue extending this implicit alliance to every steam engine. (Diesels, after that whole disastrous introduction to them via the most devious of engines, are a sort of last barrier.) Think "We engines have our differences, but we'd never talk about them to the trucks." Think Gordon laughing with Stepney and Duck over their triumph with "the heavy train." Think of rallying around Donald and Douglas when they learn there is a threat of scrap. That concept of alliance that was once limited between the big engines (plus or minus Edward, depending) is now extended. It doesn't mean that there are never conflicts or clashes within the ranks, of course! But it does mean that there's a new attitude spreading on this railway. This book is where we see the first sign of Gordon spearheading it. I wouldn't say he gets credit for creating or implementing it all himself – but he does deserve credit in the sense that, if he had not whole-heartedly bought into this idea, it wouldn't have become entrenched on the main line. 

2) Vulnerability. I directed attention in the previous section to the way that Edward will not admit weakness in front of Gordon. Gordon has something similar… but worse. Until this point, Gordon would not admit vulnerability to anyone. At most would complain, or try to make some "objective" case as to why he is ill-used. 

That isn't what happens in this exchange. He doesn't make the slightest argument for himself, he doesn't object to being in disgrace. He simply owns, aloud, that it sucks. I feel very low. 

There are other indicators that this is not a one-off, that Gordon is simply coming to terms with the reality that he is, basically, a sensitive soul: 

One day Gordon saw [Sir Handel] shunting, and laughed. / “My Controller makes me shunt,” Sir Handel said sheepishly, “and take trucks to quarries too. I’m highly sprung, and I suffer dreadfully.” / “Our Controllers don’t understand our feelings,” sympathised Gordon. (195…5?) 

This isn't as vulnerable as the Thomas case – Gordon's not feeling Very Low in that moment, after all – but it is a fascinating moment. In a previous book, Sir Handel treated Gordon like they were equals, which left Gordon "speechless." As well it might! (We'll get back to that in a sec.) And now, when Gordon meets up with him again, he does have the upper wheel: He catches out Sir Handel not being so very express-enginey after all! But when he laughs, Sir Handel owns up to his embarrassment. And this is exactly how you get Gordon's best side. When you're vulnerable, he stops acting the bully, and he's sympathetic. Very similar to the case from "Percy Runs Away." But this time, Gordon seems to be going a half-step further than just claiming the role of benevolent patron. "Our Controllers don't understand our feelings." He really does cement Sir Handel's claim to equal fellowship. 

It's probably not mere politeness, though, that makes Gordon sympathize. He's revealing something important here about his inner life. When Gordon is seen as his most proud and demanding, Gordon is actually troubled and upset – putting up a very good thick front over it, though. 

We will see confirmation that he's a creature of Feels again in 1968, after he spends a whole page (that's a lot of time, in RWS-land) unable to express more than "I'm not happy" – which the other Tidmouth engines ignore or treat as a superficial complaint because, well, they just had no reason to think that Gordon would ever be like this: 

Gordon backed down on his train, hissing mournfully. / “Cheer up, Gordon!” said The Fat Controller. / “I can’t, Sir. The others say I’ve got boiler-ache, but I haven’t, Sir. I keep thinking about the Dreadful State of the World, Sir. Is it true, Sir, what the diesels say?” / “What do they say?” / “They boast that they’ve abolished Steam, Sir.” / “Yes, Gordon. It is true.” / “What, Sir! All my Doncaster brothers, drawn the same time as me?” (1968) 

*dramatic gesture* Gordon the “I Just Want a Little Goddamn Sympathy” Engine, ladies and gentlemen. 

Returning to our overall topic, this is an interesting similarity between Gordon and Edward. Despite their numerous and obvious differences, they both have a lot of Feelings – like, to the point where it’s a burden, and figuring out what to do with ‘em drives their respective character arcs. 

Being them, of course, they approach the problem from opposite directions, lol. Edward is basically toughening up, and starting to adopt the role of an elder/mentor (he does this a lot later than I gather people think he does, and in more limited circumstances. But you do gradually see him becoming less A Normal, Emotive Peer and more of A Sympathetic Listener, One Half Step Removed from Ordinary Engine Life, Giving and Not Asking For Support). Gordon has almost the reverse assignment. He's opening up, and gradually learning how to come down from his high horse and be on a level with others. 

Once Gordon learns how to use his words to express himself like a rational being, he starts being able to form much healthier bonds with others. (I didn’t say with everyone. And I didn’t say they were perfectly healthy. Just… healthier than some of his past bullshit, lol.) 

And, when Gordon gets the kind of support he needs, he becomes much less of a pain in the arse. This arc continues all the way through to the Christopher Awdry books. 

To the extent that, as of Main Line Engines, he IS still a pain in the ass… well, I think we can infer that he hasn’t yet got that support network quite in place. 

