#which can be deadly but since reading so much abt them for several years

[starlit-eudemonia]

I think I’d be more terrified if Ocudeus was a colossal squid or giant squid. That inspires thanatophobia at its worst. They can be thirteen meters long 😭😭 (43ft) and their long ass hand tentacles freak me out. Also found that colossal squids have barbed suckers and giant squids’ have serrated edges. Um-nope.

[nabrizoya]

honestly would LOVE to hear your thoughts on the nikolai duology because i really only see blanket praise or blanket hate for it whereas I see a lot of wasted potential. Bardugo's actual writing was beautiful as ever for the most part, but the choice of the plot/beats feels baffling to me. I love Nina, but her parts felt so separate from the rest of the book until the very end, and even that felt off. I liked the first 2/3 of KoS enough, dealing with the monster, political tensions, 1/2

and even the cult of the starless saint was at least interesting because dealing with people trying to rewrite the narrative of their greatest enemy (who hurt these young leaders in deeply PERSONAL ways) was really compelling (making him literally come back was. a choice) but I feel like somewhere in the last third, KoS went in a wholly differeent direction, and RoW has this vibe of feeling like she definitely wrote it after reading the show scripts or even seeing some footage. idk. 2/2

I will try to be brief (1/12)

Hey anon! Thank you so much for asking this even though it took 38756588247834 years to answer this I’m so sorry !! The Nikolai duology was good—wonderful too maybe because of the myriad of themes and topics it discussed and explored, all in addition to how beloved these characters are. For me, it’s the end of KoS as it is for you, and the entirety of RoW in particular that irk me the most.

I have very little issue with KoS, and I agree with everything you’ve said. The political tensions, the sort of urgency in trying to secure a country at the cost of personal reservations, preparing for a war that seems unforgivably near the door, etc. was all thrilling. After all, it is the first installment in the duology, and it’s supposed to set the course for the upcoming books.

KoS managed to introduce the stakes and the circumstances, lay the rails for what the characters will face and what it might mean to a vast set of entities connected to the events. And it’s hardly out of sense to expect Rule of Wolves to pick up where the previous book left off and carry forward the themes and plot points introduced in the first book.

Except, RoW failed spectacularly in that aspect.

Rule of Wolves: the second book, and the supposed finale to the Grishaverse and the Nikolai duology; it fails to continue the other number of threads that KoS set up for it, effectively compromising the characters, their characterizations, the themes and other political tensions and stakes. The due importance that should be given to the heavy set of topics that get brought up in the povs are not through, nor are the small details that Leigh added to the conversations evolve into something worth talking about, which are the actual points that could have been given some more page time to explore than just making them facts or points of nostalgia for the characters.

If you take a step back and analyze the whole timeline, events, characterization, objectives of the arcs and the plot points etc. etc., all the way from Crooked Kingdom to Rule of Wolves, there’s so much that is left out and tied in, quite haphazardly, which leads me to believe that Leigh wanted to attempt writing a duology that is more plot-driven than it is character driven. And we know that Leigh writes character driven stories brilliantly, and SoC, CK and TLoT are testament to the same. Heck, even TGT has more consistency than whatever TND has.

So, objectively? Plot possibilities? Characterization? Potential? Personal goals? Addressing the very serious themes it brought up, in little or major light, but give no proper elaboration about them?

The lost potential readily compromised the characterizations of many characters, and it all amounted to their arcs being very underwhelming.

I’m dividing this into four parts and here’s the basic outline.

Writing and Plotting

The Plot, Possibilities and Potential.

Characters, Characterization, Character Potential.

Remedy (what I think would've worked better to tie this all up)

This can get very looong, so be forewarned.

I. Writing & Plotting

Now, Leigh Bardugo’s writing is exceptional, no doubt. The sentences are short and flowy, and convey the tone, psyche, environment and the setting and its effects on the pov character marvellously. It's also immersive. It’s the same in Rule of Wolves, except, a little or a lot weaker.

The two main parts of this is that one, that Leigh slightly overdid showing a lot more than telling, and two, that the RoW (and perhaps KoS too), was more plot driven than character driven, the latter of which is actually Leigh’s strength.

In Rule of Wolves, Leigh’s writing seemed very choppy and snappish. The descriptions were lacking, or maybe that’s just me wishing for more internal conflict and dilemma, and going back and forth in one's own head for a bit. It felt like she showed more than she told.

Example being how Zoya ‘snaps’, ‘drawls’, ‘scoffs’, or ‘scowls’ less, and even if that’s supposed to be show Zoya beginning to be a little less unpleasant than she usually is, the tone in those chapters was not strong enough to distinguish how and why the character was acting a certain way. Nor pinpoint an explanation on what brought that change about. (And there were many instances like this with many other characters), which resulted in the characters themselves feeling so off to me.

Leigh’s characters are important to the story. They carry tremendous weight and actively contribute to the plot. Except, by focusing a lot more on the plot, some parts of these characters’ relevance was not up to the mark. It is greatly due to how weak the plotting and pacing of the book was, tbh, more than just her writing.

Consider: Mayu Kir Kaat. She is integral to the story, but she is thrust into responsibilities, and that doesn’t give us much time to see her as a person, and then as a person with a duty, like we see with most other characters. Whatever parts of her we did see were very circumstantial and timed, which is probably the reason why not many we’re unable to appreciate Mayu as much as we should. (Maybe fandom racism also plays a part, so, well,,,).

Like, we know from Six of Crows and with The Language of Thorns, how great care went into describing the characters’ state of mind, which further heavily influenced their choices and decisions. This time though, I think she wanted it to be more plot driven, hence the whole crowded feeling of the book and general worry about oh my god too much is happening, how will all this be solved and all that.

And this, I think, greatly hampered Leigh's writing, leading to unsettling and rather unsatisfying character arcs. Not to mention that there was quite little space given for the characters to develop or let them grow in a satisfying way which touches on most of the elements and themes that get brought up with regard to their powers and potential,,, and when it was indeed brought up, it was all in vain since they were never followed through.

That's one of the biggest problems for me in RoW: Plot points brought up in KoS were not brought forward in RoW.

II. The Plot, Possibilities and Potential.

Phew. Truly buckle up because this train has too many coaches. And to discuss them all, let’s keep the starting point as Crooked Kingdom.

a) Parem

Now, by the end of Crooked Kingdom, we know some important things about the parem.

It's dangerous asf for the Grisha who have to sacrifice their will and capabilities for a short time superpower high that they didn’t even ask for

Which means they are more often than not forced to consume the drug

Shu Han is the creator of the Parem and are also creating a new kind of soldiers called Khergud (who additionally require Ruthenium, but we’ll talk abt that later)

Fjerda snatched the formula after kidnapping Bo Yul-Bayur, keeping him away in the Ice Court and in their possession, and used the Parem to further their own heedlessly heinous agenda

I think it’s easy to understand how KoS started off on the right track, considering that Kuwei Yul Bo is mentioned, the antidote and jurda is brought up and so come the political tensions alongside it (what with the impending war, the demon, the lack of funds in the coffers and security and peace for the country alongside safety for the Grisha).

The point is, parem is a character of its own. CK was its inception, and its fate was decreed along with its lifespan and its doom. Ideally, by the end of RoW, parem should have been vanquished while addressing its nature as a deadly drug, the addiction and aftermath, and the key person who will guide the plot: Kuwei Yul Bo.

Parem is a political tool that pitted countries against each other, making one another their allies or enemies. (Though parem is not the only one factor). Ravka doesn’t yet know about Kerch’s neutrality. The Shu made their move to assassinate in the end, just as Fjerda cleared the air about their goals.

Point is, parem is weapon, a new kind of warfare that keeps getting alluded to in KoS. The first book gave a glimpse of how the Shu and Fjerda are using parem, thereby exploiting, prejudicing etc. the Grisha in their countries. Khergud whose humanity is washed away with parem + ruthenium, and the Fjerdan Grisha (are targeted) drugged and exploited while be subjected to torture, training and imminent death, parametres of these outcomes being severely gendered.

Ravka too wanted to weaponize it and create a usable strain that would still give the Grisha their powers but at a minimal cost, until Nikolai’s conversation with Grigori convinces him out of it and to use only the antidote for the Grisha.

And when are the contents of this conversation brought up again?

Never.

Another aspect of parem (that the conversation also covers) is this: that what was once merzost, parem is its strange cousin. Parem parallels breaking the bounds of Grisha norms unnaturally, while merzost takes it a step further to break the bounds of nature itself, which comes with a heavy price. They're both the same with little differences. Amplifiers are in tune with this discussion, hence the conversation between Zoya and Nikolai about how, and whether or not the abomination in him, the parem, and the amplifiers are tied together. This gets brought up again in the conversation with Grigori.

Parem parallels the superpowers, something that Zoya too manages to achieve once the corruption of the amplifier business is resolved, which makes her realize how in tune with nature the Grisha must be, and how limited the Grisha powers until then had been. And why the amplifiers were a corrupted piece of magic.

