#trilogy fulfillment

[trilogywarehousepartners]

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[youcouldbewonderful]

happy birthday simon snow!

[fadetouchedsilk]

I think something else that kind of puts me off the neve/lucanis thing is the fact that this appears to be the one NPC romance that re-uses the same lock in scene we get as the player?

To the best of my knowledge this isn’t the case with Taash or Harding’s romance scenes, Emmerich & Strife happens mostly off screen so that’s exempt too. But for some reason with Lucanis it’s basically the same scene with Rook model-swapped for Neve.

Like, some of the vitriol towards this ship can definitely just be marked down as garden variety biphobia & the occasional side of character related possessiveness (no judgement we’re all mentally ill I’ve been there lmao) but I’m also just seeing this overwhelming sense of… idk how to explain it exactly, it’s almost like an energy of depressively resigned rejection across platforms? Was the decision to not have this be a unique scene for the player a budget issue/cut content? You can argue him remembering what your favourite dessert is makes it unique but honestly that’s just a few dialogue flags of difference.

It still comes across as a shortcut for the player’s story. Realism in relationships aside, I actually don’t think it’s a bad look for us as consumers to assume we’re going to get a certain level of indulgence here for that reason. I don’t think everyone needs to be falling over themselves to kiss Rook’s feet, but I think it’s okay for our chosen li to be a bit more of a fantasy, yknow?

If it was a given from the start that the npcs were going to pair off, I think it would have been better if this only happened after your romance of choice was locked in, or at least past the point in the game where you would get a lock in scene (correct me if I’m wrong, but those all seem to trigger around the same time for everyone). Because of how the game is paced, we’d get to avoid spending the first 40 hours listening to ambient flirting when we’re exploring, which imo would also help npcs being received. There’s a distinct lack of interpersonal reactivity Veilguard whenever it comes to Rook (genuinely, why is this such a lonely protagonist?) but the relationships between companions seem to chug along nicely. Seems like a bit of a design flaw to have pre-romance flags active but to still be hearing how much your chosen li is apparently into this other person?

I don’t see the same amount of pushback towards the other NPC romances as I do Neve/Lucanis, which honestly looks like it comes down to how his romance specifically was executed & how the narrative likes to prioritize relationships between other people vs. ones with Rook. I don’t expect writers to not have favourites because that’d be hypocritical of me lmao, but I do expect a professional studio to be more adept at either covering it up better or giving your players enough attention to offset it. I haven’t seen anyone reflecting on how comparatively empty Neve’s romance felt to other companions the way I have with Lucanis, so I have to assume it isn’t. But with his route, it just feels extra :/ that one of maybe three scenes we get is just recycled content for his other possible partner.

(Obligatory disclaimer: I see the vision behind the ship and I don’t hate it nor am I jealous, I just feel like with those two characters in particular it should have unfolded much slower than one game would have allowed & also I expect a certain degree of wish fulfillment when it comes to these games, not feeling like the player character is the writers’ afterthought. Hating Neve for this is a bit much because 1. She’s not real and 2. She’s also not responsible for writing decisions so I think taking jabs at the female character involved is kind of a waste of energy [once again I get the jealousy thing, but still.])

[basicallyjaywalker]

What kind of complicated feelings does Jasmine have with Nya and Jay?

And in what ways does she damage her relationships with Jay and Nya?

Excellent question! So

Jasmine, after befriending them post S4, ends up developing feelings for Nya. Like a hardcore crush. Unfortunately, Nya and Jay are in a relationship, so she basically represses the shit out of it

Jasmine is an expert at repression, it's how she deals with all emotional problems! Unfortunately, she also has a habit of, while repressing, projecting those negative emotions onto other people. So she projects the resentment that she feels and being unable to express her affection for Nya onto Jay.

This sucks. Because post S6 she starts crushing on him too. Whoops! Bisexuals lose!!

So now she's repressing TWO crushes and growing to resent both her affection for them while also resenting THEM

The best solution (and one reserved for AUs) is that they all have two hands. But that requires actually fucking talking. So instead

She forces herself to distance more from each of them and the friendships just fizzle out because she keeps dodging them trying to talk to her. They both pick up on her being weird. And eventually their friendships just kinda implode between S10 and S11 when Nya confronts her at the finale of a fanseason I have planned, and she keeps deflecting. They keep their distance from each other after that, which is made easier by the fact that Jasmine starts drawing away from the Ninja and her own team as a whole, but that's a story for another time!

