#(really it's mainly one or two particular plot points from old writings but I can try to make)

[aquadestinyswriting]

Ayyyy, Aqua! :D Happy STS! So I'm making my way through Titan Modern AU, and . . . actually, take two questions on it. 8)

I have legitimately looked everywhere, and I am severely curious. :') Have you thought of a title for this one, or is its title literally just Titan Modern AU?

More importantly, tho, how much did you have to change to make the world of Fangthane's Folly fit the modern day? (And what did you end up keeping? I notice there's magic and dwarves, but how different are these bits compared to their DnD roots?)

Hope this ask finds you well! :D o/

Hi Jax, this is technically a day late, but not really because time zones are a thing :P. I am very well, thank you. I am enjoying the fact that the words seem to be flowing quite easily for the time being and taking advantage of that to write a lot for all my ongoing series and creating new ones. Thanks very much for the questions, I have a lot to talk about with this AU :D. Answers are under a cut because the second one is going to get quite long.

Question 1

I don't currently have an actual title for this one yet. I have a tendency to title WIPs towards the end of writing them and this one is no exception. I have some vague ideas, but I'm not too concerned about it just yet. Especially since there's a high possibility that this one is going to throw some major curveballs my way once I get into the thick of the plot that might well change the kind of title I want to give it.

Question 2

Ah, the dwarves are technically not a thing for this one. Everyone is more or less human, unless it's directly stated otherwise. The reason Fangthanian women can have beards at all is down to a slight genetic quirk which means they are pre-disposed to much higher testosterone levels than average. The Throffite community, in particular, is very insular and tend to inter-marry within themselves due to a history of discrimination against them.

As to how I changed the setting to fit with the modern aesthetic:

I've modelled Fangthane city a little bit after towns like Fort William, since the location of Fangthane in Allansia has a relatively similar geography to that of the Scottish Highlands. So Fangthane city is no longer built into the mountain, but is a city that was built very close to the mountain (which is now called Ben Oir). Extrapolating from there, and taking into account the maps that exist of Allansia, it was a a matter of figuring out how and why there would be outposts for the kingdom that are so far away from the capital. In that case, an old empire made a lot of sense, and taking into account the relative time period this AU is set in (roughly the 90s to early 2000s), it also made sense that said empire had been disbanded, but that communities deriving from it still exist (hence why Stonebridge and Firetop are still mainly natively Fangthanian). So, yeah, culturally speaking Fangthane is basically the UK transplanted into Allansia at this point.

I wanted some of the history of Toreguarde to remain intact because there are plot things related to that that will pop up later in the story. The city was almost destroyed, officially, by what is considered to have been a terrorist organisation that was working on behalf of another state and/or one of the ruling council of Toreguarde of the time who went just teeny bit mad with power (Greydown was an absolute ass in canon, and is in this AU too).

As the setting, rather purposefully, appears to be lacking in magic, no mentions are made of demons, portals or the breaking of reality, even by those who were present at the time. The remaining Heroes still exist, but I'm working out what their exact roles in all that were. Egrim is still a priest, so that's him covered. Alexis, upon talking to Dru about it, was probably a sniper that was a part of the military forces of Toreguarde at the time, while Selene was probably some sort of science-y nerd person brought in to help explain some of the weirder stuff that went on that was kind of acknowledged and then later given plausible and sensible scientific explanations. She just happened to be somewhat decent at this diplomacy lark when communication with the reinforcements from Fangthane started going south, hence her current role in the story. She probably worked quite closely with Ivan, who I have yet to figure out the details of, with regards to that. I also need to figure out what Fai did and what happened to him...

I am doing a lot of this worldbuilding and adjusting Fantasy canon on the fly, to be quite honest, so not a lot of it is set in stone just yet. However, I have given some thought to the Throffite community both in Fangthane and in Toreguarde and some of their history and culture, drawing a lot on what I established about Throffism in the fantasy canon and doing some major research into the irl history of such things to make sure that anything I write about it is handled as sensitively as possible. I have also written copious notes on the hows and whys of the fractious relationship between Fangthane and Toreguarde that would fit in with more modern (Western, as that is what I'm familiar with) political norms.

[aughtpunk]

A03 Questions Tag Game

I got tagged by: @coffincrows

I tag: @ventela1 @autumn2may @farshootingstar

1 – How many works do you have on AO3?

70

2 – What's your total AO3 word count?

552,955

3 – What fandoms do you write for?

In no particular order: Cult of the Lamb, Welcome to Night Vale, Disco Elysium, Good Omens, Overwatch and a bunch of series I've only written one fic in

4 – What are your top five fics by kudos?

Points on a Circle (Overwatch, lots of ships, mainly Yeehan)

Now Streaming: Love! (Overwatch, lots of ships, D.va POV)

White is Not the New Black (Good Omens, Ineffable Husbands)

Fusion is Just a Cheap Tactic to Make Weak Angels Stronger (Good Omens, Ineffable Husbands)

Welcome to Cyber Vale (Welcome to Night Vale, Cecilos)

5 – Do you respond to comments?

I may accidentally skip a few (sorry) but I try to respond to everyone!

6 – What is the fic you wrote with the angstiest ending?

Another Pyramid, although I'm not sure I would call it angsty. The fic is about two robots (omnics) discussion an opera and the play based on it, and it ends with one of the robots wondering if the more opened-ended play could possibly be about the endless cycle of tragedy and romance, and how that's very fitting in the current war for robot rights.

7 – What's the fic you wrote with the happiest ending?

Probably To Forgive is Divine since it ends with the Bishop family back together AND Narinder and Lamb as a couple AND other happy spoilers

8 – Do you get hate on fics?

Okay so I wouldn't call it hate but I will take a moment to talk about the weirdest comment I ever got on a fic: Someone once posted in the third chapter of a fic that they hadn't read the first two chapters (on purpose) and they were only going to read every-other chapter from then on. And then every other chapter they kept posting about how the fic made no sense and kept asking questions that were answered in the parts they skipped.

Yeah I ended up blocking them and deleting the comments. Like, the fuck?

9 – Do you write smut? If so, what kind?

I have written smut. I would describe it as "bad".

10 – Do you write crossovers? What's the craziest one you've written?

Probably the Good Omens/Pokemon crossover fic The Evils of Truth and Love. Sadly I couldn't figure out anything to do with it plot-wise so it's only just three chapters of silliness.

11 – Have you ever had a fic stolen?

No idea. Imagine someone stealing my work. It'd be like someone stealing my twelve year old hyundai. Like, why?

12 – Have you ever had a fic translated?

Yes! I know Cyber Vale got partially translated, and one of my Disco Elysium fics was translated into Russian!

13 – Have you ever co-written a fic?

No, I'm not into co-writing.

14 – What's your all-time favorite ship?

Probably X/Zero. Which is funny considering I've never written a ship about them.

15 – What's a WIP you want to finish but doubt you ever will?

Dear Notes in a Line and Five Shalle Ryde fans:

I swear I'll come back one day to finish these. Pinky-swear.

16 – What are your writing strengths?

Apparently I have a real knack for writing immortal God/God-like beings/Immortal Robots and I don't know what to do with this power besides writing fanfic.

17 – What are your writing weaknesses?

I am so, so bad at smut. I've tried, you guys. I've really tried. But writing it feels like someone is sandpapering my brain. In another timeline where I can write smut I'm probably making bank on a terrible amazon published erotica series.

18 – Thoughts on writing dialogue in another language in fic?

I try to avoid it myself because I can barely handle English most days. Never mind other languages Do you know how many times I've failed French 1? Six. SIX TIMES.

EDIT: It has been pointed out to me that I've written multiple characters in multiple stories that use ASL. I am not a clever person.

19 – First fandom you wrote for?

NiGHTS Into Dreams! It's called TWiNS and I actually dug it up from the depths of FF.net to post on Ao3 because I'm so proud of my teen self for writing it.

20 – Favorite fic you've written?

Probably As Mayflies, which I wrote one beautiful summer morning while I was feeling very emotional over Sir Terry Pratchett's passing and wrote a little story about how the humans Crowley and Aziraphale meet live forever in their hearts.

[margridarnauds]

fanfic writer emoji ask: ✍ 🎢 👀

✍ Do you have a beta reader?

For a while, I did, and they were and are great (we have not had a falling out! We are still friends!), but real life kind of got in the way for both of us, and that's fine. Sometimes, I do miss having someone look over my stuff so that I know I don't sound insane, but it's fine.

🎢 Which of your fics would you call your wildest ride?

I feel like "wildest ride" could mean so many different things. Like, content wise, just on the basis of it existing? ABSOLUTELY A Soft October Night, mainly because I don't think I'd ever gone as far as "Incest Murder Threesome" before. (I will make no promises that I won't do so AGAIN, but it definitely is a shocker from the usual.)

Though this is ALSO from the same creative team that brought you "Romeo has sex with the personification of Death on a crucifix" and "Ronan and Lazare have sex on a printing press" (which seems MUCH tamer compared to the other two), so, really, you can pick your poison.

As far as plot? Either The Midnight Mass or Pour la Peine, depending on if you think "Ronan discovers his old friends are zombies that want to kill him" or "The Thing that happens in Pour la Peine that changes the whole plot" is more shocking. (Personally, I am still REALLY proud of that twist in PLP, since I'd sat on that for years.)

If you're talking about in a crackficky sense? ...I mean. Goosefic. Goosefic. The fic that solidified my reputation in the 1789 fandom. If I say so myself, every single fic I've listed before that has some larger motivation for why it's Like That. Goosefic was just me reading a writing prompt and thinking "I want Lazare to get chased by a pissed off goose." And it is beautiful.

👀 Tell me about an up and coming wip please!

I don't think it's a SECRET I'm working on writing out my playthrough of BG3, or at least. Key parts of it. (I am NOT. Novelizing. An 125 hour playthrough. Yet.) I have about 11k words into it at the moment, but I'm not publishing a word of it until it's in a place where I know I can very likely finish it, or at least make a dent. We are NOT doing that thing where I just publish one chapter, hit a major bout of writer's block, and can't go through with it. (I can't make any promises for AFTER one chapter.)

It deals, primarily, with Kitrye's Happy Fun Times in the game, her ongoing verbal game of cat and mouse with Raphael, her relationship with her sister, and her relationship with her culture, as well as her overall development during the course of the game. (I don't really consider it a spoiler, given I put it in an actual gifset, that Kitrye breaks her oath as a paladin at one point -- there is a LOT dedicated to the circumstances around that and how it changes the game, even though that's a late development.) A spoiler that literally only you and a couple of people will understand and so I can give without any worry is:

"Ich will dich nicht, ich brauch' dich nicht. GEEEEEEEEEHHHHHHHHHHHHHHHHH."

(Honestly, thus far, it's looking like how I'm writing out every act is taking inspiration from something else. Like, if Pour la Peine and its related stories drew a lot of inspiration from the Evilious Chronicles, I would say that the third act in particular is very, very Elisabeth tinted if you know where to look; second act is looking to have at least one scene inspired by a very memorable moment from one of the branches of the Mabinogi; and the first act, which is still the roughest, is a little bit more up in the air, with all of them borrowing at least a LITTLE bit from The Last Trial.)

Of course. It would be much easier to work on it. IF I HAD MY GAMING PC THAT COULD RUN THE GAME SO I COULD DOUBLE CHECK MY FILES. MY CUSTOM MADE GAMING PC THAT I CHOSE EVERY SINGLE PART FOR SO THAT IT COULD BE A MONSTER AT RUNNING GAMES.

(I'm cool, I'm chill, I'm fine.)

Anyway, have the Symryvvin girls, out of context. (Malla 🤝 Raphael: Being in an eternal state of Done.)

[littlemisssquiggles]

Ruby Alone

As you all have seen, since prior to the last episode, I’ve been sharing my thoughts and ideas on the theory of V8 concluding with the “death” of RWBY after they fall “off Remnant and into a mysterious Other World”, as alluded to by Oscar.

While I’m still inclined to believe that theory may become possible given what transpired in this recent episode, in reviewing the RWBY V8 Opening, I noticed something interesting about the visuals again which caught my attention.

During the opening, RWBY falling was hinted much earlier in the theme during these shots right here. It’s these two shots of RWBY’s signature weapons falling through negative space which is later followed up by the opening ending with the weapons landing together on the ground.

However, here’s the bit that I think is noteworthy that I didn’t take into account before. Although the weapons of all four main girls were shown falling together through space and landing on the ground, not only is Crescent Rose the last one to hit the ground but it is also the ONLY one shown in the final shot of the opening.

It is also worth noting that the weapons fall in this particular order---first Ember Celica, then Gambal Shroud, then Myrtenaster and final Crescent Rose which ironically spells RWBY backwards.

And going back to my theory about RWBY falling in order....with Yang falling first then this is all starting to make more sense.

Going back to my point---Crescent Rose---Ruby’s weapon is the only weapon that landed on the ground but didn’t fade to darkness like the others. Instead, Crescent Rose is the only one remaining in the snow on what appears to be Remannt. Keeping that in mind, it’s making me start to ponder an alternative to my V8 finale theory. 

What if…I’m actually mistaken about the whole RWBY team falling prey to the Other World ? 

What if…as an alternative prediction, V8 will end with Ruby as the last man standing and the sole surviving member of her team after the rest “die” to the void?