Zoya was supposed to be the conduit in that sense that she reversed the Grisha norms and understood the importance and nature of small science. This is alongisde parem getting abolished or resolved in the least, be given a redressal.

Yet instead in RoW, we barely see any of Zoya’s powers, nor even her experimentation and hunger for power which would give her protection. We don't see how she begins to realize that while power was indeed protection, it was also a responsibility. Not clearly, anyway.

So like, not only is this entire discussion thrown away in Rule of Wolves, but no matters are resolved either. Parem did not reach its end like it was supposed to. Merzost with regard to parem would have been an excellent thing to address, with or without the Darkling being present, because the blight is there. But that doesn’t happen.

What happens instead? We get one chapter of Grisha getting the antidote during the face off at the start of the book, the women in Fjerda are not brought up again and instead we jump to Shu Han. Kuwei is also conveniently forgotten because hey, the Zemeni are here so it’s all sorted!

RoW could have (should have actually) sought to address both the political and medical (?) aftermath and implications. Maybe it did succeed in showing the political side of it, with regard to Mayu, Ehri, Makhi and Tamar’s storylines. But that’s only in Shu Han, whose state of affairs we had NO idea of until RoW. No idea, so much that it was completely out of the blue.

And what we did know (get to know about in KoS) is Fjerda and the affairs there remained… unsolved.

(...sorry).

b) Grisha Powers

Re: From the conversation between Nikolai and Grigori, and Juris and Zoya, about how parem and the amplifiers are parallel to each other in terms of being abominations, a corruption of Grisha powers. Now the theory of it is not entirely explained, but we do know that the parem and whatever Zoya learnt from Juris was meant to move along in the same direction.

But we don't see another mention of it, except maybe we could dig a little deeper and realize that it all adds up because Zoya is the Grisha Queen of Ravka, Summoner, Soldier, Saint, all of it rushed and unnecessarily magical in a war so dire and realistic in RoW.

Welp.

c) Spy business

Just… genuinely what even was Nina up to in RoW? A spy, sure, but only to garner information on the pretender?

Why couldn’t there have been two responsibilities for her to uncover: the lies or truths about the pretender while the Apparat causes hindrances, and Nina trying to seek out more documents of the locations and labs where the Grisha women are being tormented and the other Grisha being weaponized? It could have been a leverage to discredit Fjerda in front of everybody in the Os Kervo scene. Imagine if Nina whipped out the documents of Grisha labs and brought the truth of the exploitation and killing and kidnapping etc. in front of the convention of all nations. All of it together would have upped the political tensions by quite the notch.

Even then, there’s a possibility that it wouldn’t matter either because the Grisha aren’t exactly valuable to all the nations. But killing and exploiting is still wrong so maybe it might have worked? Or see, even if it wouldn’t have, the slow and sluggish realization of Mila’s identity by Brum, and alongside writing it as a tragedy where Nina’s efforts seem to have gone to waste, or where Nina is telling Zoya about not accounting for Prince Rasmus’ word and she informs her about the documents she has snatched? Something could have been done here?

The point is, KoS focused on Fjerda and its unraveling, and it wasn’t continued with and through in Rule of Wolves. Instead it sought to find the problem in a whole new country, Shu Han, and fixed it within the same book leaving the other country as it is.

d) Ruthenium and the Blight

Ruthenium, the metal that is an alloy of regular metal and Grisha made steel, could have been utilized more significantly in the books.

I mention it in association with the blight because while on one hand it is true that the blight is an area full of nothingness, ruthenium as a metal could have been utilized to show the effects of rushed industrialization that is leading to the ground losing its essence. This is supposed to be advanced warfare after all. Besides, Makhi loses someone very dear to her. Perhaps ruthenium is more dangerous in Shu Han because the Shu use it to create the khergud, so the constant manufacturing of it has been leading to the metal leeching the lands of their fertility, along with the blight.

And so also to broker peace, Ravka could have provided aid in some ways. :

1) The Darkling sacrificed himself, as a result of which the blight vanishes. While the blight took away her niece, the possibility of a blight persisting despite the ending of RoW could be attributed to ruthenium.

2) Ravka could provide the reversing effect to the alloy of ruthenium and metal using Grisha and otkazt’sya engineering and ingenuity to replenish the lands.

All in addition to whatever will be Shu Han’s policies to bring lushness to their lands.

e) Women and War:

Holy fucking Shit, where do I start with this?

Whatever we saw in Fjerda was haunting, and we see it from Nina’s chapters. There’s literally no resolution for it, nor is it ever brought up again, at all. In Zoya’s chapters, we see through her eyes the brunt that Grisha faced with the war, and in a country that has refused to recognize Grisha as the citizens and considers them expendable.

Add to it her own narrative of how the women are never mentioned, let alone the ones that she has lost or has known to suffer, at the hands of the war, at the Darkling's torture and powers. The description of these women suffering, often being forgotten and thrown aside as mere casualties… where or when was it ever going to be brought up again?

Like, switching between such horrifying things happening in Fjerda to whatever was happening with Zoya and Nikolai and Isaak is such a contrast, horrifyingly demeaning and insulting, even more so when it failed to align with the importance of parem and offer a solution to both these problems.

Now switch to Rule of Wolves, where the Tavgahard women immolate themselves on Queen Makhi’s orders. Not only is that such a cheap and insensitive thing to do, it gets treated a simple fucking plot point in the book, and it barely gets addressed afterwards. Women in Asia have a vastly complex and complicated history with fire, and this is a serious criticism that culturally affects readers in personal ways. And what gets done about it? Fine, Zoya feels baaaad, sorry oops why would the women do that?!?!?

Where is the adequate sensitivity to the topic? Where is the continuation of the pain Zoya feels for many people, despite them being the enemy? How does she honour them? Where is all that dilemma and pain? Why does she not think of them or just get a line or two to talk about them?

Where is the due importance for this suffering given? Structurally and culturally?

f) Soldier, Summoner, Saint / Yaromir the Great

We never really get any explanation for why Zoya deserves to be the Queen, and why she is the best. But we do get to see why Nikolai isn’t the one supposed to be on the throne, and it’s not just because of his parentage but also because of his failings and doubts and the need for acceptance with the secrets he carried.

Here's the thing though; it’s not just about her showing mercy. It’s very subtle, and in good sense, should actually have been given a little bit more importance that be loosely brought up at random times.

Keeping aside the fact that Zoya is representative of Ravka—a woman, a Grisha, a Suli girl who changed the course of war and who knew what it was like living in poverty, being as an underprivileged person of the society in addition to the trauma from then and the state of living at her aunt’s place—which is meant to be covertly apparent, the other reason tracks back to Yaromir the First, who with the help of Sankt Feliks of the Apple Boughs—the one who raised the thornwood—lead Ravka at that time into the age of peace.

The Darkling testified that in his POVs, that while Feliks and Yaromir worked in tandem for Ravka, Aleksander worked for safeguarding the Grisha. In one sense, Zoya is supposed to reflect that moment in history in the present moment, except she is Queen and Sankta, and Grisha, all three at once.

It is brought up in one of the Darkling’s POVs and once in the conversation with Yuri in KoS. Other than that, we never actually get any more hints of this explanation in the text, which is the reason why the entire ending felt so so rushed, and like a fever dream, that even if it was a plot twist, it was kinda very baseless when it should have been more ohhhhh sort of a thing.

g) The Starless Cult and Saint Worship

This cult had immense potential to blossom into many things, some of which were indeed touched upon in KoS when Zoya says that she saw a bit of herself in Yuri, and brings up time and again how easily she’d been led and had not been aware enough of what’s right and wrong, just as she supposes Yuri is too. And to some extent, there is truth there, because in the Lives of Saints, we do see why Yrui comes about to hail the Darkling and how it parallels Zoya’s, of being helpless and ten being saved by a different power/ their own power, respectively.

That’s where it forks, that Zoya is older and realizes the path that Yuri has chosen and understands that it won't happen until he realizes it himself because the Darkling’s crimes are so obvious.

Even then, there’s still more potential: This cult could have been the mirror that would make Zoya reflect on the questionable methods of the Darkling, and the ways in which she might be mirroring them, despite or not it is the necessity because of the war. How she is training soldiers too, just as the Darkling did, and while the need to take children away from their homes just as soon as they were discovered Grisha was abolished, it was war, and they needed soldiers.

So like, there’s quite a big narrative going on here, how mere children are pushed into one path of becoming a soldier and the whole system that was that the Darkling followed to train the Grisha and all of that. All of this in addition to the juxtaposition to the Grisha being seen as elite despite them being hunted, and the people who are not Grisha frowning upon them. This is also the work of the Darkling, which actually paves the way to see how there can be a world where the Grisha are not feared or seen as abnormal, despite or not they are given a Saint-like narrative.