So yeah. This is also a pattern for Jasmine (she was in a romantic relationship with Roxie prior to them becoming Twyla's students which fell apart for similar reasons. The main reason she and Roxie are still close is because Roxie is super reluctant to cut anyone off and she also doesn't realize that Jasmine is still kind of in love with her too. Plus their breakup was less explosive and more Roxie drawing a line and saying she can't be with Jasmine if she won't talk about her feelings. Shoutout a queen who can put up at least one boundary)

tl;dr communicate your feelings/learn to process them healthily. don't project that shit onto people you love and care about or else you might lose two good friends, which is what Jasmine learned the hard way

[illiteraterabbit]

A Power Unbound - Freya Marske

★★★★★ (5/5)

Date Started: 10 February 2024 Date Finished: 16 February 2024

"The past could turn you into a strip of paper with a single side, so that comfort and vulnerability slid away down the invisible channels and couldn't be grasped."

Kind of funny to post only a review for the final book in a trilogy, but unfortunately this blog didn't exist when I read the first two, so consider this my personal review for the series overall. Note: It is going to be a glorious, glowing and raving review focusing on this third book overall as it is what primarily weighs on my mind. All three of these books are firm 5 star ratings in my heart of hearts, and I will not budge on the matter.

I'm already a well established fan of historical fantasy, so when I stumbled upon A Marvellous Light back when I still worked at Barnes and Noble it felt like a matter of fate. I was in love with the world from the start and knew I would read as many books as it took to get to the end of the overarching plot line. A Restless Truth enchanted me just as much as the first book, though in a completely new and different sort of way. It was refreshing and fun and left me in dire anticipation for the release of the final book of the trilogy.

And that brings us to A Power Unbound. A book hasn't stressed me out as much as this one did in ages. And I mean that in a good way, of course! The stakes felt appropriately high, and that meant they felt apocalyptic. It might seem impossible to weave a romance within the lines of a book of apocalyptic stakes, but Freya Marske absolutely managed it.

The violent, aggressive, off-putting love between Alan and Lord Hawthorne felt just as desperate as everything else. It was a force to be reckoned with, and it knocked me off my feet every chance it had. Robin and Edwin may still be my favorite couple, but the romance between Alan and Jack definitely felt the most satisfying. Maybe it's because it was at least partially stretched across two books - maybe it was just because it was so... Well, everything it was. I don't know, but I did love every second of it. I don't like to talk plot much when I review books, because I personally hate reading a glorified summary when I seek out other reviews, but I can tell you that this book wrapped up everything perfectly. The ending was satisfying in more ways than one, and the epilogue perfectly reminded me how much I loved every single character throughout this series. I could not recommend this series any more intensely. If you are searching for a wonderful queer fantasy, it's waiting for you here.

I can't wait to see what Freya Marske writes next. I promise I will be a dedicated reader for life.

And with that:

"I would take your heart between my ribs and guard it like my own. Is there any way I could make you believe it?"

[artist-issues]

you guys it's possible for an actor to be disappointed in his character's new direction without that character's new direction actually being bad

[waifubuki]

STOP EVERYTHING NEW KIZUMONOGATARI MOVIE!!! Kizumonogatari Koyomi Vamp has been announced

EVEN THO ITS JUST THE MOVIE TRILOGY BEING COMPILED INTO A SINGLE NEW MOVIE I’M STILL HAPPY

[cienie-isengardu]

Nadd spoke of the ancient Sith foretelling... that the Dark Lords will come again. I heard similar stories from the Jedi holocron. [Star Wars Tales of the Jedi - The Freedon Nadd Uprising Issue #2]

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[raimagnolia]

The first thing that came to my head after being that was ToastyGlow's work. Please enjoy, it's a hell of a ride and it ain't over yet.

the author's barely disguised longing for a kinder world

[banana-split-bitch-club]

good night ojou-sama was good. elicited a cackle out of me even. now a question for you. good morning & good afternoon ojou-sama when

[hanafubukki]

Happy Birthday Malleus Draconia 💚💕

Summary: You kidnap Malleus Draconia.