Thus; V9 becomes Ruby’s story as she deals with the depression of losing her whole team; all obviously culminating with her eventually reuniting with them in the Other World. But before that, it’s mostly just about Ruby. Not RWBY. But just Ruby since RWBY started with just Ruby on her own in Remnant, trying to become a huntress. She only ends up going to Beacon and meeting and forming her own team due to Ozpin’s influence.

So imagine if...after everything she’s been through these last eight seasons, things just go back to how they were before. Ruby is on her own again. No team to lead. No big sister to guide and protect her (although ALPNE is there of course). No “BFFs” or “future-sister-in-law” on the same team to fuel her spark of hope. She no longer has her main friends by her side.

Ruby will be on her own for the first time in a long time and it becomes just her story for the most part of V9 as she does her best to figure out things all while the rest of the cast who survived the fall---Penny, ALPNE and their allies in Vauco and eventually Vale---try to provide her with the emotional support that she needs in place of the one she lost.

For the first time, the story is not about Ruby having to be the spark of hope to support others but…her friends, at least the ones she still have, coming together to support her for once in a time when she can truly need it.

Like I said. It would be the story of Ruby. Not RWBY. Just Ruby. If you get what I mean.

...And now for a squiggly rant...about Ruby:

One general complaint that I’ve heard from the FNDM about Ruby including Little Red Ruby fans like myself is that Ruby has more or less received the shortest end of the stick in terms of development over the past couple of seasons since V4…despite the fact that she is our central main character who is the leader of our core team with her name literally being in the title. Not to mention that Ruby is also the face of the RWBY franchise. When RT isn’t promoting the whole RWBY team together, it’s mainly Ruby to represent RWBY since of all the girls, she is the main one as the main protagonist of RWBY. At least…she’s supposed to be?

To be blunter, I’m just going to call out the fat Heffalump in the room---Ruby Rose, despite being the leader of RWBY---despite being our title character and face of the franchise---the one characters in the show always turn to since she’s THAT important---despite all of that, Ruby has NOT felt like the actual main protagonist of RWBY for several seasons. Since V4 as some fans like to point out. 

And after closely observing her story over the last few volumes, I can’t help but agree with these critiques and comments of Ruby’s treatment when it comes to her own writing. Even when the CRWBY showrunners DO attempt to do stuff with her---it all falls...flat especially when you compare Ruby to other characters like Jaune Arc, for example, whose stories and overall development were handled much better. At least in my opinion.

Don’t believe me? Take for example, Ruby’s whole so-called “arc” as a Silver Eyed Warrior. First it was introduced as a new idea for Ruby during the FINALE of V3, then it got abandoned for two whole seasons between V4-V5. Then it got reintroduced back in V6 but was then rushed and dropped yet again for V7 only to be brought up again briefly during V8…kind of?

It’s really telling when you realize that Ruby gained control of her silver eyes despite never truly receiving any actual training from Maria in how to control her powers. Not only that but the showrunners really did Maria Calavera dirty. She was supposed to be the wise old mentor who was a badass in her prime meant to pass down her wisdom to her young eager apprentice who knew nothing of her own unique abilities including its mysterious origins.

Instead Maria didn’t know at all about where her powers originated from until she conveniently met our heroes after the Argus Ltd crash and just happened to be present when they asked Jinn about Oz’s secrets. Instead of being a mentor to Ruby which she was initially propped up to be, Maria ended up being relegated to the Granny Uber Driver of the hero team---no longer the wise experienced ex-huntress whose supposed to be teaching our title character but just a form of transportation who provides the occasional comic relief and support for Pietro Polendina, who she was put to work with…instead of Ruby…her alleged apprentice?

 Shoot---despite being a Silver Eyed Warrior, Ruby was never even a person of interest for this volume. Despite the main big bad being in Atlas and despite targeting her in the past, Salem…never goes after Ruby again while she’s in Atlas??? Ruby never even meets Salem? Despite…Salem targeting Ruby back in V4? Despite Salem’s history with capturing Silver Eyes? Despite Salem’s connection to Ruby through her mother???

Ruby is never actively a part of the Salem subplot on Monstra…even though… certain developments left over from previous seasons indicated that she should’ve been?

Instead…we got to watch Yang accost Salem for Summer Rose’s death after SHE is the one to be on the rescue party to save Oscar from Monstro. Even though…Yang has neither been a person of interest to Salem before NOR has the Xiao Long girl been shown to be a close affiliate of Oscar in the past prior to V8 NOR has the Xiao Long girl actually addressed Summer Rose as her mother since V2???

Up until V8, Ruby has always been the character of focus with all things Summer Rose and Salem and yet…we NEVER saw her meet Salem in the flesh period for this season…at all…???

Instead; Ruby spends MOST of this season cooped up at Schnee Manor, completely absent from and even oblivious to some of the more dire PLOT stuff that was happening outside of Schnee Manor (such as YJR going into Monstra to save Oscar before the Aces Ops blew up the whale).

Despite her connection to Oscar who became Salem’s prisoner. Despite her connection to Salem through her mother. Despite being a Silver Eye and a former target of Salem. Despite the Hound and what it turned out to be. Despite the showrunners literally teasing Ruby meeting Salem face to face back in V7---WE NEVER GET TO SEE RUBY MEET SALEM IN THE FLESH AT ALL DURING V8 WHILE SALEM IS IN ATLAS???

Salem targets Oscar which makes perfect sense given his connection to Ozma as his current incarnate. But Salem doesn’t target Ruby? DESPITE HER BEING A TARGET OF HERS IN THE PAST? DESPITE HER BEING A SILVER EYED WARRIOR? DESPITE WHAT THE HOUND REVEALED?

Why didn’t Salem send the Hound after Ruby? That would’ve made more sense, again knowing what the Hound actually was? Instead the Hound was sent after Penny which, in my opinion, felt mighty redundant since Salem already had Watts and Cinder Fall dealing with Penny.  

THEY EVEN TEASED THE HOUND TARGETING RUBY BUT IT WAS ALL A FLUKE.  RUBY IS COMPLETELY OMITTED FROM THE SALEM SUBPLOT EVEN THOUGH SHE IS THE TITLE CHARACTER AND THE ONLY ONE ON TEAM RWBY WITH A LEGIT CONNECTION TO SALEM AND HAS BEEN A TARGET OF HERS SINCE V4???

I DON’T GET IT!

…BUT… with my mini rant aside, those are just a few of the inconsistencies that I’ve noticed in the writing of RWBY in respect to Ruby Rose.

Overall; the point I’m trying to make here is this: for the sake of sounding like a Negative Nancy, I ask this honest question to the CRWBY Writers. How? How can you fumble this much with your own title character? I’m not saying this to come off disrespectful. I’m saying this as someone who has followed the story of RWBY since the get-go and has closely observed the treatment of its characters; particularly the main ones and particularly the ones that I personally love and Ruby is one of them.

Despite being our main girl, Ruby’s writing hasn’t been the squeakiest, admittedly. As a matter of fact, it’s been quite messy since V4 due to the amount of times the showrunners have introduced ideas for her only to abandon them later on thus creating those problems with consistency I mentioned earlier.

Overall, it’s difficult for me to even say that Ruby is the lead character of RWBY since often times; she doesn’t FEEL like the main protagonist despite the show claiming how important she is meant to be. And this sentiment is due in part to how messy her story is handled compared to other characters of lesser importance.

And it’s a sad thing for me to say as both a viewer and fan of Ruby’s character since Ruby is THE lead main character of RWBY. She’s like the Tony Stark of the RWBY-verse. She’s the one who started it all yet her story is one of the messiest I’ve seen in terms of direction and treatment. At least by my observations since this is just my opinion on the subject matter.

It’s one thing to blunder a bit on your side or even your supporting characters. But to slip up on your lead characters, especially your MAIN one who is the FACE of the show, c’mon CRWBY Writers.

And the events of V8 didn’t help change my opinion. After taking away all the bloat this season had for all the stuff they tried to shove into this one season, I realized that V8 didn’t really do much for Ruby. At least, not as much as I anticipated.

I was hoping that Ruby would’ve been a more focal character for V8 since V7 teased some stuff for her in respect to Salem. Instead, I watched a season where Ruby felt more like a supporting character for Penny Polendina since, in my opinion, Penny received much more focus and better development for V8 while Ruby, our LEAD took backstage to her story.

Because while Ruby was stuck playing supporting character, she was actively left out of subplots that she should’ve been a major part of. Not just because she’s the “protagonist” but because of elements to her story that were developed seasons prior but seemed to have gotten dropped for V8?

Ruby’s treatment for V8, to me,  is an example of a “build-up with no payoff”. All that stuff between her and Salem and her mother felt like it ultimately didn’t matter in the end because Ruby didn’t even meet Salem. 

Yang, to me, had the development with Salem that Ruby should’ve received.

Shoot---Ruby wasn’t even a thought on Salem’s mind…despite the events V4 and V7???

I just don’t understand. 

But like always, this is just how I feel about it. I’m disappointed with how Ruby was done for this season. While I liked the moment she shared with Blake in V8CH8 and Yang in V8CH11...that’s pretty much the ONLY thing I liked about Ruby’s story for this season. 

Outside of that, it felt to me like the showrunners didn’t do much with her for V8. In a season of so much happening, the stuff that happened with Ruby on her side of the story didn’t honestly stand out to me compared to what I saw the showrunners do for other characters who aren’t the lead this season.

It’s not like I’m trying to say she didn’t receive any development at all for V8. It’s more like most of what was done with Ruby didn’t quite stand out to me so it ends up feeling like not much was done for her. 

To me, Ruby falls into the same category as Nora Valkyrie for this season. Despite the PLOT preaching about them getting big developments, if you rock back and actually analyse the narrative, you’d actually see that not much was done for them despite the PLOT “talking the talk but not walking the walk” y’know what I mean?

And going back to Ruby, that’s disappointing since I wanted more for Ruby. I EXPECTED MORE for Ruby as our title lead but it didn’t happened. Instead it felt like some of the major developments that she should’ve received for this season went to other characters while she in turn took a backseat.

Things didn’t really start kicking up for Rubes until halfway through the season when the 100th episode aired and the Hound appeared. And even then the excitement of that reveal was short-lived since...Ruby was NOT the real target of the Hound. PENNY WAS. The Hound wasn’t sent to antagonize RUBY. It was sent for Penny which to me sort of undermines the reveal.

Some Ruby fans have been wishing for the show to feel more about just Ruby again for quite some time now and it is for this reason why I’m starting to dig this alternative theory of mine with Ruby surviving “The Fall of the Central Zone” alone with the rest of her team lost to the Other World.

While the concept of RWBY being trapped together in another world is still on the table of possibilities, I still wish to toss out this other one too.

I like the idea of a more Ruby-centric season where for the second time in the narrative, she’s separated from her core teammates only this time…it’s in “death” or rather “nonexistence” or “nothingness” since from Ruby’s perspective with her limited knowledge of magic (despite what she does know from Oz and Jinn) and the workings of the world that Ambrosius created, she doesn’t know what truly happened to her team.

The only thing she knows is that she watched her whole team dissipate into nothing before her very eyes and that is the last memory she has of them that haunts her for some time.

Imagine if…V9 will be about Ruby dealing with such a huge loss which could potentially touch more upon how she internalizes death in general tying back into probably flashbacks of her time with her mother before she learnt of her death at a young age.

While I understand we’ve had a storyline with Ruby being separated from her main team before back during V4-V5, however a plot line like this would be different this rounds since unlike before, Ruby at least knew that her team mates were alive. Far away. Separated by distance. But still alive and still a part of Remnant with the hope that she would be reunited with them again.

However this won’t be the case this second time. It would truly be Ruby alone since her team would be gone and no one could provide her with the solace of seeing them again---not even the friends she does still have (although that doesn’t stop some of them from trying to be there for the little red rose who has now lost more than her heart could handle)

I know the off-chance of this theory actually coming to fruition might be scarce. But like many ideas I’ve shared, it’s still worth tossing out since you guys know how this squiggle meister likes to roll.

~ LittleMissSquiggles (2021)

[variousqueerthings]

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part 1 of 3

Disclaimers and trigger warnings: 

1. These fairytales are European, although there’s often overlap in themes globally. I know European fairytales better, which is essentially the reason I’m not going to branch out too far. I opted to also stick to Western movies so as not to narrow things down, but also in particular “waves hand towards all of Ghibli” amongst many others. There’s a reason the guys in Ghibli are so gender.

2. TW for discussions of rape culture and rape fantasies

EDIT: FUCK I’M A GOBLIN CHILD! FORGOT TO PUT A MASSIVE MASSIVE THANK YOU TO @mimsyaf​ WHO HAS BEEN THE NICEST, KINDEST EDITOR ON THESE THOUGHTS AND CONTRIBUTED SO MUCH TO THEM AND GENERALLY IS A WONDERFUL PERSON!

Part 2

Part 3

1. Introduction

I recently wrote a little thing, which was about Daniel as a fairytale protagonist – specifically one that goes through some of the kinds of transformations that are often associated with female protagonists of fairytales.

I used quotes from Red Riding Hood, Labyrinth, Buffy The Vampire Slayer, and Dracula, which, as an aside – the overlap between fairytales, horror, and fantasy and the ways each of those genres delve into very deep, basic questions of humanity and the world is something that will always make me feral. I will be generally sticking with fairytales though. Also I am very excited about some of those Labyrinth concepts going around!

I’m going to use “feminine” and “masculine” in both gendered (as in relating specifically to people) and non-gendered (as in relating to codes) ways throughout this, depending on context.