This cult could also have been the segue to discussing Yuri and his brainwashing, and the sort of cult-ish behaviour of believing in something firm when you couldn’t believe in yourself, or not seeing the magnitude of the crimes of their supposed Saint, alongside always staying focused on becoming a soldier only and never actually thinking beyond what is told.

Some of these are very subtle and some are brought up, but never given too much of an explanation.

Genya brings up another good point in the funeral chapter, about how Fjerda seemingly taking into the whole Saints thing could mean that if the Darkling moved there, he could very well sprawl his influence there to bring in supporters. Which leads to another discussion that gets brought up towards the end of the book: about Nina telling about the Ravkan Saints to Hanne and therefore to the Fjerdans,,, which doesn’t exactly sit right with me. It’s still a very nascent topic, and I think SoC3 will explore this path of faith and personal beliefs etc. but leaving it just there, while talking so much about Saints in both the countries,,, don’t exactly know how to put it into thoughts here.

But regardless, the cult of the Starless had different potential to talk of (blind) worshipping of an ideal without critically examining why the person must be put on the pedestal in the first place (and if it is simply power, then there is actually a narrative right there, which RoW gets right, about the people valuing the power still, as a result of which the monarchy still persists at the end of RoW. Even then, there’s more discussion awaiting there).

Not sure if any of this makes sense, but I’ll leave it at this here for now.

edit: 05/07/2021 | I think what I was trying to say here is that we do not have any kind of narrative evidence to seeing how and why it seems right that the Fjerdans will worship Ravkan Saints; is it merely because they are all Grisha? Or is it because of the segue explore this path of faith and personal beliefs and all of that, of the talk of the monastery and the Grisha there being of all identities, that a monastery is in Shu Han, that it has Djel's sacred Ash tree so far away from Fjerda... much to think about.

III. Characters, Characterization, Character Potential.

Mostly going to be about Nina and Zoya, but I’ll bunch up the rest of them at the end.

a) Nina

*head in hands*

I severely mourned how poorly Zoya was written in RoW, but then I realized that more than Zoya, it’s Nina whose potential was severely undermined and wasted. On one hand, I’m glad she uses her powers and quick thinking,observation and her own tactics to analyze the population and opt for the best way to make them see the truth she wants to show them (eg: making Leoni and Adrik and Zoya saints and also showing that the Grisha are the children of Djel via people’s belief to Joran and Rasmus’s mother).

But then, it’s like you said; her parts were so offbeat and outpaced and completely disjointed, when in fact, Nina is the thread that ties all the characters, their plotlines and potential, together. Nina is connected to Zoya and Hanne, two equally important characters and main characters of the duology. Whatever scope Nina has, they are greatly in parallel to Zoya and Hanne. And it’s all literally there, in the text! What a waste.

Though keeping aside these parallels, Nina’s own journey from Ketterdam to Ravka to Fjerda, while is spoken about, doesn’t touch some other parts that I see potential in. Or this is just meta.

Nina has grief not just from Matthias’ death but also from the loss of her powers as Heartrender. So much of the Second Army was built on being a soldier, and perhaps the Darkling was not outright disdainful of racial differences in his army, yet he still stripped every part of the children away until they weren’t children anymore in his view. They’re all soldiers… (albeit his soldiers, preparing them to do his bidding because hey, give and take right?). Nina was a soldier, and she is a soldier still under Zoya’s role as a General, but an ‘other’ of a soldier. That’s her only identity, and the loss of her powers means that she’s a different kind of soldier.

I imagine that this entire time, some small part of Nina longed for normalcy, or whatever settled as normal for a life like hers. In the sense that she wants to go back, but what is back and where exactly did she want to go back to? What was the before and after and where did things go wrong or change? There’s tragedy in the realization that whatever you were before what you became is not a place you can return to, and that’s a different kind of loss that she has to bear, and all by herself. She has powers over the dead now, a strange power she learns to grow to, but all the places she has been, all the lives she has led and people she had been, everything might seem like they’ve all been locked away in some strange place leaving her barren and indisposable.

She’s off to Fjerda as someone she isn’t, figuratively and literally. In KoS, Nina brings up many times how odd she feels as Mila and in some capacity longs to be Nina Zenik again. This ties in with the previous point of returning to somewhere, but where?, but is also a segue towards body dysmorphia, the thing that Nina and Hanne’s storylines parallel and connect too with in a small way. It’s a great line to follow to discuss what her discomfort with her body means to herself while it means something entirely different to Hanne, who is also not entirely comfortable being who they are. (This discomfort further which leads to gender dysphoria, while for Nina, it will be about learning to accept her powers. I’ll add on to this in a bit,).

I'm mourning the lost potential of that experience being a parallel to Hanne’s own feelings, of a discussion between people being uncomfortable with their bodies, something that can mean multitudes to each person and on their own accord.

In parallel to Zoya, I like to draw it from the fact about Nina wanting to go back to who she was, while Zoya actively tries to lock her past away and drown it somewhere or throw it to the storm, never to hear of it again. She has no identity other than being a soldier, and that’s enough for Zoya, because who she was before she was a soldier is not pleasant. But moving from being just another expendable shell of soldier under the Darkling’s rule, Zoya becomes the one third of the Triumvirate, and then the King’s general, all of which bring self-awareness of Zoya’s capabilities and challenges that are bound to excite her. But all of these also compel Zoya to be many other people to others as she slowly grows to realize that power is not just protection but also a responsibility, and it will inadvertently mean confronting her past of her lost identity, realizing the how of the Darkling, and how harmful it was. As Genya puts it perfectly in Rule of Wolves, that they were all taken away when they were young kids, not even barely children, and then thrust into responsibilities that didn’t allow them to be anything else other than what the Darkling told them to be.

Back to Nina; a few other great parts about Nina’s arc could have been about her connection to languages, as language being a mode of strengthening identity, in addition to growing to her powers. In RoW, there’s this line that goes ‘how sweet it was to speak her language [Ravkan] again’, and the feeling of homesickness. Like, Nina is trying to connect to Ravka through what she knows best—language, and then stories. In that, Nina realizes a part of her identity, which could also act as a segue to Zoya reclaiming her own heritage and ethnicity. Not only that but Zoya and Nina’s stories are literally so intertwined that it’s hard not to see how their choices and line of thought affect one another’s arcs, in the grief they have and how they choose to treat it, and also show why Zoya is particularly protective of Nina (and keeps wishing that she doesn’t become the monster Zoya had become, in the sense that Nina is more mature in handling her grief than Zoya was and the entire mercy plotline ties Nina, Zoya and even Genya together. More meta, haH).

And that’s why the ending doesn’t make sense. Even though the part about her not being comfortable as Mila is not brought up many times in the continuing chapters (and that’s why perhaps naming Nina’s discomfort as body dysmorphia may be wrong), there’s still the part of Nina readily accepting to be who she was a Mila and remain in Fjerda that seems iffy to me. Especially when Nina and Hanne literally a few chapters ago think about running away (it may be just another alternative they might be fantasizing about, but I think it still means that they both want to be their true selves without hiding any parts of it away). So her staying as Mila… well, it doesn’t exactly add up.

I’d also add the part of Nina’s story mirroring Leoni’s, and how she is from Novyi Zem and being a part of the Second Army meant that she had little to no connection with her past, her culture etc. But maybe that’s just wishful thinking on my part that Leigh went for that arc.

edit: 05/07/2021 | I don't agree with my point anymore about Nina not having the kind of ending I assumed she might have, considering that it is very well possible for Nina to treat her identity as Mila as a fresh start, as a Grisha with a command over the the dead and begin a new normal that is suited for her. You can read more here.

b) Zoya

For one, white passing Zoya is not canon to me. I simply pretend I do not see it.

See, her race was handled very badly. Making her half-Suli was supposed to show the struggles and the trauma that the ridiculing of her identity by other people has caused to her. Except, not enough time nor text is given to thoroughly discuss it. Not to forget how problematic of a narrative in itself it is to make Zoya white passing.

It would have made more sense to make her dark skinned and predominantly Suli-looking than whatever yt bs she was put through. Her not being white-passing would have led to conversations about tokenization, or people caring little about her and not giving her any respect because she is Suli. Or being called beautiful to the face and praised just for it or a harmless tumble in their point of view.

So like, instead of making the ‘mistake’ of seeking for acceptance, seeking appreciation and love, from her mother at first and then the Darkling, Zoya instead makes herself someone to be feared, if respect was not what she deserved. The iciness is a part of her and has always been, but all of it soon became a shield, an armour that she vowed to harden her heart with. Just the sheer impact of this narrative and her reluctance, and seeing Nikolai love her for beyond who she thinks she is… if all of this was canon, I’m pretty sure I’d have built a shrine for this duology.

Let’s now talk about her grief, and...

…

Okay it’s not for me to point fingers at how Leigh chose to write about grief because there’s no one way or one proper approach to go through that pain, and if that’s how she chose to write about grief for Zoya, fine! But I really wish we’d have gotten a little more into her head to see how the trauma has affected her thoughts and how she struggles against why and what exactly it is that Juris wants her to do. That enough time and text was dedicated to Zoya’s feelings and the mayhem it caused her, as a result of which the dragon’s eye took its cue and made things more unbearable to her because she was the only one to bear them all.