Ironically, ‘emotional support’ is a real strength of Edward’s. It’s something we’ve seen him lend generously to a laundry list of other engines… and something we never see him offer Gordon. 

For obvious reasons. Gordon burned him so many times before and (the key commonality, of course) Edward is sensitive, too. It’s always obvious that he feels things keenly and takes things hard. His character arc has a lot to do with channeling that sensitivity into action and learning to build more backbone. 

It's on a collision course with Gordon's character arc, which is about connecting with and owning his feelings and learning how to express them. 

We can see the crash coming in part to, again, the absence of what we see between them in this pre-60s era. Gordon has repeatedly proven that he can be a very good friend, when an engine is down (Percy, James, Thomas, Sir Handel). This is a great footing for Gordon to show his best and most generous side. 

Unfortunately Edward's entire strategy for dealing with Gordon since at least 1925 has been about NOT showing any weakness in front of him. A strategy he's followed with great success. 

So it's no surprise, that both characters are growing and developing, but that their relationship is growing more and more hollow. 

It's no surprise… but it is aggravating. 

And the thing that makes you want to tear your hair out the most? Gordon – Mr. Oblivious himself – has no idea anything's wrong.

And, honestly, watching Edward getting slyer and slyer about forever keeping Gordon squarely on the back foot is a joy… I’m so proud of him… even as part of me groans because, funny though this is, they could have had something even better. 

Let’s take a closer look at MLE. They’ve both spent decades now dosing on ‘character development.’ Unfortunately those arcs are on trajectory to criss-cross – and the smash-up happens here.

[notbecauseofvictories]

it takes years for terry pratchett's books to get consistently good. I would argue that the series doesn't really hit its stride until Feet of Clay, which means that pratchett was writing and being published for 12 years before he found his groove.

and I genuinely can't imagine that. in part because I do think that pratchett's publication calendar looks different than what's expected of writers today---he had about 2 books published per year for his entire career. he must have been writing furiously, and the publisher must have relatively quickly gotten these to press.

but also....I just can't imagine any modern-day publisher keeping an author on their list for twelve years, unless that author is a prestige get or a constant presence on the bestseller list. And what does it say about the state of publishing that you can't go on publishing someone's good-but-not-revelatory books until they figure out what story they're trying to tell?

[basiliskfree]

I need to talk about the murderbot diaries as that has been my current hyper fixation for like the last few weeks. Spoilers for the book 5 to 7 as that's what I need to talk about.

I find it interesting that Murderbot starts having more clear signs of trauma responses in the later books as it some ways it seems tied to it feeling more "safe" ( I doubt Murderbot would ever feel true safe unless it and it's humans were in a sealed box full of cameras). More that it's more emotionally safe, like it's humans are trusted, Murderbot can have emotions (even if it hates it) without having that punished.

It's pretty common for people who where in traumatized situations to not have emotional breakdowns until they start feeling safe. And it's often a subconscious thing, the person not realize that is what's going on. From their point of view suddenly they just can't handle things as well anymore. Suddenly they are feeling things much more then before. Suddenly they have difficulty with there functionality.

So in book 7 we see the whole Redacted thing (it having want looks alot like a panic attack/ flashback) and Murderbot being both surprised and scared that that can happen, means that it likely never happened in it's time before in the corporate rim (which was 100% also a thing traumatizing enough that it could of trigger a panic attack). Murderbot is having difficulty doing it's job like before, stuff it use to find easy. It's having much stronger emotional reactions,everything something reminds it of the alien contamination, it has an emotion sometimes enough to paralyzed it. It also feels useless do to all this as it was easier before.

But the fact it can have all these emotions means it's safe enough to start to heal, and that is just neat.

(Love at the end of the book, we get a "maybe I should also go to therapy and not just "blackmail" Mensah to go )

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[seefasters]

also one fun thing that the book does is that it initially presents aziraphale and crowley as these supposed enemies turned casual allies, like they weren't really feeling the whole enemies gig (mostly because they're very lazy) and much preferred going to restaurants together from time to time. and you accept that as the extent of their relationship more or less until aziraphale gets agnes' book of prophecies and it's noted that crowley suddenly feels very lonely when he's left by the angel. and you're like okay so there is something there. and then it turns out crowley is not only willing to go into a burning bookshop for aziraphale, he's distraught by his loss. and then it hits you that oh, the demon cares for the angel very very deeply actually. it changes how you view all of their previous and future interactions

the tv show, of course, is unable to do that because of tennant and sheen's a/c mooning over each other since day one so it would be kinda hard to sell them as just coworkers, but it also chooses to expand on their personal history and give them additional conflict re: their respective sides

both are great approaches, i'm just really fond of how the book takes you for a ride a little bit

[bugeyedfreaks]

I bought the comic! 💖

I have a couple of my usual little minor nitpicks (as I am want to have), but I don’t even want to get into them because there were so few and they didn’t impact my enjoyment of the comic all that much. I thought it was super cute!