To be binary for a moment, because sample-sizes of other genders are low, women are usually able to fall into either feminine or masculine arcs, although sometimes the masculine-coded woman can become a “not like the other girls” stereotype and the feminine-coded woman a shallow cliché – in both cases they’re also under more scrutiny and judgement, so it’s always worth asking “is this character not working for me because of the writing or because I have ingrained biases? (Both?)”

Men don’t often get feminine-coded arcs. Because. Probably a mix of biases and bigotry. But there are some that seem to have slipped beneath the shuttered fence of “Sufficient Narrative Testosterone,” and Daniel LaRusso is one of them.

2. Some Dude Comparisons (Men Doing Manly Action-Hero Things like being trans symbolism and loving your girlfriend… seriously those things are hella manly, I wish we saw more of that onscreen…)

a. Neo

Much like Neo The Matrix, whose journey is filled with transgender subtext and specifically and repeatedly references Alice In Wonderland, Daniel doesn’t go through quite the kind of hero's journey usually associated with Yer Standard Male Hero, especially the type found in the 80s/90s.

Neo is my favourite comparison, because of the purposefulness of his journey as a trans narrative and the use of Alice. But I’m sure there are other non-traditional male heroes out there (but are they trans tho? Please tell me, I want trans action heroes).

Neo “passes” as a socially acceptable man, but online goes by a different name - the name he prefers to be known by - feels like there’s something inherently wrong about the world around him and his body’s place in that society, and then gets taken down the rabbit hole (with his consent, although without really “knowing” what he’s consenting to) to discover that it’s the world that’s wrong - not him. And by accessing this truth he can literally make his body do and become whatever he wants it to.

Yay. (The message of the Matrix is actually that trans people can fly).

Neo is – kind of like Daniel – a strange character for Very Cis Straight Guys to imprint on. He spends most of the first movie unsure about what’s going on, out of his depth, and often getting beaten up. He is compared to Alice several times and at the end he dies. He loses. He has to be woken up with true love’s kiss, in a fun little Sleeping Beauty/Snow White twist. Yes, after that he can fly, but before that he’s getting dead-named and hate-crimed by The Most Obvious Stand-In For Normativity, Agent Smith, and being carried by people far more physically capable than he is (people who also fall outside of normative existence).

Trinity and Neo in The Matrix. The fact that a lot of the time neither of them is gendered is something. Literally brought to life by true love’s kiss.

I’m not about to argue that Daniel LaRusso is purposefully written along these same thought processes, so much as the luck of the way he was written, cast, directed, acted, and costumed all came together in the right way. And this is even more obvious when compared to That Other Underdog Fite Movie That Was By The Same Director as Karate Kid.

b. Rocky

The interesting thing about Rocky is that he is (despite being a male action icon) also not written as a Traditionally Masculine person. Large portions of Rocky – and subsequent Rocky films – are his fear and insecurity about fighting vs his inability to apply his skills to another piece of work and wanting to do right by his girlfriend (and future wife), Adrian. The fighting is most often pushed onto him against his will.

Much like in Karate Kid there is barely any fighting in Rocky I. Most of it is dedicated to how much Rocky loves Adrian and the two of them getting together. The fight is – again like in Karate Kid – a necessary violence, rather than a glorified one (within the plot, obviously watching any movie like this is also partly about the badassness of some element of the violence – whether stamina or the crane kick, it’s all about not backing down against a more powerful opponent).

Rocky is played by Sylvester Stallone. He’s tough, he’s already a fighter (albeit in the movie not a great one yet), he’s taking the fight for cash – so although he’s also soft-spoken and sweet, you’re aware of the fact that he’s got those traits that’d make a male audience go “Hell Yeah, A Man,” or whatever it is a male audience does watching movies like that… cis straight men imprinting on oiled muscle men sure is a strange phenomenon, why do you wanna watch a boxing match? So you can watch toned guys groaning and grappling with each other? Because you want to feel like A Man by allowing yourself to touch the skin of other men?

Apollo and Rocky in Rocky III. This sequence also includes prolonged shots of their crotches as they run. Sylvester Stallone directed this. This was intentional. Bros.

Daniel LaRusso is not built like that. But that doesn’t really have to matter. Being smallish and probably more likely to be described as “pretty” than handsome, and not having a toxic masculine bone in his body does not a feminine archetype make. It just makes a compelling (and pretty) underdog. 

c. Daniel

So where does the main difference really lie? Between Rocky and Daniel? Well, Rocky has the plot in his hands – Daniel, largely, does not. Rocky is acting. Daniel is reacting or being pushed into situations by others. Just like our boy Neo. Just like Alice in Wonderland, Cinderella, Snow White – just like some of the women in some contemporary(ish) fairytale films like Buttercup (Princess Bride), Dorothy (Wizard of Oz), or Sarah (Labyrinth).

This isn’t a necessary negative about stories about girls and women, so much as looking at what it is girls and women in fairytales have/don’t have, what they want, and how they’re going to get it. It’s about power (lack of), sexuality (repressed, then liberated), men, and crossing some taboo lines. It’s also about queerness.

3. The Karate Kid Part One: Leaving Home

Daniel LaRusso is a poor, skinny, shortish kid (played by a skinny, shortish twenty-two-year old) who doesn’t fit in after having been taken away from the home he was familiar with against his will. Not every male protagonist in a fairytale leaves of his own will, and not every female protagonist leaves under duress – Red Riding Hood, for example, seems perfectly happy to enter the forest. However generally a hero is “striking out to make his fortune,” and generally a heroine is fleeing or making a bargain or being married off or waiting for help to arrive. She is often stuck (and even Red Riding Hood requires saving at some point).

Daniel then encounters a beautiful, lovely girl on the beach, puts on a red hoodie (red is significant), is beaten up by a large, attractive bully, loses what little clout he may have had with his new friends, and generally has a mostly miserable time until he befriends and is saved by Mr Miyagi. To do a little Cinderella comparison: Miyagi is the fairy godmother who pushes Daniel to go to the ball in disguise as well, and that disguise falls to pieces as he’s running away.

Then Daniel asks for help, Miyagi gets him enrolled in a Karate Tournament, and starts teaching him. Daniel wins the tournament and gets the girl, the end.

While Daniel has chutzpah and is a wonderful character, none of the big events are initiated by him, except for the initial going to the forest/beach (and within all of these events Daniel absolutely makes choices – I’m not saying he’s passive): Lucille takes them to California, Miyagi pushes him to go to the dance, Miyagi again decides to enroll him in the tournament and trains him, and only because Kreese doesn’t allow for any other option, Ali is the one who more often than not approaches Daniel, and even their first encounter is pushed by Daniel’s friends.

Daniel really is at a dance/ball in disguise and receives a flower from a girl who recognises him through said disguise, it’s unbearable! It’s adorable! I get it Ali, I fucking get it!

Daniel’s main journey within this – apart from not getting killed by karate thugs (love u Johnny <3) and kissing Ali – is to learn from Miyagi. He’s not necessarily a full-on feminine fairytale archetype at this point, although there are fun things to pull out of it, mainly in the context of later films and Cobra Kai: the subtext of karate and how that builds throughout all the stories, the red clothes, the themes of obsession, his being targeted by boys whose masculinity is more than a little bit toxic and based on shame… more on all that coming up.

He doesn’t technically get a home until they build him a room at Miyagi’s place, but he definitely leaves the woods at the end of this one, trophy lifted in the air after being handed to him by a tearful Johnny and all.

And then they made a sequel.

4. The Karate Kid Part Two: Not Out Of The Woods Yet

Daniel’s won the competition, Kreese chokes out Johnny for daring to lose and cry, more life-lessons are given (for man without forgiveness in heart…) and Daniel and Ali break-up off-screen, confirming that TKK1 was not really about the girl after all, which, despite Daniel and Kumiko having wonderful chemistry, is also an ongoing theme. Daniel enters the screen in The Most Baby-Blue Outfit seen since Tiana’s dress in Princess and the Frog? Or that dress in Enchanted? Maybe Cinderella’s (technically silver, but later depicted as blue)? 

(Sidenote: At everyone who says Sam ought to wear a callback to that suit,  you are correct and sexy).

Surprise, Miyagi’s building him a room.

Double-surprise, Miyagi needs to go to Okinawa.

Triple surprise, Daniel reveals he’s going with him, because he’s his son dammit.

The Karate Kid Part Two is maybe the least Daniel-LaRusso-Feminine-Fairytale-Protagonist of the three, because it’s not really his movie. Daniel runs around with Kumiko (aka the most beautiful girl I’ve ever seen), continues to be The Best Non-Toxic Boy a middle-aged Okinawan karate master could ask for, lands himself another Built Karate Rival (twice is just a coincidence, right? Right?), and eventually doesn’t die while wearing red again – twice: When Chozen almost strangles him to death at the Miyagi dojo and then during the final fight. The Saving Of The Girl (both the little girl in the storm and Kumiko) actually puts him in a more traditional masculine space than the previous movie did, even if the main theme of the film is about compassion and kindness and by the end, once more the boy whose masculinity is built on rockhard abs and matchsticks is on his knees. Daniel just has that power over big boys. It’s called kick/punch them in the face hard enough that they see stars.

There’s an aside to be made here about how much Daniel really is an observer in other peoples stories in this, although he is the factor that sends both Chozen and Kumiko into completely different directions in life (Chozen and Kumiko main characters when?) Anyway he comes out of it presumably okay, despite being almost killed. Maybe a few therapy sessions and he’ll get over it. Too bad Terry Silver is lurking around the corner…

5. The Karate Kid Part Three: The Big Bad Wolf

Alright people have written Words about the third movie. It’s fascinating. It’s odd. It’s eye-straining. It’s like olives – you’re either fully onboard the madness or it’s too off-putting for you (or you’re like. Eh, don’t see what all the fuss is about either way...). It’s basically a non-consensual secret BDSM relationship between a guy in his thirties (played by a Very Tall twenty-seven year old Thomas Ian Griffith) and a 17/18 year old (played by a shorter twenty-eight year old Ralph Macchio).

Also recently we got more information on Mr. Griffith’s input on the uh… vibes of the film. Apparently it wasn’t just The Sweetness of Ralph Macchio’s face, the screenplay (whatever that amounted to in the first place – release the script!), the soundtrack, the direction to not tone it down under any circumstances, the fact that Macchio categorically refused to play a romance between himself and an actress who was sixteen, no: it was also TIG coming up with fun ways to torture Daniel’s character and suggesting these to the director. Clearly everyone has fun hurting Mr Macchio (including Mr Macchio).

The point is that aaallll of that amounts to that Intense Homoerotic Dubiously-Consented-To D/s subtext that haunts the movie and gives a lot of fun stuff to play with. It’s also a film that – if we’re analysing Daniel along feminine-coded fairytale lines recontextualises his role in this universe.

The Fairytale goes topsy-turvy. Through the looking glass. Enter Big Bad Wolf stage right. Karate is a metaphor for Daniel’s bisexual awakening. 

“Oh, when will an attractive man touch me in ways that aren’t about hurting me?” he asks after two movies of being hurt by boys with rippling muscles. “Why do men continue to notice me only to hit me? Do you think wearing red is making me too noticeable? Anyway, Mr Silver looked really good in his gi today.” 

Daniel’s diary must be a trip.

[sevenkittensinatrenchcoat]

The Broadway Revival Doesn’t Get Comedy

Here’s another long essay hating on the Broadway Revival. I promise that this will be the last one of these, because I think I’ve summed up all the problems I have with it by this point.

The title of this essay isn’t universally true. There is good comedy in the Broadway Revival. But, most of it comes from the actors improvising. When it comes to the comic relief numbers of the show, the changes in choreography and staging, and even in plot in one case, generally fail to understand how the jokes in the numbers work.

Now, I know that explaining the joke makes it less funny, but in order to explain why the 2016 comedy doesn’t work, I’ll have to explain why older versions do. Why is the 1998 film funny, and why are bootlegs/pro-shots of earlier productions funny, in places where 2016 falls flat?

To begin with, you might be wondering, “in a show full of strange nonsense and little concrete plot, what would you call a comic relief number?”. There are plenty of numbers in the show that have a comedic tone to them that I don’t consider comic relief numbers. The Rum Tum Tugger is usually full of comedic bits, for example, but it’s not a comic relief number. Why? Because it does something other than be funny and lighten the mood. It’s a song all about a major character who’s just appeared. Apart form Chorus Tugger in the opening, who usually doesn’t stand out much, we haven’t seen Tugger yet. After the cats leave after The Naming of Cats, we don’t see him again until his own number, where he interrupts the party to tell us what he’s all about. Tugger, as a character, is introduced as high-energy and a troublemaker, which leads to comedy, so the song has comedic moments, but it’s not purely a comic relief number.

Most songs in Cats are like this. They’re songs about what makes a character tick, and because these characters are onstage for most of the show, it’s good to let the audience get to know them. But, there are a few numbers in the show that don’t introduce characters and don’t advance the plot. They’re just entertaining little skits that don’t fit anywhere else. These are the comic relief numbers.

In a full production of Cats, in which no songs are cut, there are three comic relief numbers: Bustopher Jones, The Pekes and the Pollicles, and Growltiger’s Last Stand. The first one might be confusing. Bustopher Jones introduces a character. Shouldn’t it count as one of the character songs like The Rum Tum Tugger? The difference is that, while Tugger sticks around and plays a role in other events of the show, Bustopher is only present for his number. He shows up, there’s a song, and then he leaves and is never seen again. This makes the number into something of a non-sequiter.