Sebek knew it would be a tiring day when he saw a letter placed on his wardrobe table.

It had decorative little crocodiles and squirrels all over with his name written in your writing.

He could already feel a headache incoming.

He’ll wonder how you snuck into his room to place said letter later, he was more interested in the message you had to say.

“Dear Knight,

Your Lord has been kidnapped. He is mine for the day.

Mwah~

YN”

Sebek rushed out of his room, running to the Diasomnia waiting room where his lord would sit and enjoy tea at this time.

…only to be met with a giggling Lilia and a napping Silver.

���YN!”

“Did you have to tease Sebek?”

“It’s all in good fun Tsunotaro.”

“I see.”

While Malleus ponders your answer, you plopped down right next to him on the couch.

“What does this…kidnapping entail?”

You could tell Malleus was humoring you. He found this whole situation funny and yet intriguing.

“For you? Just sit there look pretty and enjoy all the snacks, games, and movies I have.”

Malleus laughed lowly, “YN, I do have duties to fulfill. I can’t just sit here.”

You shrugged, “One day without work won’t bring down your dorm. Besides, all work and no play make dragons go cranky.”

Malleus laughed freely and you joined him this time, “Is that so? Then I shall join in this activity with you.”

You laid the nearby comforter over you and Malleus before starting your T.V.

It would be a good day; you would make sure of it.

“This warrior does not speak?”

“Kind of. He talks he’s just not voice acted, but he does make sounds when you attack with him.”

“Interesting. A silent and courageous warrior who will save his kingdom and the princess.”

“Reminds you of someone?”

“This Link reminds me of Silver. They share many similar qualities.”

You joked, “Are you the princess then?”

“I am a prince, am I not?” Malleus replied, before softly continuing, “and Silver has saved me, from myself.”

You bumped your shoulder with his, “That’s love for you.”

“Yes, it is.”

“That crocodile and that pirate…”

“Funny, isn’t it?”

“Yes, especially as Kingscholar dressed as one during Halloween.”

“Does the crocodile remind you of Sebek?”

The glint in Malleus' eyes answered your question.

You can only imagine Sebek's reaction if he knew, “Well with the way Sebek is always barking at Leona, I can't blame you for thinking it.”

Ah, you were going to hold this over Sebek's head forever.

“Those fairies should have never been given the child.”

“Yeah…”

“They haven’t properly fed her, even Lilia knew to feed a baby!”

“Yeah.”

“She almost fell off the cliff!”

“I know. They suck.”

You tugged at Malleus’ hair, “At least she had someone to take care of her, two of them in fact.”

Malleus calmed down knowing exactly to whom you referred, “Yes, those days were filled with laughter and warmth even amidst the chaos. How…nostalgic.”

Malleus leaned towards you; a mischievous glint in his eyes, it reminded you of a certain pink-streaked fae, “Want to hear an embarrassing story grandmother told me about Lilia?”

“Yes! I’m all ears!”

You watched as Tsunotaro enjoyed Toothless and Hiccup's adventures.

You knew he would like this series.

You wondered how Sam had the trilogy.

…you would question him thoroughly later.

You were content to watch Tsunotaro be happy.

His family is never far from his thoughts as he is never far from theirs.

You felt happy to be part of his family.

“YN, is there a reason to why we are making cupcakes this late at night?”

He didn’t know.

You hid your smile as you put the tray of goodies into the oven.

Malleus must have enjoyed his day if he forgot why tonight would be special.

“Anytime is a good time for cupcakes, just like how you can have ice cream even during winter.”

“I thought it was easier for human’s teeth to decay due to late night sugary treats?”

“We’ll be fine! Just make sure to brush your teeth and don’t tell Trey -senpai.”

You went over to the nearby drawer. The confetti poppers were there as planned, just a few more minutes before the time came, so you snuck them into your pocket discreetly.

“Let’s go play more Zelda.”

You and Malleus moved towards the lounge; you eyed the hallway clock on the way.

Less than a minute.

You took out the poppers from your pocket.

“Malleus?”

“Yes?”

You pulled the poppers out just as he entered the ramshackle lounge.

3…2…1

“Happy Birthday (Lord) Malleus!”