Like, I feel like Zoya was overwhelmed throughout the book and in between she had some skyhigh responsibilities to discharge and it’s all so inconsistent and poorly woven,,, it completely dissolved her character from KoS and made it 10000000x more miserable for me to read her POVs. And honestly, what even were her assignments that the Kirkus review mentioned? Never an inch of text in RoW is given to decipher her complications of her mind, the muddled sense of hopelessness and fear that grips her time and again. Why overwhelm her so much that you fail to do her mental state and capacity any justice?

I’m not going to be harsh about how much David’s death bothered me-- no actually fuck that; what’s the point? Fine, he died. All because you wanted to make his death a plot device to make Zoya reconcile with loss and deal with it? Where was Genya’s grief? Literally no point of having a death in the book at all, and it didn’t even achieve anything. (I’m still trying to wrap my head around why David’s death was important and maybe if I find some straws, I’ll consider…)

There were so many other ways around it; could have brought back Lada and killed her off, or have the Darkling piss her off so badly or just. Something. Instead of whatever happened with David. I think this is too harsh and insensitive of me to say about Leigh, but still… there’s a myriad of other ways to have gone about it. Helping Zoya deal with her grief with Nikolai at her side, to understand that the rage that was fueled from her loneliness, like it had been in the past, could now be a weight that Nikolai was willing to carry with her… Helping someone with their grief, staying and choosing is also a love language you know?

So in that regard, I won’t regret saying how flat the garden scene was to me. Zoya’s lines, though tinged with grief, were so out of what I would expect KoS Zoya to say. Maybe it’s also because of how bitter I was reading about David's death, despite that part being spoiled for me.

The cost shouldn’t have been David’s death, especially not when his death too wasn’t properly handled at all, and Genya’s grief was never spared a second thought beyond bringing Titanium.

+

Now let’s talk about how Out of Character Zoya was throughout the book. Her punchy attitude was missing, and even if she was warming up to her friends, we see little of the iciness she continues to retain. Another part of this is about exploring her relationships, particularly with Nikolai and her growing feelings for him. I wish we’d have seen them grapple with more of their confusion and propriety, if only for the yearning™. Besides, no matter how cute their scenes were, they were mostly (like maybe some. 70%) awful to read them, simply because it felt so odd to see Zoya be so open with Nikolai, all of a sudden.

A part of this definitely has to be the fact that we don’t know just how much time has passed between the end of KoS and the start of RoW, and we never, never see any description of they regarded their feelings for each other and how they understood it themselves. I don’t actually know how exactly I can put this into words in a manner that will make sense, but the only scenes where I appreciated Zoyalai were in the Ketterdam chapters, ONLY. The rest was… bleh lmao. Their scenes were so cute and brilliant, and if only we’d seen more of the internal conflict and had given some more time for them to practically approach their feelings but still end up in the puddle of it. If only.

Their scenes apart were the good ones, because that’s where we finally see Nikolai feeling the loss, no matter how temporary (on the verge of being permanent since it’s the war), of not having Zoya with him, of not being there with Zoya because who else would it be if it wasn’t her? Zoyalai had good scenes but they barely lived up to the mark lol. Their feelings are never thoroughly explored, nor their mental capacities.

While we’re talking about Zoyalai, let’s also talk about how lame it was for Zoya to say that Nikolai was the golden spirited hero all along, from the very start, when canonically we know Zoya had little to do with him in the earlier books, that she may have only been physically attracted to him and never saw him as more than just some guy with a responsibility to manage, and had sooooooo much distrust about him. And that it was only in the next few years of working with him and alongside did she grow to recognize his efforts and relish in the hope that he was building for Ravka, inadvertently making Zoya hopeful too.

Nope. Instead, we’ll just throw in some destiny bs that he was the one all along rather than show that the beauty of their relationship did not stem what they perceived of each other, but was instead built on strong respect and admiration for one another and their capabilities. 100% destroyed their relationship for me.

+

Some good parts about Zoya’s arc in RoW was how she acknowledged her past mistakes, and the nuance that was touched upon in seeing sense in becoming a soldier from the start, that offered her a chance to be anything other than a bride. That some part of her was grateful for the Darkling for teaching her how to fight, while still keeping Genya’s words in mind about how they were mere kids, children who had only one path to traverse because the Darkling (who wanted their acceptance and loyalty) nor the Kings of the country let the Grisha be anything else other than pawns of the war. That she recognizes her mistakes as a teen and how self centred she was, that her being snotty had at times cost some peoples’ lives too. And she doesn’t take the blame all up on herself, because it’s not hers alone to bear. Super good.

Also, the way Zoya comes to view power as responsibility instead of merely as protection was something cool to read about. It’s not clear in the books, but Zoya actively tried to not be the Darkling while still continuing to build an army for the war out of necessity, and actually sharing some parts of the dream that the Darkling had for the Grisha. I can’t articulate this so perfectly, but the point is, Zoya trying to avoid becoming a tyrant like the Darkling was an active process that she was constantly trying to change, and where Zoya could not recognize her own feelings and inherent thoughts about warfare that in some ways did mirror the Darkling’s, by the end of book, Zoya is much more self-aware and conscious of herself and her power than she was at the start of the book. And this was well done.

+

Now, what is up with YA and making people turn into giants or animals lol wtf. Why couldn’t we have seen Zoya use her dragon powers in a way that symbolizes the conditions of her dragon amplifier and the power of the knowledge she obtained from Juris? She is a Saint, and we’ve seen that their powers allowed them to cause ‘miracles’ and such, as we see at the start of KoS and at the end.

Why couldn’t we have seen Zoya dabble with her newfound powers and completely lose her shit in anger during the wae, only to rein back in mercy, just as someone from Fjerda begs for forgiveness since they see her then as a Saint? Adrik and Leoni used their powers in Fjerda, so having Zoya bring about a conundrum of all orders and do something about it would also have been cool, wouldn’t it? In the funeral scene we see her turn water into ice, thereby making a path for Genya. Why couldn’t we have had more exploration of the importance of the dragon’s eye and the general nausea of being overly empathetic every. damn. time? Why didn’t we get to see her powers? Why couldn’t we have seen her fail in them and realize that the reason she was not perfect was because she was trying to be strong on her own and was not relying on others and joint effort?

Her turning into a dragon was genuinely the most baffling part bc here’s a war that’s so serious and dire with metals and bombs, and then here’s this magic that will solve all of it entirely. Like I’m not saying it was bad, (I am actually saying just that) but I also don’t know what I am saying, except that the ending felt like a fever dream.

…?

Not sure if I’ve managed to convey it properly, but well. Zoya felt out of character throughout RoW, and that the only place I saw KoS Zoya was in the final Os Kervo scene where Zoya finally agrees to be the queen.

c) Nikolai

Nikolai’s arc was very satisfying and brilliant to read about in RoW. In KoS, he seemed very much like a passive character, one of the reasons why his stunt with the Shu in RoW was appreciable, no matter how ill-timed of a plot turn it was. His journey throughout this book was also introspective to see why others deemed him unfit as the King, and even if they were his enemies who thought that in want to dispose him from the throne, Nikolai realizes that him being on the throne is not of much value and that this book was entirely about him seeing his privilege and making decisions to counter and correct the mistakes he’s made. That was nice. Oh, also his father not being an antagonist was a pleasant surprise.

I don’t have many complaints about him, except perhaps wanting some more internal conflict and elaboration about his feelings for Zoya. Them being apart was where it was satisfying, and then in the Ketterdam chapters. His arc could have been better in KoS, but that’s to blame the plot for the characterization.

d) Hanne

Now, from the very start, their arc was super good and it only got better and better until… the ending. Except it’s so odd that Hanne, a poc, has to now live as white person, while feeling comfortable in their transmasc identity. Icky, no? That you need to eliminate one part of your identity in order to feel safe and comfortable about another? Add to this the whole white-passing Zoya thing,,, doesn't exactly send off the right message.

Together with Nina, the ending seems uncharacteristic for both of them. Them coming to accept their powers and knowing to use their powers on their own accord was brilliant, though the entire husband business felt very,,, eh to me, even if it did make sense. The ending about their name and their new identity was too vague.

e) Genya, Leoni and Adrik, Kuwei, Mayu,

Genya is the one who faced the most disservice along with David. While there were exceptional parts to both of their plotlines, it's still sad that even if David's death was necessary, we don't get to see the entirety of her grief and the possible anger, and that her kindness is simply used as the justification for lack of portrayal of grief.

It really did take me by surprise, mostly because I wasn't a fan of the original Shadow and Bone book, but seeing David's conscience and self-awareness, along with Genya's (and Zoya thinking of how she wouldn't let any harm come to them, which shows a bit of her development towards her character development), was plenty refreshing. David and Genya were genuinely the highlights of the book and to kill David off was just. doesn't sit right with me.