Gus the Theatre Cat also revolves around a character who’s really only there for his own song. In productions that cut Growltiger, this is all you see of him. But, Gus the Theatre Cat isn’t a comic relief number because it’s one of the few songs that doesn’t have a comedic tone. There are jokes here and there, and in most stage productions the character of Gus is more comedic than he is in the 1998 film, but the song has a softer tone, no dancing, and Gus eventually leaves in tears. Though the 1998 film stands out in this regard, even in other productions, this is not a comic relief number.

Another thing you’ll notice is that Bustopher Jones, The Pekes and the Pollicles, and Growltiger all come after more serious, less energetic numbers. Grizabella the Glamor Cat and Gus the Theatre Cat are both quite sad, and the play basically changes the subject to lighten the mood. Old Deuteronomy isn’t sad, but it’s slow and more serious. When the tone of the show starts to get serious, a comic relief number is added to lighten the mood. The pattern breaks with Macavity, with the song followed by a fight, to show that the stakes have been raised and things are getting serious. Mister Mistoffelees comes along as a more upbeat number, but the change in tone here is pretty much a plot point. Everything seems bleak and then Tugger starts this number to give everyone hope. Mistoffelees restores power after the light goes out as part of this shift. We were at our literal darkest moment and now there’s a spark of hope.

So, now that we know what numbers are comic relief numbers, it’s time to go into how and why they work, or how and why they don’t when things go wrong. Since the Broadway Revival cuts Growltiger, I’ll focus more on the other two, but the new version of The Pekes and the Pollicles borrows from Growltiger, so the stuff that was borrowed will also have to be discussed. But, before we get into all that messy business, let’s take a look at Bustopher Jones:

Bustopher Jones:

Most of the comedy in Bustopher Jones, though there are a few simple fat jokes in there, comes from how other characters react to Bustopher. Bustopher keeps an air of dignity about him as he formally greets everyone and discusses his clubs. He’s not the joke here. This is a song of Amusing Background Events. With the queens, you have Jenny’s crush on Bustopher and Bombalurina clearly not getting it but trying to be polite about it and not kinkshame Jenny over it. With the toms, you have the kittens getting over-excited and the older cats, desperate to impress Bustopher, rushing to stop them from making a scene, making a scene themselves in the process.

In particular, there are three characters to watch in this number who provide the best comedy: Mistoffelees, Skimbleshanks, and Munkustrap. Two out of the three of them, which two depends on the production, will go into fanboy mode, often competing for Bustopher’s attention. Broadway-based productions tend to have Misto and Skimble compete for Bustopher’s attention, while London-based productions, such as the 1998 film, tend to put more focus on Munkustrap. He barely contains his excitement and is shown to be Not So Above It All, though he’s usually more level-headed than whichever cat, Misto or Skimble, he’s being contrasted with.

Basically, the joke is that Bustopher is considered super-important, despite not having a clear place in the tribe’s hierarchy, and everyone goes nuts trying to impress him, get his attention, and make sure that everything is perfect and nothing goes wrong. This joke works best when Bustopher is actually pretty laid-back and everyone’s freaking out over nothing.

The 2016 version doesn’t get this. You do see characters scrambling around, trying to make sure everything’s perfect, and get Mungojerrie and Rumpleteazer as far away from Bustopher as possible, but, at the moment when it’s the most important to get this right, it fails.

The biggest problem with the number is Bustopher’s solo. It’s performed well enough, like most of this production. That’s not the problem. There are two main problems: a staging problem and a writing problem. The staging problem is where the above explanation comes in: When Bustopher sings his solo, no one gathers near him. In other productions, a group of toms gather around Bustopher where they hang on his every word, try to get his attention, and try to look important in front of the others. There’s always one, Misto, Skimble, or, more rarely, Munkustrap, who tries to stand way too close. But, 2016 Bustopher is given plenty of room to just stand there and face the audience. No one seems to be paying that much attention to what he’s saying.

There’s also a problem with how the solo is edited and the break that follows it. The problem isn’t that Bustopher’s solo is shortened. Lots of productions do that. The problem is in what’s cut.

The full solo consists of four quatrains: sets of four lines. The second and fourth lines rhyme with each other, so each quatrain ends on a rhyme: rules and Schools, Blimp’s and shrimps, bones and Drones, Glutton and mutton.

The original Broadway run of the show, and many other productions copying it, the second and third quatrains are cut. You go from Joint Superior Schools to “If I’m seen in a hurry”. The 2016 version cuts the first and second quatrains, only including the second half of the solo. The problem with this is that it cuts the first quatrain.

Cutting directly to the third quatrain is musically awkward, because there’s no build-up to this point in the song that’s song loudly with a choir backing it up. But, when it comes to the joke that’s being told in the solo, cutting the first quatrain removes the set-up and changes what the joke is. With the first quatrain, the solo is about the various clubs Bustopher goes to. Starting at the third quatrain, the joke is mainly a list of foods that Bustopher likes, even though the clubs are mentioned.

The first quatrain is the only portion of the solo to not mention food at all. It’s all about the social etiquette of gentlemens clubs. A gentleman in the early 20th century wasn’t supposed to belong to more than one club. So, in order to go to eight or nine, as Bustopher does, one would have to make sure that the clubs didn’t meet too close together, so that someone from one club might see them at another. It’s part of his strategy in going from club to club: he imitates the etiquette of the humans on the surface, while actually breaking all the rules behind their backs.

But, the point is, Bustopher is listing the various clubs he’s managed to get food from. He’s sort of cheating them all, though I doubt they’d care that a cat was frequenting more than one club. Going to different clubs that are located far enough apart that people from club A are unlikely to walk past the meeting place of club B is quite a feat and it takes a lot of skill to pull off. Bustopher knows what clubs he can do this with and what food he can get from them. If he wants seafood, he goes to the Stage and Screen. If he wants curry, he can go to the Siamese or the Glutton. Foxes is too close to one of his other clubs for him to go there, but he can get fresh meat of the same quality at Blimp’s.

The first quatrain sets up and explains the joke. Without this set-up, the joke becomes one about gluttony, making it more of a fat joke than it is when the first quatrain is included. To make matters even worse, the 2016 choreography adds this instrumental break where the cats put together a restaurant for Bustopher and give him various foods, doubling down on the joke being purely about Bustopher’s gluttony, not how he messes with high society. It’s still a joke and people might still find it funny, but it’s not the same joke and comes very close to being “it’s funny cuz he fat”.

The entire point of the number is that Bustopher’s weight is part of why he’s celebrated. He’s fat because he’s clever, managing to trick a bunch of rich humans into giving him fancy food off of their own plates. Because he looks like he’s wearing a tuxedo and spats at all times, the gentlemen at the clubs see him as fitting in, even though he’s most likely a stray. If he had an owner who was feeding him, he wouldn’t have developed this whole routine for getting food. The people who probably wouldn’t give food to a homeless human, seeing it as “feeding strays”, will literally feed a stray just for looking like he belongs. It combines two things that cats tend to love: food and messing with stupid humans.

So, the lack of emphasis on how other characters react to Bustopher and the reason why they react that way weakens the joke. But, to give credit where credit is due, I do like how they double down on Bustopher being Tugger for older women but have Jellylorum seem to be just as into him as Jenny is.

The Pekes and the Pollicles:

Here’s where the Broadway Revival goes completely off the rails. Both The Pekes and the Pollicles and Growltiger are often cut from productions to save time. They’re both “play within a play” scenes, which can be a bit confusing in a show that rarely ever uses dialogue to introduce the numbers. The Pekes and the Pollicles in particular seems to come out of nowhere. “Yay! Old Deuteronomy is here! Now let’s make fun of dogs!”

So, the Broadway Revival, like every production, had to decide what to do with these numbers. Would it keep them? Cut one of them? Cut both of them? But, for some reason, they invented a new option: Combine the two.

2016 Pekes and Pollicles isn’t The Pekes and the Pollicles. It’s a combination of The Pekes and the Pollicles and Growltiger’s Last Stand. The song is moved to where Growltiger is normally done and parts of the melody are mixed in. The Rumpus Cat, as a character, is equated to Growltiger as a character Gus played back in the day. This is where the trouble starts.

Now, I’ll once again stop to give credit where credit is due: The 2016 opening to The Pekes and the Pollicles is really sweet, with Old Deuteronomy encouraging Gus to play the Rumpus Cat one more time. Growltiger is basically a dream sequence of Gus flashing back to when he played Growltiger. Getting to see him actually relive his glory days one last time is nice. If they used this opening for Growltiger instead of The Pekes and the Pollicles, it would’ve been a good addition to the number.

So, Growltiger and The Pekes and the Pollicles are both plays within a play. Why not combine them? Well, the main problem is that The Rumpus Cat is not Growltiger.

Now, a lot of people hate Growltiger’s Last Stand and I’m not going to act like it’s some kind of masterpiece. I personally find the number to be sort of middle-of-the-road. If you see it more than once, the shock value of the cringey Asian stereotypes starts to wear off and, with a few exceptions, the number feels kind of dull. Andrew Lloyd Webber himself said that he was never really pleased with how Growltiger turned out and the London Revival rewrite might be worse than the original, at least musically. But, I’ve seen a few productions of Growltiger that I thought were kind of funny, usually by taking the racial stuff and sort of saying, “We know it’s bad and we can’t make it better, so we’ll just make it worse” and playing it up to the point of absurdity, like a parody of the sort of Yellow Peril stereotypes the song includes. I’ll also give credit to the Tecklenburg non-replica keeping the Siamese in silhouette behind a sheet.

When I say “The Rumpus Cat is not Growltiger”, I mean that how the two characters work comedically is completely different. You can’t just swap one for the other without rewriting the comedy of the entire number to match.

You’ll notice that Growltiger is in the title of Growltiger’s Last Stand. The song centers around Growltiger as the main character. The Pekes and the Pollicles includes the Rumpus Cat in the full title, but said title is so long that you rarely ever hear the song called that. The Rumpus Cat plays a key role in the story, but he shows up later on. The song isn’t about him. He’s not onstage for most of it.

This means that the comedy surrounding Growltiger and the comedy surrounding the Rumpus Cat work completely differently. The comedy of Growltiger is the comedy of Growltiger’s Last Stand. It all revolves around him. This is a joke based on a wacky character. The joke in The Pekes and the Pollicles isn’t about a single wacky character. It’s about a play where everything that could go wrong does with Munkustrap acting as the straight man. He’s the only one taking this seriously, perhaps a bit too seriously. The Rumpus Cat is just another thing that goes wrong. He’s funny, but so is everyone else who calls attention to themselves throughout the number.

Putting Gus as the Rumpus Cat into the Pekes and Pollicles is performing the number but with the joke from Growltiger. The Rumpus Cat enters the story too late for this to work, so Gus spends most of the number onstage, sharing the narrator role with Munkustrap. Furthermore, in order to include Rumpus Catified versions of Growltiger’s jokes, pretty much every memorable joke from The Pekes and the Pollicles is cut. Nothing goes wrong with the rest of the cast. The first Peke and Pollicle say their lines correctly. The March of the Pollicles and the Scottish Pollicles are cut, removing all the gags there, including Tugger playing the bagpipes at such a fitting moment that only Munkustrap is upset at first.

The fact that nobody messes up is especially weird in this version, because it’s spontaneous. Old Deuteronomy decides that Gus should get to play the Rumpus Cat again and everyone just automatically knows their role in the play. The Pekes and the Pollicles is a show Munkustrap put together for Old Deuteronomy. He had everything planned out. There were rehearsals. But, nobody showed up to rehearsals and nothing goes according to plan. If the play were spontaneous and everyone messed up, it wouldn’t be as funny, because that’s what you’d expect. Nobody had time to learn what to do, so they don’t do it right.

Instead of having the comedy come from the cast of the play messing up, the comedy is about how over-the-top Gus is. He’s narrating now, so why is Munkustrap even there? He does sort of play the straight man to Gus’ antics, but, because Munkustrap isn’t in charge here, he can’t show as much frustration. He can only awkwardly question things and be ignored. The worst case of this is with the “heathen Chinese” line. Most modern productions replace “heathen” with a less offensive word. It almost always feels a bit forced, but it works well enough. Some productions just leave the line as is, which makes it seem like they don’t care, but it doesn’t make the problem any worse. 2016 instead decides to call attention to how bad the line is by having Munkustrap question it, with the line being the older Gus’ fault. Not only does this make Gus less likable, it doesn’t actually solve the problem. The song can’t stop to acknowledge it, so, even though Munkustrap questions it, he still says the line anyway, making the whole thing a waste of time. They should’ve either changed the line or left it alone. But, they basically tried to have it both ways.

Trying to have it both ways is the fatal flaw of the number. They could’ve cut Growltiger like the 1998 film did. If you hadn’t seen any production of the show before seeing the 1998 film, you’d never guess that there was supposed to be a song between Gus and Skimbleshanks. It can be easily edited out. They also could’ve kept Growltiger and used redesigned, less stereotypical costumes for the Siamese, like the Vienna Revival did. It wouldn’t solve everything, but an effort would’ve been made. But, by combining Growltiger with another number, they both did and didn’t cut the number. Instead, the messed with and weakened The Pekes and the Pollicles so they could reference Growltiger without actually performing it.