Malleus was shocked as confetti rained on him from all sides.

Lilia, Silver, Sebek, and you surrounded him as the day turned over.

His surprised face broke into a wide smile before an unrestrained joyous laughter filled the lounge.

What a beautiful start to today.

The day Malleus Draconia was born.

A day filled with endless love.

Happy Birthday Malleus.

Resounded affectionately in all the hearts of everyone present.

May you always be filled with happiness and love.

Bonus:

Silver came to you as you watch Lilia bear hug Malleus. It was funny how someone so petite wrapped all four limbs on someone so tall.

Silver hesitated.

You knew.

“He baked a cake, didn’t he?”

Silver sighed, “Yes. We tried to stop him.”

You laughed and shook your head.

“It’s okay. Toxic waste it might be, but it is something Lilia made with him in mind. Malleus will love it nonetheless.”

You bumped shoulders with Silver, whispering, “We made cupcakes.”

Silver’s grateful smile had you hugging him.

No one will get food poisoning today, not on your watch.

You hoped.

☺️🌺🌸💚

[she-of-seidhr]

Rewatching The Desolation of Smaug, and I got to the part where Thorin forbids Kili to join the company in departing Laketown for Erebor and Fili chooses to stay with him. It just hit me that maybe it was a hint that Fili was going to be the best king out of the recent ones from Thror down to Thorin when his time came, because in his heart he already knew what really mattered. “If more people valued home, above gold, this world would be a merrier place.” He embodied Thorin's dying words with his decision to stay with Kili, who was his home. Seeing his brother safe and experiencing Erebor for the first time together was more important to him than the fulfillment of the quest or his position as heir. I've made myself sad again and now I hate it even more that they did not die together for the love of their uncle. Oh, The Hobbit Trilogy, so much potential and so many chances to explore the 13 dwarves in ways that tie to major Tolkienian themes...

[hamliet]

Coriolanus Snow: The Hanged Man

I still have yet to read Sunrise on the Reaping (hopefully this week). Instead, I'm going to fulfill my promise in this answer and write about Coriolanus Snow, because The Ballad of Songbirds and Snakes is, in my opinion, the most ambitious and successful narratively of The Hunger Games novels, and I constantly see people reducing the narrative from its tremendous nuance and complexity to a simple moral tale of "you can't fix him, silly girl" and/or "manic pixie dream girls aren't real."

Thinking Snow was a narcissist or born bad from birth misses the entire point of the novel. Thinking that he didn't really love Lucy Gray also misses the point. The point is that he did love Lucy Gray, and he still turned into a narcissistic villain because he has the freedom to make his own choices, and he makes all the wrong ones.

Sorry, Suzanne Collins likes love stories. She's going to keep writing love stories, because the love subplots play integral roles in the themes of both prequels and the main trilogy of The Hunger Games. They're part of the thematic point of each story, and while I do think you can make an argument that Gale's entanglement with Katniss is weaker than Katniss and Peeta, Lenore and Haymitch, and yes, even Lucy Gray and Coriolanus, you can't really argue that the romance is a "distraction" from the main themes and actually have a good understanding of the novels. Love is not extraneous to these books; it holds them together.

So, yes. The Ballad of Songbirds and Snakes is a love story. It just doesn't end happily ever after. See, Eren and Mikasa in Shingeki no Kyojin, or Catherine and Heathcliff in Wuthering Heights. Not all love stories end well! Not all tragedies are romantic tragedies like Titanic or Romeo and Juliet! Sometimes love doesn't have so clear a role in saving the day--but it could have, and that itself is the tragedy.

Sejanus: Wounded Sons Bearing Sins of the Father

Yes, Coriolanus is self-focused and self-centered. He is constantly thinking of how certain aspects can benefit himself, how he can restore his family's name and honor, how he can end up on top. He clearly feels the tear between a mother who died in childbirth and a father who had high expectations, but whom Coryo can barely remember.

However, I'd argue that as portrayed in the novel until the last quarter of the story, Coryo's self-centeredness is not a sign of narcissism so much as it is a realistic portrayal of a traumatized child.

You see, children are by nature egocentric, and Collins portrays this well in her books. They don't understand that the world is greater than what exists in their mind, and grow to understand it more. Coryo is stuck in one place (the Capitol), starved, loses both his parents, and understandably, doesn't really see outside of his own perspective until he meets Lucy Gray.