Leoni and Adrik deserved more page time. They’re saints and immensely capable (no wonder they’re now the Triumvirate), but a few more pages for them to shine would not only have been nice, but also a necessity.

And now, Kuwei...

....

I mean,,, parem should have been the plot, alongside the entire weaponry and the discussion of making a city killer. But uh… that didn’t happen.

There's not much I have to say about Mayu, Tamar and Ehri, except that their plot was superb, only very badly timed.

There's more to talk about them in the remedy tho.

IV. Remedy

Here’s the deal. Before KoS release, there should have been a Nina novella.

Nina is a very important character. All of her potential, alongside many other parts of her personality--from dealing with grief, to accustoming to her powers, to growing stronger--there could be so much to do with her as a protagonist, alongside another character: Mayu.

A whole book dedicated to Nina in Fjerda with Hanne? Brilliant. Show Stopping. Mind blowing. It gives SO much page time to explore not just Nina and Mayu, Hanne, but also Zoya, Leoni and Inej. All together.

How?

Nina’s plotline carries the entire medical effects of the use of parem, just as Mayu’s will carry the pain she feels about her brother being a part of the khergud program. The novella will give ample time to flesh them out as characters and protagonists, each dealing with plot problems and problems of their own--like the loss of ones powers and newfound responsibilities, and the shared loss of a beloved person in parallel, even if neither Nina or Mayu interact on page.

Fjerda and Shu Han could be tied together with one chapter as a POV from Zoya (or maybe two), who, along with the Triumvirate and Nikolai, are completely at loss with the political scenario in the country, and are debating over what should be the course of action. Zoya receives news from the scouts, and missives from Nina, and Tamar takes care of the information she garners from the rest of the network, including Shu Han.

Like, the entire surprise of finding a Zoya POV, from a character whom until CK we’ve known as cold hearted and stern and not giving a fuck about anything or anyone, be humanized in that one chapter, thereby building up the anticipation for her arc,,, the very potential,,, *chef's kiss*.

And by the end of book, we could have an POV--or maybe a cameo if not a POV--of Inej meeting Nina on one of her travels of slave hunting. Inej could help take care that the women that Nina has rescued (as Nina does in KoS) reach the Ravkan shorelines safely. But, for a price.

The entire parallels between Leoni and Hanne and Nina could be set up, while also building up the narrative for the Saints’ plotline with Adrik's, Leoni's and Nina’s powers (like it was at the end of KoS). KoS and RoW would thereby continue it by tackling the weaponization and the antidote, Sainthood and the rest of the politics of it all.

Coming to Shu Han: one key aspect that I’d love to have explored would be the importance of art, during or despite the war. Of how war or pain chips away culture, while detailing on the ill effects of it from the commoners' perspectives, from the soldiers etc. Art is integral to Shu Han and could be portrayed by Mayu’s pain finding balm in poetry, of seeing glimpses of Ehri poring over poetry also mayri ftw, of politics that Makhi is weaving against Ravka, etc.

Or also add some more length to Zoya’s POV and explore a bit of Tamar and Tolya and Kuwei’s interactions and perspective added to it, of missing a home that they seemed to not know, or know; of discussing culture and differences on the basis of where they’re from (maybe the twins are from the borders, while Kuwei grew up near the capital or somewhere distant from the borders etc.), all while directly pointing at Zoya’s heritage and how it ebbs at her conscience, no matter how much she wants to bury it.

POTENTIAL !!!

Like,,, Nina novella would have been too powerful. It would have been perfect. I think I’d excuse bringing back the Darkling too if this was the case. (Or maybe not).

But welp.

Hey, thanks for reading! Not sure if you could make it this far, but if you have, you honestly deserve a medal for sitting through this all. I can’t imagine how tiring it must be to read through this, considering it seemed to take it more than month to compile this there’s also me procrastinating on it too so i’,mbhbdhshfsdn

Drop an ask if you want to talk more about this!

Sincerely, thank you!!!

[self-shipper-snowdrop]

could u tell us abt mha bronwens quirk?

Oh of course!!!!! It’s been forever since I posted about it, but all BNHA versions of Bronwen have the same one.

Bronwen’s quirk is called deadly bones, and basically provides her with extra limbs and claws made out of bone.

Four of them are very long and spider-like in appearance, and extend from her back (thus why her hero outfit is backless). These can be used to walk around instead of her legs, or for attack purposes as the edges are very sharp. The claws extend from her knuckles, all except for at her thumb, which is why her gloves cover her thumb but not her other fingers or the back of her hand and are slightly sharper than the limbs that extend from her back. These bones are much stronger than regular bone- so they’re tough to break and quite versatile, with a wide range of motion. It’s been said that these bones are akin to- or even stronger than- steel.

Since these limbs/claws are extendable, it gives Bronwen an element of surprise with her quirk. (There’s no scarring on her skin where they extend, those particular spots regenerate with no scarring because her body is adapted to her quirk) and the strength of these bones make it a well-suited quirk for combat.

BUT- THE DOWNSIDES. (I wouldn’t recommend reading this section if you’re sensitive to injury/broken bone talk, or just pain in general- but in short this quirk can hurt like a bitch. Nothing is graphically described, but placing a warning here for those who may need it.)

-It’s pretty damn painful for Bronwen to extend any of these extra limbs or claws. In her early years it actually freaked out her classmates because it was pretty obvious that it hurt like hell to initially extend it. It’s not as bad now- thanks to both her hero suit and training- but it still hurts to extend it.

-If one of these bones are broken- which is tough to do, but not impossible- it is so painful that it can be outright immobilizing. Cracks or ships in it are also very painful, but not enough to stop Bronwen from fighting like a full, proper break would.

These bones can rengenerate, but depending on the severity (how much of it needs to be regenerated) it can take up to two weeks. During that time, she can’t extend the limb or claw. Cracks/chips take at most a few days, but if it’s very small it can be extended even while her body is repairing it. It’s definitely not recommended, but in a pinch she can do it.

It’s also noteworthy that while healing quirks (like Recovery Girl’s) can help the healing process, they only shorten the amount of time for her recovery, not completely fix it as that drains too much energy. Cracks and chips can be shortened to a few hours, but a full break can at most be shortened to a few days.

BUT YEAH- BNHA Bronwen is designed for fighting, although she’s pretty self conscious about her quirk. She thinks it’s really creepy, and thus that she is creepy, but she’s working to embrace it. Sort of like a “this is part of me, it can suck but it doesn’t define me- so I’ll get this junk under control.” As you can see at the time of design it was a bit of mental illness/PTSD metaphor but you know

[shadowtongued]

DISCLAIMER; THIS HAS BEEN IN THE MAKING SINCE DEC 2017, I was just too shy to post it. Keep in mind that I'm not in any way, shape, or form trying to put my headcanons or interpretation of lore over anyone else's and this is pretty much just a general long-form run down for my roleplay blog to help people who aren't familiar with RS, so for my non-RS friends it's more of an explanation of how this 'tall ancient magic alien man' is and works. Physiology and some other cultural blurbs with the occasional emphasis on Sliske, because, well, that's what my roleplay blog is for. This is also mostly a passion project since I'm pretty fixated on this, if you read this at all, kudos to you and ily, ty for coming to my Ted Talk about this. Special thanks to people/friends who put up with me ranting abt this obscure fandom and helped me flesh out headcanons, and @theresiidentdevil  the artwork that i commissioned that i use way too much bc devil really... really did my version of snek man nice. Other imgs used are scrounged from ja.gex’s concept arts and etc. ONCE AGAIN THIS IS NOT CANON, AND JUST MY PERSONAL HYPOTHESIS, feel free to reblog but please don’t like... edit or try to give me heavy crit or come @ me with some lore bit from so-and-sos tweet that I am wrong and am a doodoo head or something. This was just a spot o’ fun and please don’t try to drag my interpretation or expunge this for laughs on the official lore discord. I’ve seen it done before and it’s not cool. individual creative interpretation is beautiful, mob bullying is not.

To kick things off, the Mahjarrat are one of a few ancient tribes that live on the ash, lava, and stone wasteland that makes up the dead planet of Freneskae. They are highly skilled in magic and intellect by nature, as well as living by a firm form of kratocracy; a government by those who are strong enough to seize power through coercive power, social persuasion, or deceptive cunning. Along with this, their survival revolves around two rituals, one of death and sacrifice, the other of life and breeding. That right there should tell you a LOT about them, socially.  

HEIGHT.

Height varies from Mahjarrat to Mahjarrat, they are always going to be towering over most species, and most humans, as lore states that they generally are 1.5x the average human height. Sans that one wild ass gene of hyper height that makes gargantuan Mahjarrat like Lucien and Zemoregal, who tower over even Azzanadra's spike pope hat. Sliske himself stands at an 8′4 height, but that's just my headcanon for this blog's sake.