The places were Growltiger’s melody is used for lines in The Pekes and the Pollicles feel forced, because those words weren’t written for that tune. That basically sums up the whole problem. One song was combined with another in a way that felt forced and awkward, because the elements of the two numbers weren’t meant to go together.

In conclusion, I think the Broadway Revival’s comedic downfall came from a sort of indecisiveness. They wanted to keep things the same but also change them, possibly not even knowing what they wanted to change them into, only that they wanted to change them. They wanted to shorten Bustopher’s solo, but not the way it’d been done before. They wanted to cut Growltiger, but not in the way it’d been done before. They wanted to do Cats, but not in the way it’d been done before. 

There’s nothing wrong with wanting to try new things. This could’ve been the template for an interesting non-replica if they really committed to doing things in a different way. But, they got stuck in between, wanting to be different, but not wanting to be too different. So, they tried to fix what wasn’t broken and sell it as New and Improved. This paved the way for the 2019 film to do the same, but with even worse comedy and without the advantage of the numbers being performed well by a devoted cast who knew what they were doing.

TLDR: 2016 messes with comedic numbers in ways that weaken them. It makes Bustopher Jones more completely about gluttony and tries to combine The Pekes and the Pollicles with Growltiger, failing both.

[sevensided]

how did you get into writing fic? i'd love to start but idk even where to begin! I loved adats so I was wondering do you have any advice?

Oh my goodness! I am so flattered you’ve asked me this. Yes, I can absolutely help. I’ll throw a bunch of rambling under the cut.

I started writing fic probably when I was... sixteen years old? A lot of my early works were oneshots. I couldn’t figure out how to do anything plot heavy for the life of me, so I just stuck to AUs or whatever I felt like. I wasn’t in any particular fandom -- I really wrote whatever I had ideas for. I remember I tried once to do a plot-heavy story and I received a review absolutely ripping it to shreds. Like, it was so cruel I cried lol. I ended up deleting the fic. Years later, I get what they were trying to say (basically, more substance, less style), but at the time it cut to the quick. Really, it was only when I was in my twenties that I started writing work that was longer and/or better.

The fandom that helped me actually write plot heavy work was a historical-based fandom. As I’m a historian, it was perfect. I got to use my research skills and knowledge to create works that, above all, aimed to feel authentic. I mainly read historical fiction, so I was familiar with how that genre worked. Miraculously, people loved my work. I think I wrote about ~200k in the period of a year? These were several short stories (20-40k) and a few oneshot filler fics. While I was part of this fandom I also helped organise a Big Bang which was a lot of hard work but was extremely rewarding. Along with that, I interacted mainly with other fic writers, so I spent a lot of time chatting to people about ideas and encouraging other writers, and it just created a lovely medley where no concept was impossible or any line of dialogue too difficult. We supported each other and it was truly like a little commune. I gradually stepped away from the fandom mainly because it was just a part of my life at a very specific time, and almost as soon as that time was over, my love for that story/ship faded, but I firmly believe I figured out a lot of how/what I do now purely through that experience.

Regarding ADATS

With ADATS, it stemmed entirely from wanting to “explain” three months in canon (at the end of season three). I was interested in the idea of season four setting up Will/Mike in canon, and I wanted to test the source material to see if I could draw from what already existed to create something authentic. I began with that simple idea: what happened from July to October in 1985? Then I thought about the major themes I wanted to hit -- family, friendship, coming of age, sexuality -- and I nested them around the bigger concept: how do I get Mike from being ostensibly straight to realising he is gay? That meant thinking of two steps: Mike discovering his attraction to guys; Mike discovering his attraction to Will. Those two concepts were separate “arcs” that needed addressing in different ways. Balance was key to weaving them together and making the reader feel like they knew what was coming (and that they felt smart for putting the pieces together) without just rushing through and going “now kiss!” That’s partly why ADATS needs a sequel, lol: because it’s not finished!

Writing process

The first thing I do when I start to get an idea is I write it down. Sounds obvious. But when you have a killer line of dialogue come to you in the shower and you think “I’ll remember that” -- reader, you will not remember it. You gotta get it down ASAP! I do that the whole way through, as generally I’ll be thinking of scenes I’m stuck on and then it’ll just come to me and I’ll quickly jot it down.

The next thing -- or what I do in the meantime -- is start structuring. I plan. I try to plan a lot. Sometimes it’s okay to write “and something happens here to get them here”, because you’ll figure it out later, but for the most part I’ve discovered that planning is like gold and you can’t get enough of it. I break my work up into generally 3-4 parts/sections, and I treat each section like a mini story. So each part needs a conflict and resolution, and it needs to flow into the next section. You need to have a feeling of things evolving and maturing. Once I’ve planned those little bits, I start thinking about the bigger plot arc and how I can drop in hints along the way. I’m probably not a subtle or skilled enough writer to yet pull off that sort of gasping twist you get in really excellent books, but I’m trying to get there. It’s hard, is what I’m trying to say, but that’s okay, because we’re all learning.

Then I generally do aesthetic stuff. Sounds stupid, probably. But nothing helps me get more into a mood than doing a Pinterest board or -- most of all -- making a Spotify mix. I start thinking about the vibe and the general atmosphere, and then I almost exclusively listen to that mix when I’m working. Sort of like muscle memory? Just to get the creative juices associated with that particular selection of songs.

Another thing I’ll do along with plot structure is character structure. This is a biggie. I mean, a story is nothing without characters. So I’ll just jot down a bunch of bullet points of characters and particular aspects that I want to highlight or remember. I hate continuity errors in fiction. Like, if someone says they work on Maple Street but later in the fic they’re working on Pine Street. I hate that. So I keep note of specific things that my main character might notice at repeated points in the story (colours, places, smells, names, sounds -- so they’re all consistent even as the narrative evolves). That’s another thing -- your characters’ motivations. Not everyone is going to be a huge player, but they all do serve a purpose. The most important character is obviously your main character. I personally think it’s important to let your M.C. be an arse at times. They’re going to be mean, they’re going to misinterpret things or fly off the handle... just let ‘em. Let them be wretched humans, and then bring them back and make them realise what they’ve done. Let them learn! I love consequences in fiction, lol.

At the same time, I’ll probably start writing. We’ve already written down some snippets of neat dialogue or descriptions, but now we should start the actual process. For me, I used to start at the beginning. Usually this was the most fleshed out anyway: I’ll have a clear idea of the beginning and the end, but nothing in the middle. These days, if I have a scene in mind that I can’t forget, I’ll just write it. It will possibly get scrapped or rewritten, but that’s okay, because at least you’ve got it down and now you can devote your brain power to something useful (like figuring out what the middle is supposed to be). I’ll have half a dozen of totally out of context scenes just littered in my Word document that I’ll add to as I go along. Eventually, though, you’re going to start writing properly, and that’s when you write your opening scene.

Opening scenes: super important. Every time I write a scene I think: what is the point of this? What do I want the reader to learn or takeaway? Sometimes you do have filler scenes, but they also serve a different purpose (perhaps to establish a group dynamic or to explore/describe a character’s surroundings). Mainly, though, every scene should push something forward in some way, whether it’s character development or a plot point. So, with an opening scene, I always think you have to establish: where you are; who you are; what they are doing; where they’ve come from (in a philosophical and practical sense); and where they’re going (ditto). That doesn’t have to happen in the first paragraph -- that would be silly. But if you sprinkle that information in over time it’ll gradually build up a picture of your character and that way the reader can get an idea of who they are. You basically need to give a snapshot of what your story is about. This also goes back to the character creator stuff: where they are at the start should be different to where they end up. How that happens is, of course, because of plot, and because you’ve structured everything to the nth degree, we’ve got a very clear progression of that character’s growth (/s easier said than done lol).

General advice

Write down everything: every idea, a bit of dialogue, a description, whatever. Write it down. Doesn’t have to be neat. Just has to be on paper. You can’t remember everything, so if you’re spending time trying to hold those things in your head, it’s taking up space for new ideas to come along.

Structure, plan, structure, plan. Sometimes it’s boring and I hate it. Other times, when I’ve not written in a few days and I open the Word doc and think wtf is this supposed to be, I am very grateful for Past Me for leaving such detailed notes. Seriously, it helps so much. Oneshots don’t really need planning, in my experience. You just get those out there. But multi-chaptered stories really do, even ones that “just” focus on a relationship.

Whatever you want to write, commit to it. Space goblins invade Hawkins? Do it. Eleven and Max find themselves in a cult akin to Midsommar (2019) and must escape? Yes. Just... whatever you want to do, remember that you’re writing it for you. Write what most interests you, what makes you when you reread it go AHHHHH I LOVE THIS!! Because that makes it a thousand times easier to actually get on with the writing when you enjoy what you’re doing.

Write a lot. Every day, if you can, or at least at designated times. Occasionally I have a very specific headspace/vibe I have to be in, but sometimes it just hits me and I’ll say to my partner “I need to write now” and just disappear, lol. The more you write the more you write. It’s so, so, so true. Cannot emphasise this enough. When I wrote that ~200k in twelve months? It was because I literally wrote every. day. Or near enough. Remember that some days you’ll write 200 words, and other days you’ll write 20k (this happened to me with ADATS -- part of the reason I finished it so quickly was because I had sprints of writing 10k+ at a time that only happened because I was in the rhythm of it). Write, write, write. Who cares if it’s crap! No one will see it until you are ready. In the meantime, just write!

Probably last of all (although I could go on and on) is connect with other writers. If you’re struggling to start, sometimes just talking about it can help a huge amount. I hope it goes without saying that you can message me whenever you want, anon or not, and I will talk to you. We can talk about ideas or I can beta stuff, whatever you want! Find like-minded people and talk to them about what you want to do. Another thing this helps is in advertising your work when you do publish. I see a lot of first time fic writers get super down because they publish their magnum opus on AO3 but no one comments. Honestly, it’s because no one knows you’ve published! You don’t have to be tooting your own horn every which way, but just actively talking about your work and even collaborating with other content creators with get you hyped and other people too (and the input and encouragement other fandom members give is just... out of this world. Anon messages helped me finish ADATS when I was really worried I wouldn’t [that’s the truth]. Seriously, support is everything). When you have people excited about your work, you get excited. It’s really as simple as that.

I could go on but this is already horrendously long. I hope even a bit of this helps! If you want to chat or have any more questions, just hit me up any time.

[mediaevalmusereads]

Matrix. By Lauren Groff. New York: Riverhead Books, 2021.

Rating: 3/5 stars

Genre: historical fiction

Part of a Series? No

Summary: Cast out of the royal court by Eleanor of Aquitaine, deemed too coarse and rough-hewn for marriage or courtly life, seventeen-year-old Marie de France is sent to England to be the new prioress of an impoverished abbey, its nuns on the brink of starvation and beset by disease. At first taken aback by the severity of her new life, Marie finds focus and love in collective life with her singular and mercurial sisters. In this crucible, Marie steadily supplants her desire for family, for her homeland, for the passions of her youth with something new to her: devotion to her sisters, and a conviction in her own divine visions. Marie, born the last in a long line of women warriors and crusaders, is determined to chart a bold new course for the women she now leads and protects. But in a world that is shifting and corroding in frightening ways, one that can never reconcile itself with her existence, will the sheer force of Marie's vision be bulwark enough? Equally alive to the sacred and the profane, Matrix gathers currents of violence, sensuality, and religious ecstasy in a mesmerizing portrait of consuming passion, aberrant faith, and a woman that history moves both through and around. Lauren Groff's new novel, her first since Fates and Furies, is a defiant and timely exploration of the raw power of female creativity in a corrupted world.

***Full review under the cut.***

Content Warnings: blood, violence, gore, childbirth, threats of rape

Overview: As a medievalist, I’m admittedly a little picky when it comes to my historical fiction set in the Middle Ages, but because this book was about Marie de France, I decided to give it a go. While I do think that Groff is a talented writer, I ultimately felt let down by Matrix; when I think about Marie de France, I think of her lais and the magic she weaves into them (not literal magic, mind you, but things like the power of women, courtly love, lush atmosphere, etc). This book, by contrast, contained very few of the themes that make Marie’s work so memorable, to the point where the less you know about the real Marie de France, the better. Instead of exploring the mind of the woman who wrote such wonderful, magical tales, we get the story of a nun who brings an impoverished abbey to prosperity. It’s a fine story, don’t get me wrong - it’s just not one I’d associate with Marie de France. Honestly, I think Groff would have had more success writing about her own original character, taking inspiration from mystics like Julian of Norwich or Margery Kempe. Thus, this book only gets 3 stars from me.

Writing: Groff’s prose is beautifully crafted with evocative imagery that is also easy to read. Everything flows well and moves at a quick pace, so readers won’t feel bogged down by details such as the day-to-day work at the abbey or some such. This book also uses present tense to narrate the story, and while I’m not usually a fan of the present tense, I think Groff made it work. The narrative feels energetic and grounded, and I think it combined well with the technique of using run-on sentences from time to time to convey the feeling of being caught up in the moment or lost in thought.

Plot: The plot of this book mainly follows Marie de France as she is yanked from her life at the French court and placed in charged of a poor English abbey. We follow Marie as she rises through the ranks and brings the abbey to prosperity, all while wrangling unruly nuns and doing her best to convince Eleanor of Aquitaine to come for a visit.