This marks his chance to open his mind. Coryo actually gets an Empathy 101 course from the story: he rides in the filthy car with the tributes, gets dumped unceremoniously into the zoo, and then gets sent into the arena. The story repeatedly challenges him to open up his mind, and he starts to do so, only to fold back in on himself at the end.

But what if I told you that Coryo is at least on equal standing in terms of self-centeredness and only thinking about how he feels with another significant character (who also is working through trauma and the burdens placed by a father). Yes, I'm talking about Sejanus Plinth.

But wait, Sejanus wanted to stop the Hunger Games!

Yes, he did. He went about it in the most immature way that ultimately just harmed everyone around him. Marcus, whom Sejanus didn't fully empathize with. His own parents and Coriolanus, who almost got killed when he's forced into the arena to save him. Coriolanus kills Bobbin doing so, and is traumatized by it. The girl locked up. Sejanus doesn't think his plans through.

He's not a bad person. His goals are noble, righteous even. But he, like every young activist ever, doesn't fully comprehend the effect his actions have on others, doesn't comprehend that good intentions don't justify the means, and that a righteous cause doesn't mean innocents can't get hurt through it. And while it sounds like I'm being harsh on Sejanus, these ideas are all thoroughly explored in the main trilogy, so I'm guessing Collins was very aware of this and Sejanus is intentionally a parallel to Coriolanus.

Actually, Sejanus isn't just a parallel. He symbolizes a part of Coryo, the heart to his wisdom. If they'd combined forces, they could have changed the world.

I'd also argue that people who think Coriolanus never cared about Sejanus are misreading to the same level as people who think Katniss never really cared about Peeta. They aren't reliable narrators. Coriolanus looks at him with a certain disdain, yes. But that's because he's uncomfortable looking at his child self, being vulnerable, traumatized, humiliated, and poor. Yet Coryo warns him over and over again when he doesn't have to.

But that's wanting control!

Well, yes. Where do you think pathological needs for control come from? Often, it originally starts as genuine concern from a traumatized person who has had very little control in their lives and has no idea how to express it as concern.

Sejanus is also, in Jungian terms, Coriolanus's inner child. Sejanus is constantly focused on his childhood and outspoken about it, while Coryo is actually the same way but not outspoken about it. He represents the trauma of war, the difficulty relating to parents (even though Sejanus has parents, and Coryo does not), the desperation to both grow up and find one's own identity, stand up for what you believe in, and to please the parents who gave you life.

So when Coryo eventually turns Sejanus in, he in essence dooms himself, though he naively doesn't think this will happen. He--rather childishly--assumes that Sejanus will just be in trouble but that his daddy can bail him out. After all, that's what's always happened before. His parents are powerful. He even writes to Sejanus's parents asking them to help.

Except, at some point your parents can't save you. I do read Coryo's trauma after Sejanus's hanging as genuine--he vomits and clearly feels guilt. He wanted a parent to rescue him, but none can.

Even as Sejanus dies, he cries "Ma, Ma, Ma!" for his mother. The tragedy is that by killing Sejanus, narratively, Coryo ensures that he will never allow this wounded child within himself to grow up. The loss of his parents will never heal.

Coryo ending up being essentially "adopted" by Sejanus's parents who completely miss his role in their son's death symbolizes him not growing up, because he cannot ever be really honest with them. He's not integrating with Sejanus and becoming more himself; he's lost his identity. He gets parents, but they're a lie, and he'll never experience the love and comfort of parents that he's craved.

He also then carries out his father's legacy of the Hunger Games, trying to please a ghost rather than real people around him. He chooses the dead, not the living.

Dr. Gaul and Casca Highbottom: Fear

Fear is the opposite of love.

This idea is Biblical and also pretty much embodied by the philosophy of Dr. Gaul, the woman Coriolanus hates, is absolutely terrified of, but becomes just like. It's no coincidence that Lucy Gray and Dr. Gaul are constantly pitted as opposites in Coriolanus's mind, because they represent his two potential paths in life.

Dean Highbottom traced the silver rose on the compact with a finger. “So, what did she say when you told her you were leaving?” “Dr. Gaul?” Snow asked. “Your little songbird,” the dean said. “When you left Twelve. Was she sad to see you go?”