SKULLS / BONES.

The Mahjarrat have thick skulls, if this wasn't pretty obvious with the additions of dual lines of bony ridges running parallel from the brow to back of the skull, and lower. Some, but not all individuals have rather, short horns as their 'first ridge' before normal ridges. They also seem to have a subtle browbone ridge above each eye. Sliske, as well as some of the canon Mahjarrat we know, have these short horns and I like to exaggerate them a bit as sharp and more obvious, because who doesn't love horns? I'd imagine there are also ridges across other parts of their bodies such as the shoulders, elbows, knees, smaller ones on the knuckles, and perhaps down the back and along the hips. Go wild. Anyways, their skulls are thick and heavy, as in if it comes down to having to head-butt someone at the sacrificial ritual as a last resort physical conflict when magic is exhausted, someone is going to be using every exploit they can to survive. Anything counts when your life is on the line. 

*above concept art is of their lich-like forms. good for seeing skull shapes.

Most also have rather large jawbones and powerful jaw muscles, and have a decent bite force to clamp down; like above, can and will use the force of their jaws if they have to with a good 1,069 psi (pounds per square inch), a little less than a hyena, meaning they can break bones with enough force. The main reasoning for this is their powerful mandible adductor muscles and the leverage needed to keep their jaw closed in their lich-like forms with the loss of skin and some atrophy, when they begin to run low on energy before every 500 years ( more on this later ), otherwise their toothy jaws would be hanging open and they'd look quite silly. It's quite rare for a Mahjarrat to bite unless as a last resort attack, out of spite when healthy ( almost as if saying 'you are weak and aren't worth the waste of magical energy' ), or for other minute reasons. Males tend to have very pronounced 'spikes' on their chins and larger skull ridges, but it's not completely unheard of a female having a 'spiked' chin and larger ridges. Sexual dimorphism isn’t too well explained or solidified by Jagex, we haven’t really seen much due to the few living Mahjarrat we see.

TEETH / CONSUMPTION.

personal interpretation of sliske’s teeth here.

Speaking of teeth, Mahjarrat have exceedingly sharp teeth for being part of a race that is not carnivorous or needing any sustenance at all. They have more teeth than humans (not really canon, just my personal interpretation, I prefer them being very Alien over ‘grey human reskin’); while almost every tooth has a sharpness to it, be it incisors or tines in the molars. Their front teeth seem to be ridged with smaller points, you probably don't want to get nipped by them, even if it's just playful or affectionate (uh, whatever they deem as affection). It's a real shame that Sliske seems to enjoy this, in the few moments he puts on a faux air of affection to scratch an itch or when deciding to use seduction as a ploy to further his manipulation or intel gathering, among other rare, convoluted feelings towards someone he's 'affectionate' with. Teeth shape and sizes can vary due to the Mahjarrat way of breeding and eugenics to create survivability through offspring on what traits work. Basic Darwinism, tbh. Following my ever favorite serpent motif for Sliske, you can expect his teeth to be pretty ophidian/snake-like. Due to my headcanon to their dark blood color, Mahjarrats may have dark or black gums. Small addition: babs do have sharp defensive baby teeth that fall out into hellish adult ones. Nice.

Mahjarrat do not need to eat or drink, as they are fueled fully by an arcane energy that they receive from rituals, and slowly deplete this over several centuries. Their power can last even longer if an individual is stingy with their power, or unaware of their power like Kharshai, who spent several centuries in a human guise hardly using any energy while unaware he was even a Mahjarrat. Despite not needing sustenance, it's not unheard of for Mahjarrat to attempt eating or drinking for whatever reason, be it pleasure or to emulate others. Hazeel's memories almost adorably describe some Mahjarrat attempting to sit and politely eat with humans to 'bond with them', despite them later having to regurgitate what they had eaten and Hazeel's repulsion at any creature eating at all. Several lore snippets include Zamorak enjoying wine and in Kindred Spirits, Sliske making the comment he may be drunk after downing the contents of a bottle. Whether or not they actually can become inebriated or have any sort of digestive system to even mildly uptake anything is debatable. For headcanon's sake, I like to think Sliske has no issue with pleasure eating and for taste, especially chocolate, fully knowing he'll have to bring it back up later. Most Mahjarrat have tongues that can be dark in color to only slightly brighter due to their dark blood color. Like horns, some end up with a slightly bifurcated tongue tip, some do not and have a single, sharp tip. Sliske is an extreme mutated case and has a very obvious black, snake-like, forked tongue. Just don’t ask him to do the thip thip because he won’t.

(WHERE’D YA GET THOSE) EYES / SENSES.

Usually, A Mahjarrat's eyes correspond to the color of the jewel embedded in their crown, but not always. They have very, keen eyes and their eyesight is exceptional to suit the darkness of Freneskae due to the constant ashfall and cloud cover. They can see short distances, but farther into heavy smoke and ash than most species, and can indeed see in the dark with excellent night vision and have a structure similar to an animal's tapetum lucidem, which is what reflects light and makes that eerie glare you see from animals in the dark. Due to spending a lot of time on Freneskae and being well adapted to that environment, it was quite a jolt for them to get accustomed to sunlight on Gielinor when brought during the Menaphite War, as they were used to heavy 'cloudy' weather due to ash blocking out what light they did get, and being used to the constant lightning strikes and the glow of volcanic rifts and lava pools. But they adapt quite well and while they still prefer muted lights, they have no problem in the sunlight after adjusting a bit. Think of when it’s a sunny summer day and you leave your dark house and how for a few minutes you have to acclimate. Sliske has the most trouble with this, seeing as he still spends quite some time in the darkness of the Shadow Realm which is hazy and muted in light. He's quite prone to straining and headaches/migraines from bright lights on Gielinor ( and Earth since a lot of my writing takes place on Modern Earth ).

Mahjarrat have fairly acute senses and sharp ears, and while most concept art shows them similar to human ears, why not lorge, sharp, and pointy ( as not to be so human )? Plus, imagine a few with larger, pointed ones that flick when irritated. That's cute, but deadly. They can hear fairly well and can hear you talking shit. Not exactly up to par with a bat or a moth, but quite up there with horses or cats. I'd imagine the rest of their senses are pretty keen despite not using taste or smell as much as a human, but most senses are still fairly above a human’s.

I'm not exactly sure how they'd fare in the aspect of touch, but it is known that they are very, very strong and can break bones with their bare hands. They have exceptional strength in their bodies and despite teleporting some ways, I'll bet most of them are decently muscular or lean under those robes due to their solidity and a bad example perhaps, but, uh, have you seen Zamorak's exposed chest? I'm sure 'godhood' didn't change that much, albeit some. Who wouldn't love a decently built Enahkra who will hand your ass to you? A babe. Sliske himself, while being one of the leanest of the Mahjarrat, probably has core strength and broad shoulders under those pauldrons. I'd like to imagine he'd also ( as some other of his kin) would be pretty flexible and train his Praetorians to be similar and absolutely strong in the event of having to resort to physical combat or maneuvering out of capture. Most of them were born on Freneskae, a planet made of plenty of solid rock/crystal cliffs and caves, they made pilgrimages pretty often to the ritual site, so some rock climbing was probably involved as they grew. Plus, image small, child Mahjarrat, not able to teleport or be proficient in magic, just out on a day with less lightning, climbing around, chucking rocks into lava for fun. I'm getting off-topic and we'll talk about babbies some other post.

SKIN / STRIPES / SCARRATIONS.

personal interpretation body/stripe of sliske here. (mildly nsfw)

 Skin colorations are usually running the gamut of dark grey, pale grey, and dull color such as a grey-green, grey yellow and more. It's also notable that Mahjarrat are shapeshifters and are known to slowly take on the appearances of the conditions they are in for extended amounts of time; Kharshai becoming more 'viking-esque' like the Fremennik people who took him in when he was unaware he was human, and also Bilrach's warped appearance from spending god knows how long in Daemonheim with larger ridges, scarring, and some more demonic-looking features. Sliske himself has a very deep, dark slate grey skin tone from the amount of time he spends in the dark of the Shadow Realm, beginning to mimic its dusk. 

Mahjarrat have thick skin, built initially to withstand the heat and abrasion of their home world’s rocky and dangerous climate and environment, but also notably protective against icy and snow-fraught climates, as they have little to no issue or complaint at heading far North of the Fremennik Providence, near the icy fortress of Ghorrock where their ritual stone lays on Gielinor ( it's also notable that Jhallan asks the adventurer to re-seal him within a fuggin’ block of ice to rest again, proving they do not mind the cold at all ). Their skin can scar if proper regeneration is not taken to heal wounds, as Mahjarrat are known for almost instantaneously healing themselves of most wounds on the battlefield to their own volition, but this is quite rarely seen on them, sans Bilrach.  For all we know, they could be quite scarred from lack of regeneration fueled by magical energy or quite severe wounds under those robes that cover most of their body, I personally headcanon that some may have some scarring on their hands and forearms due to the might of some of the spells they use. I also personally headcanon Sliske having a pretty nasty burn across his shoulder and ribs trailing to the hip on the left side from Tumeken's explosive self-sacrifice detonation that wiped out the entirety of his army and at least 3/4ths of the Mahjarrat present, sans the ones spared by Azzanadra's quick shielding. I would think that some of them also may have suffered from similar scars due to Kharshai admitting they were tired and wounded after the event.