I think I would have enjoyed this plot more if the protagonist were someone other than Marie de France. As I said in my intro, the story isn’t an exploration of the inner workings of the mind of a (female) medieval poet; rather, it’s a story about a woman obsessed with her own power and reputation within the Church. The lais themselves get only about 3 pages of mention, and it felt like none of the themes that we associate with Marie’s real-life lais made it into this novel. While I did appreciate the little nods to history here and there (for example, the description of one of the nuns sticking a paintbrush in her mouth and getting lapis lazuli in her teeth), there wasn’t enough in this book to made the story feel fresh or new. Perhaps Groff was working with the theory that Marie de France was Marie, Abbess of Shaftesbury, but even so, the lack of attention to the lais and how they’d complicate our expectations or assumptions about the life of a medieval nun was baffling to me. Personally, I think Groff would have had more success if the book was “about” Marie, Abbess of Shaftesbury, or about an original character, inspired by female mystics such as Julian of Norwich or Margery Kempe.

I also wasn’t enthusiastic about the way Groff chooses to present her “feminist utopia” of an abbey staffed with only women. Despite the desire for Marie to protect her nuns from male violence and power, not much work is put into describing the abbey as a haven. Instead, Marie imposes her own will onto others and replicates the power hierarchies that she is (supposedly) so desperate to escape. I think I would have liked this book better if the author could have looked for the ways in which abbey life could have been a solace to the women. For example, maybe the daily routine provides comfort for those struggling with the chaos of the outside world. Maybe the queer nuns finally find a place that feels safe for them to express their affection for other women. Anything that complicated our modern assumptions about medieval Christianity would have been welcome; instead, I felt like I got a lot of “barbaric Middle Ages.”

I guess I’m being harsh in that Marie explicitly says that she thinks women are only safeguarded by their reputations. Thus, all of her actions are in service to cultivating a particular image of herself and the abbey (imposing, impregnable, protected by magic, etc). I think this could have been more satisfying for me if A.) again, we weren’t reading a story about “Marie de France,” or B.) the novel was very self-conscious about the fact that Marie was manipulating the perspectives of others.

Characters: Marie, our main protagonist, is confusing and difficult to like. Originally, she’s too cool for school; she arrives at the abbey more than a little skeptical of Christianity, and she judges the other nuns around her rather harshly (even though some deserve it, but still - there was this “not like other girls” vibe that I didn’t like). The novel tells us that she was a child crusader, which seems odd for one not invested in Christianity, and then never really does anything with that except use it to instill fear in people who are uncomfortable with her “imposing” demeanor. After a few years, Marie becomes devout to the point where she’s having divine visions, like e medieval mystic. The switch felt fairly abrupt, and Marie’s ruthless pursuit of power and prosperity was admittedly a little tired at times. The only things I liked about her were her queerness and obsession with Eleanor of Aquitaine. Queerness is fairly commonplace, which is refreshing; even though Marie struggles with the idea of whether it is a sin or not to have carnal desires for other women, I did appreciate that wlw relationships were everywhere within the abbey, not just between Marie and a single other nun. Marie’s obsession with Eleanor was also interesting in that it bordered on erotic obsession and made manifest the pains unreciprocated love, mirroring courtly love in real medieval literature. I liked how Marie strove to please Eleanor in everything that she did, and loving the Queen from a distance put an interesting spin on courtly love between two women.

Eleanor, for her part, was intriguing because she was something of a mystery. We mainly saw her though Marie’s eyes, which meant that she was held up as a paragon - of beauty, of intelligence, of courage, etc. When we do finally see Eleanor in the flesh (so to speak), she doesn’t quite live up to Marie’s hype, and I liked the conflict between reality and the lover’s image of the beloved.

Most other characters blurred together for me. There are many nuns at the abbey, and most of them have quirks or jobs that make them unique. In that respect, I liked how Groff made each nun feel like an individual, and that they all came together to form a community. What I didn’t really like, however, was how they always seemed to be in conflict. Aside from a couple characters, it didn’t seem like any of the women had any close relationships; rather, I felt like the women were frequently in conflict or at least consistently incompatible in some way or another. If Groff really wanted to paint the abbey as some kind of haven or utopia, I think having more of the nuns find emotional intimacy with one another would have gone a long way. Even if some of the women didn’t get along, I would have liked to see more positive relationships rather than negative or impersonal ones.

TL;DR: Matrix is ultimately a compelling novel about running an abbey, but a poor imagining of real-life poet Marie de France. While there is much to admire about Groff’s prose and the book would have been a fine work of historical fiction if written about, say, the Abbess of Shaftesbury, the narrative is unfulfilling for those who are familiar with the lais of Marie de France, primarily because none of the core themes from the medieval poems play major roles in Groff’s novel.

[itsbenedict]

I didn’t post about everything I played this year, so here’s my opinions on the stuff I played that I didn’t make a rec post for:

Raging Loop 

Raging Loop is one of them twisty meta Zero Escape-y branching-path visual novels where an ensemble cast is trapped in a mysterious circumstance where people are dying gruesomely, and you have to find out what’s happening and stop it by looping a bunch. 

I can’t wholeheartedly recommend it, because... it tries to have its cake and eat it too with the supernatural elements. Clearly magic is real and has important impacts on the scenario, but then other parts are trickery you’re supposed to see through, and it’s entirely uninterested in cluing you in to how that trickery was accomplished. Not exactly a fair play mystery, in that regard- you have to kind of just be along for the ride, rather than try to figure it out.

That said, it’s a good ride- pretty strong character writing, and the central conceit of the Werewolf/Mafia-style murder scenario creates really interesting drama. It’s more concerned with making itself feel clever than letting the player feel clever, but it’s still well-paced and gripping and has a pretty decent resolution.

Detective Grimoire

I recommended Tangle Tower, the sequel, pretty strongly- and this one, while obviously a little rougher around the edges with the art and mechanics (the suspicion tracker system is a total dud; I didn’t even realize it existed until I realized I was missing an achievement for using it), it’s still pretty darn good. Really fun character designs and animations, fully-voiced, and a solid whodunit backing it all. Plus- while the two are more or less self-contained, the continuity threads with Tangle Tower raised some really interesting questions.

Contradiction - the all-video murder mystery

This one was pretty fun, largely on the strength of the actors. The main mechanic of interrogating people on evidence and using their own statements against each other was some good stuff, too. Definitely had that Phoenix Wright quality to the deductions, and Jenks is a really fun character. (Had a few points where progression was just linked to standing in a certain previously-abandoned area of the map where a clue was suddenly there for no reason, there- good thing it had a hint system.)

As a mystery, it could use a little work- most of what you end up finding out is sequel bait (for a sequel that never actually came together, unfortunately), and the actual whodunit is just sort of hiding in the cracks of all that. And... cornering the culprit just sort of happens out of nowhere once you’ve got your hands on the right piece of evidence, without much fanfare. You’re following up on leads like usual, you find a little lie in someone’s testimony, and then- oh, shit, they’re just confessing everything! Unlike all the previous times you questioned them and they were super evasive like everyone else! And then the game is over. 

All in all, it’s pretty meaty and entertaining and I’d recommend it, but unfortunately the creators have moved on to other things, so there’s not going to be any follow-up on the stuff it left unresolved.

Ikenfell

Ikenfell is a tightly-designed RPG about kids at a magic school, with Paper Mario-style action command mechanics and a battle system that makes a big deal out of careful positioning and movement, which was really enjoyable. The difficulty’s a little high (I recommend always always always speccing into max damage because killing things before they kill you is worth more than any amount of defense, speed doesn’t work, and healing is cheap), but I found it really satisfying.

There’s... something... off? About... I don’t know how to put it, it’s... doing that “yes, everyone is queer and mentally ill, deal with it” thing, which, sure, okay. But for a lot of them it’s such a background thing, like... half the playable cast is unambiguously nonbinary, but like... I don’t know if it’s trying to make some statement on how there are no rules to being NB and you can 100% perform a particular binary gender presentation but still count, or if they wrote the whole story and then changed the pronouns of some of the characters for Representation Points, or what. Probably the former? I dunno, it just feels weird. Maybe I’m just not woke enough to Get It.

(unrelatedly: why the heck is the official art they use everywhere so... off-model? none of them look like they do in-game- they look like the creator commissioned someone to draw a group shot with one reference image each and didn’t tell them anything about the characters. how much you wanna bet they commissioned a friend and it came out wrong but they were too polite to say “sorry, no, this is wrong, can you do it over?”)

Trails of Cold Steel IV

Hoo boy. It’s... not great, and it’s not great in a pretty predictable way for an even-numbered entry in the Trails series. It happens every time- first there’s a game in a new engine with new characters and a new world to explore, and it’s really nice and does interesting things... and then it ends on a cliffhanger, and then there’s a sequel game in the same engine with the same characters and the same world, reusing as many assets as possible. Also the League Of Generically Evil Anime Supervillains is there causing trouble for reasons they refuse to explain, and the plot is a storm of magicbabble and macguffin-chasing that makes little to no sense. 

Cold Steel IV is that for Cold Steel III, full stop. Welcome back to all the same places you visited last game, except this time there’s some stupid magic apocalypse happening (not that it stops you from taking the time to do random sidequests constantly, of course). The whole “oh, the evil curse mind controls people and that’s why they do stupid bullshit that’s in no one’s interest” plot point is leaned on super hard, and it’s just a big yawn the whole way through.

It’s still really fun, though, because the battle system remains really well-designed. (The same battle system that was just as fun in Cold Steel III, mind you, but it hasn’t gotten old.) And- though they’re struggling to square it with the dumb mind control apocalypse plot, the NPC dialogue continues to make the world feel believable and lived-in. They don’t slack on the parts that make Trails good- it’s just the parts that make Trails bad are making themselves more evident than ever.

did finally get to date Towa though so that’s a win

One Step From Eden

OSFE is... uh. It’s fucking hard is what it is. It’s sort of a deckbuilding roguelike, and there’s this combat that takes place on a grid, and- wait, it’s like Mega Man Battle Network, it’s exactly like Mega Man Battle Network. Man, I forgot about that, but the mechanical influence is extremely obvious. It’s MMBN meets Slay the Spire.

Except it’s super duper hard as hell, because unlike MMBN you can’t pause and swap out chips or anything- everything is just always happening so much, all at once, everywhere, and you have no recourse but to git gud and learn all the enemy patterns and the behavior of your own spells and develop the twitch reflexes necessary to not fucking die from all the shit that’s on the screen always.

(What’s the story? Uhhhh, there was some kind of magic apocalypse, and some anime girls are trying to reach a city for some reason that doesn’t really get explained ever. The game doesn’t really care to build its world at all- it’s all mechanics plus a little token character dialogue that doesn’t say much.)

The point is it’s really frickin’ hard but I am an epic pro gamer and I got ALL THE ACHIEVEMENTS, MOTHERFUCKER. If you’ve played it, I expect you to be really god damn impressed with me, okay???

A Short Hike

This one was really relaxing! It’s a platformer where you explore an Animal Crossing-y island of cartoon animal people, collecting mobility upgrades- but like, mainly it’s about straight chillin’. The flight controls are fun and there’s lots of little secrets to find and it’s just a nice time that doesn’t drag on too long. Not too much to say about this one.

Pokémon Sword

Ehhhhh.

I’m not here for the hot takes about how Dexit is good actually. Development hell happened, they had to make cuts for time, I get it. It’s disappointing and makes the game a little bit worse, but it’s not the end of the world.

Apart from that... perfectly serviceable? The Wild Area could’ve used a little more technical polish (as could most things in the game, really) but was a step in the right direction, giving the player a wider array of early-game team-building options than ever before. No HMs is good. Story and characters were kind of nothing, but that’s par for the course. “At least this time they’re not shoehorning in some kind of stupid evil-team-wants-legendary-pokemon-to-destroy-the-world apocalypse plot”, I thought to myself before they managed to shoehorn one in at the last minute with zero buildup- but, hey, beats wasting half the game on it.

It’s nothing special and it’s missing a lot of polish, but its problems are mainly due to being rushed, and presumably next gen they’ll be able to reuse a lot of the models and animations (maybe even improve the animations so they’re not so boring??? a man can dream) and make something interesting. SwSh seem like they were testing the waters for something else, and not taking too many chances in the meantime. 

(yo why would you sell all these cosmetic items and then turn them all off during gym battles, though) 

Hades

Hades is- oh, who am I kidding? Everyone knows Hades, it’s the game of the year, greatest thing since sliced bread, Supergiant are heroes, yada yada yada. I’ve played almost 300 hours of it and I’ve completed everything except all the Resources Director levels (currently a Sigma Wraith), it’s extremely fun and you don’t need me to tell you that.

Petal Crash

It was that thing the Paranatural creator helped on? It’s, uh. It’s a block-sliding puzzle game thing, sort of in a Puyo Puyo vein. It has fun character designs and some good dialogue, like you’d expect from Zack’s involvement, but it didn’t really leave an impression otherwise (besides how got dang infuriating some of its Turn Trial puzzles can be.) The story is... kinda heartwarming, kinda didactic, kinda childish, not especially deep or interesting. Hard for it to be, when it’s told through little bits of fluffy character dialogue that exist to set up a puzzle battle as quickly as possible. Not super recommended unless you really really like block-sliding puzzles.

Hollow Knight

Man, why’d I sleep on this for so long? It’s a metroidvania platformer with heavy Dark Souls inspiration, in terms of tone and difficulty and death mechanics and environmental storytelling. And it’s... apart from all that, just really good as a game, with tight controls and juicy movement and great animation. Progression is linked as much to mastery as it is to upgrades collected- I found myself in lategame areas facing down things that would’ve killed me ten times over at the start- not because I had the best gear, but because I’d learned the game’s language and understood how to move in ways that wouldn’t get me killed.