Dr. Gaul is actually a manipulative abuser. She isolates Coriolanus from his friends by strategically alienating him from Clemensia. She sends him into the arena to save Sejanus, reinforcing to him that she has total control over his life. She, like Highbottom, knows the truth of his family situation and exploits it.

She thrives on chaos and cruelty, using the fear of her students, and Coriolanus's particular fear of her, to create a bond and further her own malicious aims.

The irony is that Coriolanus is capable of cruelty and manipulation. We know this not just from the original trilogy, but from his whole persona in the story. Dr. Volumnia Gaul is Coriolanus's Jungian shadow, the part of ourselves we try to repress and deny.

However, the only way to healthily handle the shadow is to accept it. Coriolanus instead murders it and thus it consumes him. In the end, Coriolanus becomes most like the person he fears most: Dr. Gaul. It's a tragically childish way of protecting oneself.

You see, I said murders because Dr. Gaul isn't his only shadow. The other shadows are present in Casca Highbottom and in Coriolanus's own father, whose shadow Coriolanus is constantly trying to live up to.

He doesn't understand Highbottom's hatred of him, which is a projection of his inability to understand his father's loss as a child. He tries and tries to embody whom he thinks his father would like him to become, and he tries and tries to win Highbottom over. When Highbottom comments about Arachne's funeral being over the top, Coryo assumes he's actually trying to bond with him, and admits he felt the same way--a lowering of the guard. Instead, Highbottom informs him that he's just like his father, using that one moment of vulnerability to tell Coriolanus he's a bad person.

“My condolences on the loss of your friend,” the dean said. “And on your student. It’s a difficult day for all of us. But the procession was very moving,” Coriolanus replied. “Did you think so? I found it excessive and in poor taste,” said Dean Highbottom. Taken by surprise, Coriolanus let out a short laugh before he recovered and tried to look shocked. The dean dropped his gaze to Coriolanus’s blue rosebud. “It’s amazing, how little things change. After all the killing. After all the agonized promises to remember the cost. After all of that, I can’t distinguish the bud from the blossom.” He gave the rose a tap with his forefinger...

The irony is that Highbottom ends up creating a tragedy of his own. In assuming Coriolanus is just like his father, he helps shape Coriolanus into becoming exactly just like his father. He reinforces to Coriolanus that he can't trust others. When Coriolanus murders Highbottom via his addiction (something he can't be free from), he allows his shadow to consume him.

Our assumptions about people shape who they become. This is at the core of the novel's themes, but it's also countered by Lucy Gray and her internal freedom.

Lucy Gray: Performance and Freedom

If Sejanus is Coryo's inner child and Highbottom/Dr. Gaul are his shadows, then Lucy Gray is his anima, in Jungian terms. Anima literally means "soul," and Lucy Gray does symbolize his soul (symbolism isn't literal--she was her own person, and that's part of Coriolanus's downfall: that he can't accept that).

Lucy Gray starts off the series as a child singing as she's dragged away to die, and in her Coryo sees himself. Him greeting her with a rose is a symbol of him acting like his own mother (as the roses are associated with her--the powder tin, etc), and him entering the truck and then being unceremoniously dumped into the zoo is not only a chance to empathize with Lucy Gray (which he actually does), but to see his own circumstances from a new perspective.

Being a "Snow" isn't a gift even if it seems like it is. It's a prison, and more than that, it's a zoo. People gawk at him because of his name, but in reality he's starving and desperate to survive even after the war. Him being locked in there and then seeing what Lucy Gray endures at the zoo is him being given the chance to look at his own circumstances as a child locked away in the Capitol and starving.

Coriolanus sitting and eating with Lucy Gray as an equal is a sign of maturity, and so is his determination to sneak her food and keep her alive. Yes, it's a bit egocentric in a childish sense, but he's literally a teenager.

While Coriolanus will later lose himself to the fear that Lucy Gray is just performing in her relationship with him because it would save her life (and I've read some interpretations agreeing with this, which I don't think the book supports at all), the irony is that Coriolanus Snow is performing too. Every action he takes he thinks about how it will appear--and that's not just with Lucy Gray and his role as a mentor in the Hunger Games. He's stuck performing too.