I won’t spoil anything in case anyone’s interested in buying it for themselves (which, I would say… yeah, buy it, totally!), but what I appreciated the most– especially since this is the first issue and it’s establishing who the girls are for anyone not super familiar with them– is that the girls end up saving the day together. It shows the importance of them not just being heroes, but also being a team (and also being supportive sisters, which… 🥹🫶) and that makes me feel like, even on a basic level, they get the characters. And that’s reassuring! Yay!

[markantonys]

just accidentally stumbled on an egwene hate reddit thread and everyone was bitching about how she tries to act like rand's equal when she's only the second-most powerful authority figure on the continent, and one sane person was like "well, balance was a huge theme of the series, so it's pretty clear that RJ did consider the dragon and the amyrlin two halves of a whole and that rand is meant to be egwene's equal co-authority rather than her superior" and of course they were downvoted to hell. and this one little thread just really epitomizes how the readers who approach WOT as a male power fantasy just fundamentally will never understand the series and its themes and the story it was ACTUALLY telling.

[aroaessidhe]

2024 reads / storygraph

The Maid and The Crocodile

standalone YA high fantasy romance, set in the world of Raybearer (10 years later)

a girl ages out of her orphanage and searches for a job as a maid - but before she’s hired, she accidentally gets bound to the Crocodile - a god thought to steal girls through his shrines throughout the cities

she wants nothing to do with him or his curse, and gets herself a job as a Curse Eater at an inn, consuming the spiritual residue of their past mistakes and regrets

but her past and her connection to the Crocodile won’t go away, and she gets caught up in his revolutionary ambitions

disabled MC (vitiligo, cane user)

[hanzajesthanza]

i feel like i just got so used to ciri and how natural ciri and geralt’s relationship left, via being introduced to the witcher via witcher 3, and then reading the middle of the saga before i finished the short stories…

that i never really innately picked up on the fact that ciri turning out to be geralt’s daughter and not his son was… uhm, part of the entire surprise, let’s put it that way :’)

geralt and ciri are just soooo natural as a father and daughter duo that i can’t imagine it any other way, if ciri had been a boy this would have been way less remarkable as a series, there would be no witcher series as we know it. so to me ciri being a girl was the normal and default, expected way things were supposed to go.

even when i read a question of price-sword of destiny-something more for the first times, i was like “ok” when ciri being a girl was a switch of expectations: geralt (and, supposedly, the reader) having expected pavetta to have a son. like… “alright, it’s a girl, so what.”

i had to be informed about how this was an intentional shock… not only because i’m not a parent, but i mean, well, ultrasounds get mixed up all the time, right… it’s not so uncommon to have a kid and be surprised by the gender…

and because of this, i was more inclined to eyeroll at blood of elves being preachy with going over ciri’s biological sex what seemed like ten million times in chapters two and three… what with the whole “daughter has her first period” subplot, ciri upset over her lack of potential strongmanship, and the witchers mostly relying on triss for guidance in raising a girl. the moral being both “just raise her like any other child” and “be sensitive to her needs that you’re blind to…”

although i still think these segments have visibly aged and date the series (not inherently a bad thing, just a quality of it)… they do make more sense when i try to empathize more with the perspective of a new father… who didn’t know he was receiving a girl… who thought she died… who only got her back through a miracle… and having to raise a girl… that’s not a young child anymore, not yet a teen, but is very shortly going to start going through puberty?! it’s like growing up in the desert, just learning what water is, and then getting thrown into the ocean.

because “having to raise a girl” still doesn’t seem that strange to me, but then i remember geralt didn’t see a woman and only had heard about them as a concept until he was an adult (because “warrior-monk” realness), he grew up with a hole in his heart that his absent mother bore, he lives in a highly gendered society, he experiences hostility from everybody of course but especially from women and girls, who take fright at him for… specific reasons explained by the old women in edge of the world…

no, geralt’s not helpless, but i forget, because he acts normal, but… (i mean, although he has issues, he could have really gone off his rocker with regards to women, a little sacrifice confirms this and vilgefortz embodies this) i forget that geralt’s inexperience with women… mostly manifesting in anxiety and both uncertain and impulsive behavior… like ghosting with a nosegay of flowers, the “dear friend” and all… would affect his view of the gender as a whole, including how he sees ciri. and it does.

in his situation, yes, having to raise a girl does intensify the element of “what the fuck am i doing”. especially as a single dad.

and although i do like it when the pov shifts from geralt in the saga but just to another person in the room, for how he becomes more of a distant and enigmatic figure, seeing him through others’ eyes always makes fills me with this uncertainty. buuuut, i would fucking adore blood of elves chapters two and three through geralt’s eyes just for how much of an emotional wreck he must have been… and trying not to show it to her :(