(Usually. Sometimes I’d walk into a room and sit on a bench and suddenly there’d be a boss fight and I’d get slaughtered. Ain’t that just the way it goes?)

Anyway, on top of all that it’s just charming as hell, with a really unique and well-realized world full of little bug people. I love how, like, your character is clearly some kind of eldritch abomination, but it’s small and cute and so everyone (besides enemies that attack you on sight because they’re possessed by some kinda evil mold) is like “awww, who’s this little guy? want some help, little guy?”

(except Zote, who is just an ass hole. i love him.)

[goneseriesanalysis]

Misogyny In Gone

 Spoilers for the Gone series down below - please don’t read if you haven’t read all the books

Also minor spoilers for the monster trilogy

TW: Mention of non-consensual s*xual activity

In one of my first ever posts about Gone, I mentioned that when I first read the series I found myself strangely intrigued by characters such as Caine and Drake, whilst disliking or simply being disinterested in female characters, such as Astrid or Lana. Now, in that post I chalked that up to being a result f the internalised misogyny that a lot of girls experience through the teenage years, but looking back I really don’t think I was giving younger me enough credit. I was reading plenty of other books at the time where I had absolutely no problem relating to the female characters. So that got me thinking as to why my experience was so different with Gone. I asked a question the other day about why @gone-series-orchid​ thought so many younger fans fixate on Drake in particular. And when I was answering the question myself, I found myself realising that it wasn’t so much a connection with that character, but more a disconnect from any female characters - the characters who I would usually relate to.

It made me realise that the issue was not with younger me, but with the writing itself. I began thinking back to various plot points, and it made me realise that women are heavily villainised throughout the series, without them being actual villains. This creates a set-up where you have numerous female character who are subtextually punished in a way that is usually associated with wrongdoers, without actually giving them the autonomy to make the decision to be bad. And so of course 11-14 year old me didn’t like them. And I instead developed an obsession with a sociopathic misogynist, which is really harmful for obvious reasons. Now, I really don’t think mg did this on purpose, but it’s there all the same and so I’m gonna talk about a few things that are irking me as I’m looking back.

Quick disclaimer that I have only re-read Gone so far so I don’t have quotes for evidence as I usually do, and I may even be misremembering some plot points. But I wanted to get my thoughts down while they are still fresh so here goes.

My first thought is that a lot of the villains we see, even the smaller ones, are male. We have Orc for a short amount of time in the first book. We have Caine, Drake and Zil. And even most of the background antagonists are male (Howard, Panda, Mallet, Hank, Turk, Lance, Bug). While you can argue that a lot of these characters are rather one-dimensional and cartoonish, they all have two things in common. Agency and autonomy. They are all able to make their own decisions (with the possible exception of Caine in Hunger). They all have their own clear and distinctive reasons for doing the things that they do and they are all relatively sane - I suppose you could argue against Drake being sane but realistically he is fully capable of making rational decisions when he needs to which would indicate that he is to at least some extent.

And this is something that any female villains just...never have?? And I literally mean all of them. I’m going to go through them one by one.

(Reminder that I’m talking about these characters specifically in their role as an antagonist - some of them do possess agency and autonomy outside of these roles but that is another topic of discussion)

So first we have Diana. Not really a villain, but certainly an antagonist in the first book. So let’s look - Agency?? No. Her role as an antagonist is dependant solely on Caine’s actions, rather than any desires of her own - even the few scenes where she manipulates Jack. She’s doing it to protect herself from Drake...another male villain. Not because of any villainous intentions that she herself has. Autonomy?? No. She is thrown around (literally) by Caine and is forced to go along with HIS schemes, despite actively voicing her unwillingness. She is even forcefully kissed by him - she has no right to self-government and no moral independence for as long as she remains an antagonist.  

Lisa - If I remember correctly, Lisa is the name of the sole (I believe) female member of the human crew. So let’s get straight into it because I barely remember her. Agency?? I don’t think so. Now, I could be wrong here but I’m pretty sure we don’t even get an explanation as to WHY she joined the human crew in the first place. If that is the case then that’s a big fat nope for agency. Autonomy?? Again, not that I can remember. I believe she is mainly treated as a romantic prospect for Zil (even though I’m pretty sure he calls her ugly at some point). I don’t think we are ever introduced to her morals and beliefs in any capacity that is separate from Zil. Sorry Lisa.

Brittany - This is quite possibly the WORST example. Brittany is the girl who was killed in Hunger and then brought back as the Jekyll to Drake’s Hyde. Agency?? No. Brittany’s role as an antagonist happens only after she has become insane. She is separated completely from her original characterisation and instead becomes a puppet for the gaiaphage’s desires. Autonomy?? NO. She is literally attached to Drake, and as the series continues she becomes less and less able to govern her own body until in the monster trilogy she is introduced to us as nothing more than a face in Drake’s chest. That he treats as a pet. I mean what the f*ck. She is also completely separated from her moral compass when she turns insane, even having that and the image of her dead brother used against her. I’m actually fuming just thinking about it. Like yeah, I wonder why little 11 year old me didn’t really like the women in this series.

Nerezza - As I remember Nerezza was some form that the gaiaphage took in Lies in order to manipulate Orsay. Agency?? Somewhat. She had a clear goal that she was working towards but points get taken away because she is not a real person. Interesting how the gaiaphage used a female body instead of a male one. However, if I have misremembered and the gaiaphage was possessing an actual kid then let me take that agency point right away. (I’m pretty sure she wasn’t a real person though). Autonomy?? No. Again, she isn’t actually real. ‘She’ is the temporary human form of a glowing pile of rocks. She does not have the ability to self-govern or have any moral independence. Also minus points for the fact that she was used to take away the agency and autonomy of two other female characters through manipulation. (Orsay directly and Mary indirectly).

Penny - Penny is the moof who has the ability to make people see monsters. Agency?? Somewhat. Penny acts purely for herself when she cements Caine, an act of revenge at that. Her goals are clear and she is established as a villain in a way that is separate from the male villains (we learn that she puts bleach in her sisters cereal). However, it is stated that the reason she does not desert to Perdido Beach in Hunger and Lies is because of her crush on Caine. Ew. It is also never really addressed that she does have a reason for attacking Caine in Fear. It’s played down to her just being crazy. (Notice how Drake and Penny are very similar, but he is sadistic and she is crazy- even though she has more justification for attacking Caine than he does for attacking Diana and Astrid). Have another ew, as a treat. Autonomy?? No. I mean, she literally gets her legs broken by Caine in Lies when he drops her off of a cliff. She is unable to move and has to be bathed by Diana and Caine. I mean why did he need to be there mg. Have another ew, that’s a Hat Trick. She cannot self-govern and her moral independence is undermined by her insanity.

Gaia - Gaia is the child of Caine and Diana, who is possessed by the gaiaphage. Do I really need to continue?? Let’s do it anyway. For fun. Agency?? No. She is possessed. By a glowing pile of alien rocks. Completely wiping away any personality or beliefs she may have grown to have. Autonomy?? No. She is possessed. By a glowing pile of alien rocks. She is also killed because of this. She has no ability to self-govern and no moral independence.

Bonus round - Lana temporarily becomes an antagonist in Hunger while under the control of the gaiaphage. Agency?? No. Autonomy?? You guessed it, no. Because she is being controlled. By a glowing pile of alien rocks.

My second point is that the two main female characters experience their character growth at the hands of men. This is not unusual in media. But it’s annoying as hell. Let’s review:

Astrid – Her main role throughout the series is to be Sam’s love interest, despite her being a much more interesting and developed character. She also changes a large part of herself in order for their relationship to continue (I know that’s not why she undergoes the change, but from a storytelling perspective it needed to happen for them to remain together because of how mg wrote them) and Sam is just fine as he is, for some reason. The character development that she goes through in between Plague and Fear is not only directly linked with LP but is also, for some reason, a secret. We, as a reader, are not allowed to see it. She also experiences a lot of character growth due to her fear of Drake and what it takes for her to overcome that. Another man. Yay. I know there is a lot more nuance to it than this but you get my point.

Diana – Again, her main purpose is to be Caine’s love interest. And she is yet another victim of Drake’s sick obsession. I’m not really going to go into detail with this one because Diana’s whole character is a result of the attraction men have to her and the way that they treat her because of this. I talk more on this is my analysis of Diana is you are interested but if I go into it here then I’ll probably cry.

Some bonus characters in this category include:

Lana – Big fat glowing pile of rocks (it’s genderless, I know, but I’m counting it), Quinn, Sanjit

Penny – Caine

Taylor – Her character doesn’t really rely on a man but it does rely on other characters (and mg) treating her like a sl*t for daring to have an attraction to one

And point number three: Women having sex = bad??

Again, not uncommon in media. But boy does it get on my nerves. For some reason women having sex or exploring their sexuality in the gone series seems to immediately have negative connotations. Now, I’m not sure whether this was intentional or not, but I do know that the same subtext is not there for the male characters. I’m going to preface this by saying I’m not overly fond of any of the kids having sex. Because, you know, they’re kids, and as an 18yr old re-reading the series, it makes me pretty uncomfy. But for any 14 year old girls reading this series, the take-away is immediately that girls exploring their sexuality is bad and wrong and punishable and I hate that. Because it’s just not true. So let’s begin.

I’m going to start by talking about Taylor. Taylor doesn’t actually canonically have sex as far as I can remember, but as I mentioned before, she is treated as a sl*t pretty much from the get go. And why?? Because she is open about the fact that she finds Sam attractive. Which is NOT a bad thing. It’s good to be open about these things, as long as you aren’t making a move on anyone who is already in a relationship then there is nothing wrong with voicing an attraction. And she doesn’t make a move. He does. And when he pulls away?? She accepts it. She doesn’t shout or get upset. She accepts that he is drunk and that he didn’t mean it and she moves on, with the exception of a few jokes. And that is a good reaction to that situation. Yet she is constantly villainised both by characters in the text and subtextually and I hate it.

Penny – Again, Penny doesn’t actually have sex within the story, and I’m not going to talk about her crush on Caine because I already discussed my issue with that. But there is one bit that makes me go absolutely feral. We learn in Fear that she uses her powers to kiss Turk whilst making herself look like Diana (she also does this with Howards although it is never stated who she turns into with him), and this is not presented as an immoral thing to do?? Which it very much is. She is literally commodifying Diana’s body – without Diana’s consent, and mg didn’t think to mention that that is not an ok thing to do?? Like she is SELLING Diana’s body for I can’t even remember what. And this infuriates me so much more because of how Diana is treated for consensually having sex within the series. She can’t even escape from being sexualised when she isn’t around I just AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA. I’m crying now over the horrific way in which Diana is treated ugh.

Brianna – Ok so Brianna is the final one on this list who doesn’t actually have sex within the series. My issue here is how Brianna is treated for her reaction to Dekka’s confession of love. Now, as I have said I haven’t re-read Plague or Fear yet so I’m not sure if Brianna is villainised for this within the text, or if I’ve just seen some fans do it. But. She is a CHILD. She is 12. And someone she looked up to as a sister just told her that she is in love with her. Of course she is going to be confused. She isn’t homophobic – she is a literal child who probably has no real notion yet of her own sexuality. Also, she is allowed to not be attracted to someone. And she is allowed to set boundaries – that is a very healthy things to do. Most women have been in a situation where a man we have considered to be a friend has told us that he has romantic feelings towards us. We’ve all experienced that sinking feeling. This is the exact same situation. And I hate the idea of anyone reading this series to think that they have to reciprocate feelings just because someone is nice to them. Also just to be clear, this is not a criticism of Dekka. Dekka was also a child, who was dying – and she had every right to tell the person that she loved just that. My issue is with the way that I’ve seen Brianna be villainised for her reaction. I love them both and they both deserve the world.

Astrid – Ok so Astrid is the first character on this list who has sex within the series. And I really wished she hadn’t. Or rather, if it had to happen, I wish it had happened under different circumstances. Again. My ideal situation when reading a book about fifteen year olds is that none of them have sex, but that doesn’t happen with Gone so I’m going to work with what I have. A lot of tension in Sam and Astrid’s relationship comes from the fact that Astrid refuses to have sex with Sam, which is a perfectly normal and healthy boundary for a 15 year old to set. But Sam, because he is a whiny little boy with the emotional capacity of a crusty tissue is not ok with this as so seems to develop a victim complex. Now this in itself is not outside the realms of possibility, and it could have even been a good way to add some intrigue to Sam’s character – if mg had explicitly stated that Sam’s reaction was not ok. But he doesn’t. And so Astrid suddenly becomes a prude. The Ice Queen. Now Astrid’s reasoning for not wanting to have sex is because (if I remember correctly) it doesn’t tie in with her faith. She seems to associate her morality with her ‘purity’. This, again, is flawed thinking. Having sex doesn’t make you a bad person just as abstaining from sex doesn’t make you a good person. But mg doesn’t mention that this thinking is flawed, just that her not having sex with Sam is. Which only reinforces the idea that women having sex = bad, unless it is for the benefit of a man. Again, I’m not sure if this was intentional or not but it’s sooo harmful. And to make matters worse, it is only when Astrid becomes an Atheist that she finally decides to have sex. And that just makes me want to scream. Do you know what would have been a good character arc?? Astrid retaining her faith but deciding that she wants to have sex with Sam because she wants to and because she realises that having sex does not make her any less ‘pure’ – or good if you will. Do you know what also would have been a good character arc?? Astrid becoming an Atheist for reasons but still deciding to not have sex with Sam because she isn’t ready yet and having sex is not indicative of moral or religious beliefs. But it just feels like Astrid having sex was more for Sam’s benefit than hers instead.