Striping and markings can litter their forms in sparse or rather heavy. Most Mahjarrat have at least some facial striping that can be a monochrome pale grey or darker, or a bright color such as Wahisietel's bright red trailing across his ridges to his chin spikes, Enakhra's vivid pink colorations, and Khazard's orange striping. While stripes may look similar from individual to individual you are hard-pressed to find two Mahjarrat with identical markings, and we have never heard of any twins being born from their tribe in canon ( Not saying it's not possible! But that would be a lot of strain seeing as once child is hard enough for a pair to conceive ). It's unknown if the stripes are across the rest of their bodies, but I say to hell with it. Why the hell not? Let the stripes go as angular or curvy as they please across their skin. Why limit the imagination. They are aliens. For the sake of me writing Sliske; he's a very pale silvery, parallel stripy thing under those robes with handsome slate skin. Go figure, that's jus' me though. ( Whatddya mean I made a personal ref of that?? s w e a t s?? slight warning for some not safies. )

CLAWS / FEET.

personal interpretation of sliske’s rock climbin’ sharp feets here.

Mahjarrat probably do have clawed hands and feet, and they are thick and sharp, along with strong ( most likely calloused for some ) palms and heels for climbing ( possibly before they were so proficient with teleporting ) They are also prime last resort weapons if need be and constantly need filing down on Gielinor and other terrains since they aren't around the rocky outcrops of Freneskae and using them there as much, most Mahjarrat seem to opt to wear gloves anyway. Their legs and arms are also pretty sturdy for climbing despite not needing to do so as much. I’d imagine they might just have longer toe and finger bones for mild gripping abilities when it comes to climbing. I’ve also kinda headcanoned often that they probably might have wrapped parts of their feet in bindings, just to keep things like soft arches or tendon areas save when climbing or walking. Ancient hellplanet fashion, baby.

GEMS.

Just about all Mahjarrat ( and Dreams of Mah in general ) have at least one 'crystal' or 'gemstone' in their brows or crowns ( whoever in the wiki said Sliske doesn't have one is a fraud, just because we don't see it due his V tapered hood doesn't mean it's not there, as it has been shown in several concept arts that he does have two yellow-green or 'peridotite' colored diamonds, like his half-brother’s four of the same color ). When asked about it in the Children of Mah quest, Wahisietel states that even they are not sure as to why they have them but believe it to be a direct connection to Mah. It's also implied that a dead Mahjarrat's 'crystal' often records their last thoughts or actions. Most Mahjarrat have the exact same bright iris color as their stones ( the concept art with Sliske having gold eyes throws me off, but I'd imagine there could be some minor color differences ). It seems that gemstones look-alike from siblings and offspring, as Sliske and his half-brother Wahisietel have almost the same colored crystal and shape despite Wahisietel having four diamonds to Sliske's two.

 ORGANS? OR LACK THEREOF? 

personal interpretation of nasty snake man blood here.

It's truly unknown as to just how many organs Mahjarrat have and if there is any comparison to be made to humans. It can be hypothesized they do have at least a heart ( With more chambers than a humans? Or two! Who knows! ) and lungs. If they do have lungs, it could be stated that they are very strong and made to filter out the heavy ash and debris of Freneskae's poor air quality, our adventurer had enough trouble breathing on Freneskae if you didn't take face gear. They do not seem to have a digestive tract as they do not need sustenance or hydration and perhaps have a makeshift stomach that leads nowhere as if they do eat anything, they just have to regurgitate it. Onto blood, they possibly do have a circulatory system and blood, as Lucien states he didn't 'want to spill any more Mahjarrat blood'. Normal human blood would be a bit boring so I like to imagine they have thick, dark-colored blood that has some iridescent properties to it ( not glittery, but if you have ever seen what the ink in a ballpoint pen looks like when dumped out, it has a particular shine to it. ) and never seems to be just one color, like an oil slick. Probably because it's so rich in arcane properties which would also make it pretty toxic, bitter, or awfully sickly sweet. This also means that they would blush pretty dark in color and have dark-colored tongues and etc. rather than red like humans, that's.... kinda cute.  Also, if we are talking about organs and parts, a small blurb, no, female Mahjarrat do not have boobs. There's no need since they probably do not feed their young at all. So breaking canon for the sake of biology, hi, Mahjarrat probably don't have boobs or nips. Kinda doesn’t make sense. SHRUG. But they do have belly buttons, so maybe they are gestated with umbilical cords.

THE BANE OF THE JMOD’S EXISTENCE: MAHJARRAT REPRODUCTION

Y'all wanted it Jmods yell when we ask for it, here it is: my reproduction hypothesis. We have little to no real canon lore for Mahjarrat other than that they do(?) reproduce sexually, it takes a lot of energy to do so (abt 50% physical effort, 50% the pair pooling their life energy into the event, kinda dangerous), and that they are culturally fond of breeding during earthquakes ( this was just a cultural tradition and it's probably possible to breed outside of this tradition, the jokes say it’s almost Pavlovian ). They have a specific ritual for breeding, The Ritual of Enervation. The Enervation is the foil of a Ritual of Rejuvenation where one of their kind is sacrificed to provide all others with energy and return them from their lich-like states to fleshy filled out ones, the Enervation is a pilgrimage to select a mate and breed to create a new Mahjarrat between a pair. It's slightly hinted that the pair chooses their mate based upon battle prowess or cunningness ( Zemouregal Senior chose his mate based on her skills in battle ) . Much like real animals today, they want only the strongest genetics and mutations to continue on. All of them fight each other for their pick of a mate. Very rarely do the pairs have any emotional attachment, this is rare. And the ritual still isn't pretty; I'll say it, they are rough lovers. Expect biting, scratching, bruising, and more. Kinky. Let me tell you, human genitalia are boring as hell when you are describing aliens. Phallic genitalia differs a lot from individual to individual, it's a slight 'grab bag to see what part works best for future genetics'. Mahjarrat bits are pretty internal until aroused since it makes no sense for them to be external seeing as all Mahjarrat lose a lot of skin and muscle to atrophy as they age and lose energy, so they'd do better internally and tucked away. Vaginal genitalia differs heavily as well, anything goes. Barbs? Sure. Flowery looking bits? Sure. It's aliens, guys. Go wild. Same thing with sexualities and genders, other than what they want to present themselves as, we don't know shit, so go for it. I'm fairly sure Mahjarrat really don't mind gender identity and anything goes, they see power, survival, and fighting over everything else. Sliske, of course, is male presenting and yes, has his own unique bits. Uh, ridges, bifurcated tip, fan-like appendage for preventing backflow. I'd describe more but I'm already pRETTY FUCKING SHY RIGHT NOW BC I DON'T KNOW HOW TO talk much abt this. I'm a beginner alien fucker. Give me a break. UPDATE: I went there, I no longer have shame. bc I roughly drew it.

I’m not sure what the good estimate would be when it comes to how long a Mahjarrat gestates, is it longer than a human? Quicker due to magic? We just don’t know. The birth rate is exceedingly low due to the dangers and strain of Freneskae, it's not unheard of for miscarriages or mothers to pass away from lack of energy or during the fray of the constant other tribes attacking each other. Generally, it's a duty to protect a gravid mother of the sake of population, mate or not. Putting aside your disdain for your nemesis was hard but needed if you wanted to keep your tribe thriving. Fathers don't tend to stick around after the ritual other than to check in to protect their child and future genetics as insurance. Mothers rear children and if they could get along and not spat at one another, often looked after each other's children. Maternal groups were pretty common and one could leave another to watch their kids while they went off on their duties of making lightning rods, scouting, and more. 

MISC? 

Mahjarrats don't exactly have the same bonds as humans and familial life was harsh, mainly due to the stress of knowing your own blood one day might betray you and vote you off to be the sacrifice at a ritual. They are not affectionate as much as humans and care in their own backwards way about each other if they are family, but it's an arm's length approach. Sliske and Wahisietel seem to get along and still probably have their ferocious verbal quarrels and have possibly even physically scuffled a bit over things, but managed to have concern for one another, as do Mahjarrat who are as best a definition of 'friends' can be to them. Remember that they are very paranoid of one another and usually only see eye to eye if in the same political faction or having to make a deal or coerce one another to stand up for you if you are challenged at a ritual ( later on this became a huge political agenda between the two main sides; Zamorakian or Zarosian and fighting intensified at dislike for each other ). As they evolved from their creation, they just generally became more and more mistrustful of each other to point of paranoia. So affection is incredibly weird to them and the first thought that comes from it is 'what do you want and why?' and it's expected to be a deceitful notion. Hence, Sliske is incredibly good at persuading others and using deceitful action to lure people but the moment it's done to him, he'll play along but consider it warily as false notions. Sorry not sorry, that's pretty habitual to him and will stay with him, as well as his kin. You're never going to have a 'stable relationship' with any Mahjarrat. Well, not 100% at least. You can try, they might even appreciate it if they aren’t offended.