Both Lucy Gray and Coriolanus are both performers, and more than that, they have to play the role the Capitol gives them. The Capitol says Lucy Gray is District 12 and has to die for that, but Lucy Gray is actually Covey and never participated in the war. Coriolanus is a Snow and that commands respect and expectations, yet his family is actually still starving and on the verge of eviction. Neither neatly fit in the roles the Capitol declares they are based on heritage and setting, but they have to endure the expectations and burdens of those roles nonetheless.

However, Lucy Gray finds freedom in performing her songs and culture. Performing doesn't equate to fake, and once you strip the layers of someone, you can trust them even in their performances.

Coriolanus also faces a way to use his background and performance to help, and he does use it to save Lucy Gray in the arena. He also has multiple options of which Snow he wants to become: his mother. Tigris. Grandmama. Or, his father, the one he actually thinks about the least until the end.

It's Lucy Gray's free spirit, the way she turns her prisons and performances into art, that draws Coriolanus in. Yes, when he kisses her at first he does think of her in a jealous, possessive way. Given his background and given that he's a teenager, that's not abnormal. He's been trapped in one city his whole life.

So when Coriolanus is sent to District 12, he symbolically has the chance for freedom, too. He could choose to open his mind in the districts, to freedom. He has a chance.

Sadly, he hangs, lies to, and then shoots his chance.

The Hanging Tree

So, anima has four stages.

Eve (mother)

Helen (romantic interest)

Mary (religious devotion)

Sophia (wisdom, guide to the inner life)

In the beginning of Coriolanus's relationship with Lucy Gray, he associates her with his mother (the rose, the compact). He even gives her his mother's scarf (yes, there's some Oedipal imagery). Highbottom even calls it out:

“Your pretty, vapid mother, who’d somehow convinced herself that your father would give her freedom and love. Out of the frying pan and into the fire, as they say.” “She wasn’t” was all Coriolanus managed. Vapid, he meant. “Only her youth excused her, and, really, she seemed fated to be a child forever. Just the opposite of your girl, Lucy Gray. Sixteen going on thirty-five."

Then he goes on to see her as someone he's pursuing romantically... and then he loses himself when given the chance to explore the religious devotion (so never approaches a wisdom phase).

See, as Coriolanus and Lucy meet up to flee, this happens:

“It’d be nice, in my new life, not to have to kill anyone else.” “I’m with you there. Three seems enough for one lifetime. And certainly enough for one summer." ... “Can you get this out?” He held out his hand, wiggling the compromised fingernail, hoping to distract her. “Let me see.” She examined his splinter. “So, Bobbin, Mayfair . . . who’s the third?” His mind raced for a plausible explanation. Could he have been involved in a freak accident? A training death? He was cleaning a weapon, and it went off by mistake? He decided it was best to make a joke of it. “Myself. I killed the old me so I could come with you.” She plucked the splinter free. “There. Well, I hope old you doesn’t haunt new you. We’ve already got enough ghosts between us.” The moment passed, but it had killed the conversation.”

Lucy Gray offers him the chance to confess. To trust her with the worst parts of himself. To truly be free.

And he lies, and in the end she removes the splinter like a mother removing one from a child, not as a person forgiving and setting another free.

The moment Coriolanus killed his future as a healthy, healing adult, was when he didn't take responsibility for Sejanus, when he says he killed himself. The irony is that this sentence itself kills Coriolanus''s development. It kills Lucy Gray's ability to trust him.

Coriolanus then embodies the lyrics of "The Hanging Tree."

They strung up a man They say who murdered three

He murdered three, and has strung himself up.

Are you, are you Coming to the tree? Where I told you to run So we'd both be free

He's fleeing with Lucy Gray, aiming to be free together.

Are you, are you Coming to the tree? Wear a necklace of rope/hope Side by side with me

In the books, it's "rope;" the films turned it to "hope," and Collins would have known about this by the time of writing this book. Hence, the scarf Coriolanus gave Lucy Gray that she leaves for him to find, and that this is the section of the song the mockingjays sing when he's hunting for Lucy Gray in the ending.