That’s about all I wanted to say and anything left out of this word spew can be covered in other posts. Like culture.... or babbies. I have a lot to say about Babjarrats but no place right now to keep up this long shit.  UPDATE: i talked abt my thoughts on babjarrats. it was the best of my life.

[circumswoop]

Black Movado: Frank Ocean and the Art of Time

As pseudonyms go, Frank Ocean is pretty straightforward. Right away you know this is emotive, aesthetic music: why get out of his dreams and into his car when you can do both? Take the innate politeness of a born Southerner, add the steel reserve of a bred lowlife and you get songs made from acrylic acids and fine glass powder. Ocean serenades the sea directly in “Swim Good” and “Blue Whale”. Remember the David Foster Wallace line from “Little Expressionless Animals” abt the sea looking like a big blue dog? Swimming with dolphins, incredibly, is the height of basic. But a blue whale? Years ago I read a piece of short fic, by whom I don’t remember, abt a lifeguard who saves a man from drowning and then later sees that man in public, like a restaurant or something, and he, the drowning man, does not recognize his saviour. I wish I cld run into the burning wreckage of whatever hard drive it was on and rescue that story.

More than anything, Frank Ocean’s music feels like falling thru different kinds of air. Figuring out the angles, or angels, of the artist who once asked us to imagine being thrown from a plane is trickier now than in 2011, not just because we’ll never be those kids again. 2011, year of Frank Ocean and the Weeknd, was when the Tumblr aesthetic peaked, with its treatment of visual culture as micrographic surgery, cutting away segments to freeze for a microscope, repeating until there is no more cancer. As palliative pastiche, Tumblr may never be equaled in the history of the internet. Why do you think Grimes, that bony collector of kitschy enthusiasms, still uses it (sort of)? Why do you think Frank Ocean, parachute artist, still uses it(sort of)? Why do you think I still use it (lol, sort of)? If you are a cutter but not of skin, you cut images, or text, and paste them on a blog in lieu of a body. The word “blog” doesn’t mean anything anymore but it still has exactly the trunk space for a body.

A few days after Blonde dropped, I was talking to Yes abt it on Viber, the app we use to keep in touch now that he’s moved back to Greece. Affectionately, he accused me of being too topical bc I’d heard the record and he hadn’t. Then later, he sent me a video of him hearing “Nikes” for the first time, a master shot of him reacting and lowkey crying, a video he meant for his bf in New York but one he wanted me to see, as one of his designated watchers. Once he sent me a visual of him slamming, and this was almost more wrenching. Something about the way that song switches between weary dragging and witchy sweetness recalls one of my favorite lines of literature, from Ondaatje’s The English Patient: “There are stories the man recites quietly into the room which slip from level to level like a hawk”. (Ondaatje, pastiche royale, is a cutter if there ever was one.) There are stories we tell ourselves and stories we tell our loves. We think we see, just for a minute, the wings of an angel who has temporarily turned into a pickup truck. Or maybe we just hear them.

Frank did some time in church, as attested to on Tumblr: “My grandmother was pentecostal evangelical. She brought much of that fire and brimstone back to her household.”

50 versions of “White Ferrari”

Yes thinks Frank seems pretty gay. I myself do not, while getting that he is. Something about Frank’s testimony seems more like my own, meaning that of a boy who grew up like everyone else and then woke up one day, pretty recently, really exhausted. “Nikes”, for all its gunwales-and-all authenticism, was also a deadly indictment of the ruthless transactionality that passed for straight culture in 2016. Men being power brokers, and women rewarding them, acquires a harsher light when everyone’s in on the joke, when exploitation is the same thing as askance anymore. Yes told me he saw his file from when he was in Bellevue, and honestly they couldn’t figure out his sexuality, except I know for a fact he’s had sex with exclusively men for 3 years now. We discussed it once, and we agreed sort of glibly that girls just aren’t as down, and here’s why: they’re finally as trash about sex as men have been for millennia, but in the opposite direction. Now there’s a winking runway of lights laid out before every m/f interface, and the men are landing and the women are taking off.

I’ve always felt like Frank Ocean did not come out as gay so much as he seceded from the sexual polity. I myself have done this, little by little, over the last 18 months as my years-long relationship, and then another one, wrapped. Seduction and betrayal are an exhausting form of bone remodeling and I can’t deal with that distribution of weight anymore. There’s a reason some dicks are astringent. The curve of the penis is the curve of the earth.

Frank’s Tumblr, last fall: “Consciously though, I don’t want straight—a little bent is good.” Frank on “Siegfried”: I can’t relate to my peers/I’d rather live outside.

Think of another line from “Nikes”--“but if you need dick I got u”--as essentially a somnolent invite, shd sex ever come up. The paradigm of a man too busy for his woman may still be an eye-rolly turn-on, but if that usage slowly morphed into a kind of IOU--not a booty call, but sex on call--then that song accomplishes another mission. If it majors in telling leeches to unstick (these bitches want Nikes/they lookin for a check/tell em it ain’t likely), it minors in motivating the favorably unhorny to speak up for themselves. One of Frank’s most valuable adds has been this exhaustion--if he is in awe of Prince, he’s totally his inverse.

China, Japan, Oceania, France, just around. Casual.

Ocean is, incredibly, both world-spanning and alone. In last year’s NYT feature hosted by Jon Caramanica, he alluded to going on dates in London, keeping the hard drives of his music in a backpack, and skipping Blonde media to tool around anyplace that suited him. These revelations, or postcards, sealed Frank’s fate as patron saint of the voluntarily solitary, which may or may not be the same as the voluntarily committed. In the interview, Frank alludes to the “luxury of choice” which is pretty loaded but the expression of preference is the one thing they shd never take away from you, all the way down to the grout in your cell. Even if you never had it.

In his germinal book The Aesthetics of Disappearance, the writer and artist Paul Virilio famously offered a riffy, razzle-dazzle definition of “picnolepsy” as a kind of allergic reaction to speed--worldspeed or brainspeed, “a montage of temporalities”. This turning of what is essentially epilepsy into just a stunningly inept relationship with reality would seem glib or banal, even though Virilio credits Ambrose Pare’s qualification of epilepsy as “retention of feelings.” Except it also applies to time as a long passage, like a train tunnel, broken up by flashes of light or gleams of steel from above. Obviously this is me getting into Philo101 thru really overqualified means, but picnolepsy is more fun when you make it modular, rather than metabolic. It explains one of the highest functions of pop music: to mark time. Pop is the ceiling fan above you as you lie on your bed. What’s keeping it from falling and slicing you to smithereens?

Frank Ocean Music, with its eroded-coast elisions, nostalgia as a kind of ultraviolence, and polyrhythmic, difficult-to-replicate-at-karoake vocal patterns, is Memory Music. Plenty of artists do this, if not all of them to some extent. Ocean is the rare one who looks sideways, not back to the source of the old memory or forward to the source of a new one. Virilio compares this oscillation to a sort of trackable loss of interest, a loss you can steadily mourn, as simply as looking at old photographs. There’s probably no other songwriter of Ocean’s stature who is so fascinated by the broken image, or the art of the slant, and who breaks that down into pure romance--all while looking so effortlessly out over his life from the slashlike lull of what Virilio called “paradoxical wakefulness.” Which is odd or slightly berserk, since listening to Blond or Endless or even, retrospectively, Channel Orange occasionally elicits symptoms of paradoxical wokeness.

Stare at the monitors and come up with nothing

In the 2016 film Arrival, aliens land in egg-like avatars that also look for all the world like blue whales--especially toward the end of the film, when they levitate with the same impossible elegance. 

The purpose of this film is to talk about time and language, about how they agree and disagree. The aliens, or heptapods, have a written language that uses center embedding and presents visually as witchy-looking spells or smoke. 

As soon as Louise Banks, the Amy Adams character, cracks the language, she cracks time, or at least the heptapods’ expression or experience of it, and is able to, for all intents and purposes and excusing the crudely inadequate phrase, “see the future”. A heptapod sentence can’t really be translated except by effect, because the inkblotty figures they emanate are constructed palindrome-like--the same forward and backward. 

Except it takes several minutes with a legal pad or an app for humans to work out even the flimsiest palindromes, while heptapods intuit or assay the maximum meaning from such recursion with no consideration for time or expelled work, because the time it took to write this sentence would be already inflected in the characters like markers on a motion capture suit. Erase the layer of knowledge or “meaning” and time is able to be visualized, in both directions, and if you can visualize it you can manipulate it. Or erase it.