They are both hanged men, and him more so than her. Yes, Lucy Gray is never able to leave the arena, still afraid that everyone is trying to kill her, but she still has a sense of self. And Coriolanus, being part of the Capitol, is partly to blame for this.

Worse, Coryo lost his sense of self. He sees a snake and assumes she's trying to kill him, but it wasn't venomous, and the reader pointedly never knows whether it was deliberate or not.

Because Coriolanus cannot control Lucy Gray. She has herself, and she's chosen to be free. He can shoot up her sanctuary and make the rest of the world pay for his own mistakes, but he can never control her.

In the end, Coriolanus becomes both his parents. His better nature, his chance to grow and have freedom and love, his chance to live a new life, dies at the very moment he could have given birth to it. And he becomes a cruel, calculating war criminal.

And in the end, The Hunger Games as a series reinforces its main theme: hurting children forced to hurt children because the adults around them had petty conflicts.

[thesiltverses]

If there’s a list of books or plays or movies or tv series that influenced Eskew/TSV what’d be the top 10?

Probably different every time someone asks! But today let's go with...

Kafka's Castle / Trial / Penal Colony / Metamorphosis, Ligotti's Kafka-inspired stories (e.g The Town Manager) and other semi-adjacent absurdists and brilliant weirdos (Daniil Kharms, David Lynch, Hans Henny Jahn, Kobo Abe, arguably Fernando Pessoa?) who like to deal with social performance, human reaction and the pretence of normality in the face of unbearable strangeness, monstrous impositions and nightmare logic

Beckett's Happy Days / Endgame / Not I / WfG / Malone trilogy for the tragically pointless but inescapable search for meaning and fulfilment in ourselves, in our memories, in other people, in this wasted landscape, etc

Junji Ito's Uzumaki / Gyo / Amigara Fault / other stuff for powerfully making the argument that ludicrous horrors are also terrifying and gross horrors are also hilarious

Works that explore the helpless terror and allure in being horribly transfigured into a final shape that makes sense of us (The Fly / Videodrome, Annihilation, Ovid's Metamorphoses, Society, Ito again) or relatedly the shameless joy of setting fire to our social and familial and societal environment and embracing the wild, devilish, bestial and profane (a lot of stuff, but I'm thinking of the works of Angela Carter and Leonora Carrington and also The Witch and Carrie, that one Clarice Lispector book where she eats a bug)

Dostoevsky's Devils, Crime and Punishment and Notes from Underground for his unsurpassed collection of asocial self-obsessives having an existentially bad time and handling that poorly

The 1973 double bill of The Wicker Man / Don't Look Now for exploring the tragedy and horror of how our search for meaning may entrap us into a dead end of meaningless horrors

All of LeGuin's fiction but particularly The Dispossessed and Omelas.

The Wire for its peerless portrayal of a cast of complicated and largely unheroic human beings all attempting to either reach or destroy one another but who are ultimately all adrift and alone in the modern supersystem. The Wire and The Lives of Others for affirming the worth of even futile and powerless to support others who are suffering within that supersystem.

Any and all shit about strange and awful environments which may possibly possess a malevolent will or which are perhaps merely beholden to their own natural laws and we are the ones drawn to destroy ourselves within them (The Stone Tapes and many of Nigel Kneale's other works, The Children of Green Noah, The Haunting of Hill House, Roadside Picnic / Stalker, The Terror, The Minpins, Annihilation again, The Island of Morel, I know House of Leaves is a perfect fit for this but personally I always found it a bit hacky)

Riddley Walker, A Canticle for Leibowitz, and other post-apocalyptic work - to some extent Mad Max and the better Fallout games apply - that find the value and humanity (while recognising the potential for self-destruction) in our absurd efforts to construct meaning and to tell meaningful stories from out of the ruin and chaos all around us.

There's other stuff - The Silt Verses steals a lot of its initial atmospherics from True Detective Season 1, both shows are inevitably in dialogue with the mechanics and themes of Lovecraftian cosmic horror even if I wouldn't call Lovecraft a positive influence - but that's a pretty good list, I think.

[loungemermaid]

The Hunger Games trilogy from Peeta’s perspective really is the most insane genie level wish fulfillment I’ve ever heard. He gets the love of his life, marries her, has babies with her, and in the process starts a revolution and it only cost him his leg, his sanity, and his whole family.