Diana – Ok so Diana is a big one. Of course she has consensual sex on the island with Caine (even though he does threaten to have it be non-consensual which I just hate so much) and then immediately afterwards becomes pregnant with the Gone series version of the anti-Christ. So Penny literally selling Diana’s body?? Yep that’s fine. Diana choosing to have sex with a boy she ‘loves’ because she wants to?? Bad. Wrong. You must be punished. It just reinforces the narrative that women having sex is bad. Especially when there are little to no consequences for the boys involved. Again, Diana’s characterisation is reliant upon her sexualisation from male characters so it’s hard to separate her from that, but if you want a more in-depth explanation I talk about it in my Diana post.

Connie – And finally we have Connie. The mother of Sam and Caine. Now Connie isn’t exactly shown as bad for having sex – but she is the only grown woman whose sexual past is talked about within the series and she also happens to be an adulterer. Which isn’t amazing. I don’t have too much to say about Connie other than she is presented in an overtly negative light, mostly from Sam, for a situation that happened over 15 years ago. She tried her best. I don’t remember her much but I wanted to mention her because she deserves some justice. Please feel free anyone if you have more to add.

Well that concludes my thoughts on misogyny in the Gone series. I feel like I got slowly more aggressive as this went on so I apologise for that but I had a sudden epiphany and had to write all my thoughts down immediately. I still love the Gone series so much but I had honestly never thought about these things before and it’s now quarter to 5 in the am. I just want to add a quick note that this is a Gone blog but it is also a safe space for women. I love you all and please feel free to critique anything I have said or to add onto it, I would genuinely love to hear your thoughts on this. – And that goes for anyone. Thank you so much for reading :)

[darkunlimited]

Tales of Arise Review

So, it’s not a bad game… but it’s not a great game either.

I had to think long and hard on how to write out my grievances with this particular title in the ‘Tales Of’ series (I’m starting to think I haven’t throughly enjoyed a title since Xillia 2, although I did like Berseria quite a bit). I’ve decided a list format was the most efficient.

Things I liked:

The world, characters, combos, and mystic artes are all very good looking (personal aesthetics aside)

Camping skits (These were nice because early on it was one of the only ways to have characters sit down and connect with each other.)

Hootle

Things I didn’t like but didn’t ‘hate’:

The absolute insistence on coupling all the characters. I didn’t like the lack of subtlety and it felt a bit shoehorned in as well. Yes, there are three heteronormative couples in a world where almost everyone is a slave and could die at any moment based on the whims of their evil overlords. Oh, look, an attractive Renan. (This kind of fits in with my rant about narrative later, mainly in how it feels shoved down the player's throat despite the fact that earlier titles have not needed to do this. )

Shionne goes from Tsun to Waifu before the second act, heavily lampshaded from the beginning, but gets blatant, by the end when you obtain wedding dress armor in the final dungeon and a bouquet gun you obtain in a subquest. Like, we get it, the two mains are going to hook up, it was kind of obvious with that whole no pain/causes pain dynamic they started off with. I honestly missed her Tsun tendencies, it helped balance out Alphen's 'good guy' personality.

Alphen’s mask coming off. Actually, I did kind of hate this, because he went from having a unique look to becoming a white-haired bishonen protag with no eyebrows (they are stupid light eyebrows that are too thin and hard to see). He looked awkward and I just wish they let me have the option of putting the mask on for aesthetic purposes, but no, once it's gone, it’s gone. Upon playing New Game + I've learned that other than in cut scenes, the helmet will stay off and it wrecks game immersion.

Things that made me go “Why?”:

The narrative. The constant repetition of what needs to be done and 'why we must continue our fight' became very old, very fast. It was somewhat tolerable in the first half of the game because there were still “mysteries” to resolve, but it became completely unbearable in the second. (Why yes, I do understand the motivations of the main cast, can I move on from your twenty-minute cut-scene explanation followed by multiple character skits and other added cut scenes five minutes later that reiterate the exact. same. information? No? Well, fuck you game.)

The compilation of the game. There were many issues here. In addition to the narrative shoving the ‘plot’ into the latter half of the game and beating me with repetition, there were the following problems:

Many character stories and fun skits/side quests suffered from the game’s arrangement. Many were relegated to the latter half of the game which did not make sense. A good portion of these could have easily been added to the first half (maybe to be completed in the second with some characters) and would have offered some levity during the story (Law’s backstory regarding his part in his father’s death really needed this, possibly more than anyone else.).

Additionally, the levels of the enemy seemed far higher than they had any reason to be for character quests to be completed. (I ended up doing all of this after I had opened up the final dungeon and the fact that these were the starts of character quests is what really ticked me off.)

The characters. I realize this may not be a popular opinion, but my issue with the characters had more to do with the game’s uneven portrayal of their character stories than the characters themselves. This was an issue in Zesteria as well (I did not like Rose because she became a BAMF! way too fast and took over Mikleo’s role as the deuteragonist midway through.) In Arise, this happens with Dohalim, particularly in the second half. There were points where I outright wondered if they were switching protagonists because his character arc tied so closely into the plot. Mind you, he is a likable character, but I should never forget who my main characters are. Alphen and Shionne became so poorly characterized within their tropes that I legitimately had moments I forgot they existed.

Lip Sync during skits. I think this could have been resolved easily if mouths either didn’t move at all during skits or if they had bothered to lip-sync to both English and Japanese VA’s. This also became problematic during camping but slightly easier to ignore.

Directional attack controls. I liked having the option of which way to swing my main weapon from the past games. This may seem a minor thing but it really threw me off when dealing with flying enemies.

Things I wish I could have seen (Fanfic ideas, maybe?):

Total ‘what if’ scenario, but it would have been interesting to see Rinwell used as a tool to fight off Renan’s before she joins the party. They do dive lightly into the possibilities of Dahnan oppressors and this would have been a good way to introduce that idea early on. Especially if there was a domain Renan’s could not take over.

Another thought is having Renan’s = old-timey Dahnan mages. If they were being hunted centuries ago, it would make a lot of sense to have them willingly go with the Helganquil to later get revenge on the Dahnan populace. Even if these mages/turned Renan’s forgot the why’s, learning that info from the Helganquil would have made for an interesting way to have Rinwell face her racism. It’s all but alluded to in the game, however, it seems some engineering on behalf of the Helganquil was involved in canon.

Law having more remorse over the part he played in his father’s death. Really felt like he shrugged it off too quickly. I think I would have liked a larger backlash to occur because of his actions.

Alphen’s backstory and memory being triggered over time instead of in one very long and kind of disappointing go. It would have been more compelling to see him flashback and question his own motives earlier on.

Making him Renan with the mask suppressing his glowy-eyes also would have been interesting since he would side w/the Dahnan’s after his experiences as a slave.

Shionne either sticking to being a Tsun (zapping people on purpose more), or confessing her motivations and her fears much earlier. It was really dragged out. Hated it. Also, she became very boring in the second half.

An optional unhappy ending. Honestly, everything was too nicely wrapped up. It felt unreal.

Anyways, that’s it, that’s the list. I think if I wasn’t a Tales Of veteran I may have enjoyed this game more (although the way they beat me over with the narrative still would have killed a good 70% of the enjoyment for me). I didn’t outright hate the game as it’s fun to play, but if I’d known more about how pedantic the narrative would become, I probably would have waited instead of buying on day one.

[iaintyourbro]

Talking about FFVII and FFVIII

I started writing this a while ago - probably around June. It’s based off of this article:

Theory: FFVIII’s Squinoa was Square Enix’s Appology to Cloud and Aerith Fans

Alright, so, I came across an article stating that FFVIII’s Squinoa was Square’s apology for Cloud and Aerith. I don’t know why, but this one brought up some anger within me that I can’t explain. Mainly because it’s ridiculous.

However, it’s also an opinion article. This means Square Enix never said this. The title of the article also says “Theory” meaning there’s nothing saying this is real. You know there is a reason I’m writing this finally - well, finishing it. 

This is also gonna be long. FFVIII was my favorite FF game up until Remake came out, so it’s still very special to me. I hate that it’s treated as some type of apology for a ship. Its a game on its own. A fun one, a lighthearted one, and one that I really enjoyed replaying as an adult. 

It just so happens that I had started to replay FFVIII when I came across this article. It was recently written. I have noticed some official source articles that are leaning heavy on the C//erith side came out after Remake, even if it was regarding old content. 

Rinoa is Rinoa. Comparing her to Aerith or Tifa frustrates me, because you should just do that for all of the other main FF female characters, but if we want to do this, then we can say Rinoa is a mix of Tifa and Aerith. 

So with FF8, FF7 OG, and FF7R fresh in my mind, I thought it may be a good time to do this one. There are heavy spoilers for FF7, FF8, and FF

One of the lines in this article that threw me was saying that Rinoa was a manic pixie girl. I never got that impression from her. I’d say at times she was a bit forward, a bit flirty, and a bit immature, but they ALL were. They were 17 and 18. They were written like 17 and 18 year olds on purpose. I actually liked Rinoa, but didn’t like OG Aerith. So I definitely never compared the two. 

For the record: I LOVE REMAKE AERITH

FF7 had characters in their early 20s up to their 30s (and Vincent, but he went to sleep at like 27). FF7′s characters also had extremely tragic backstories and collectively enough mental trauma to fill an Olympic sized swimming pool. The world was dark and cruel. 

FF8 was a bit lighter on the whole tragic backstory. All of the main party members, minus Rinoa, grew up in an orphanage. Yes, you could say it’s sad that they were in an orphanage. It was war time, their parents were most likely killed. In Squall’s case, we know his mother died shortly after he was born and his father had just sent their “adopted daughter” back to Winhill, so both of them were sent to this orphanage. 

But honestly? Compare this to the orphans in Advent Children. They’re homeless, dirty, and sick. The orphans in FF8 were well fed, clothed, and had a loving “home” with Edea. 

Rinoa grew up as a rich girl, pretty much. She lived in a mansion, her father was high up in the military, and her mother was a famous singer. I’d say she had a pretty good life. Her mother does die when she’s younger, and her relationship with her father falls apart.

Here’s a Tifa parallel: Rinoa’s father is a highly regarded figure in the Galbadian army. Brian Lockhart is a highly regarded person in Nibelheim. Rinoa’s mother dies when she’s young, Tifa’s mother dies when she’s young. Tifa had a pretty good life until Sephiroth decided it was time to ruin everything.

She joins a rebel group (oh - hey another Tifa parallel) and honestly seems pretty good at what she has to say when you first meet her in Timber. She has a strategy, a plan, and explains this plan. 

Tifa was also in a rebel group. 

In Remake, Tifa was always the one to have a solution on what to do next when Cloud and Barret were scratching their heads. She was good at strategy, but she was modest about things.

Rinoa is much more forward than Tifa, by far. So, you can say that’s her “Aerith quality”. However, Rinoa also has her moments of shyness. Asking Zell about Squall’s ring for example. And honestly, the interaction between Rinoa and Zell during that scene is exactly what you’d expect with teenagers. 

The biggest thing with ALL of the FF8 characters is their severe lack of worldly experience and their immaturity. Which makes sense, they’re 17. You do get to see them all grow. Rinoa and Squall, in particular, mature quite a bit as individuals throughout the game. 

Rinoa’s affections towards Squall initially are purely based on how he looks, it seems. He’s the hot guy at the party she dances with to kill time while trying to find her target (Cid) to ask him to help The Forest Owls. Obviously her feelings grow way past just “hot dude” as the game progresses. 

In fact, Rinoa and Squall fight quite a bit in the beginning. Mainly because Squall is definitely a bigger dick than Cloud, initially. You luckily get insight in to Squall’s thoughts, so some of these dick moves make some sense. Cloud, you’re left to “interpret” what he’s thinking. Hello LTD...

Then they go on to say Quistis is like Tifa. For one, Quistis and Squall DID grow up in the same orphanage until Quistis was adopted. Quistis was “bossy” and saw herself as a big sister. With Squall, she wanted to replace “Sis” after she disappeared.  

Squall and Quistis don’t even remember each other until Irvine reminds them all. Selphie, Zell, and Seifer were all there as well. The major difference between Quistis and Tifa from a childhood friends trope perspective... Squall at no point seems to have really interacted with Quistis heavily. 

He says that Seifer and him went to Garden at around the age of 5. There is absolutely no indicator that the two of them even really interacted much. So Quistis was around until Squall was 5 - not his entire childhood. She then ends up in Garden a few years after being adopted due to issues. So during their teen years, it was her, Seifer, and Squall.

Cloud and Tifa, on the other hand, have quite a childhood trope story. His entire subconscious becomes a Tifa shrine. He makes a promise to her, takes this promise very seriously, and then they reunite in Midgar after a lot of really fucked up shit happens to both of them. 

In addition, it’s blatantly stated that Cloud has feelings for Tifa in the Lifestream. And they are deep. 

Quistis herself even questions her feelings for Squall as romantic love or more big sister love. Squall is never shown to have any interest in Quistis. We know this is not true for Cloud in regards to Tifa.

Tifa and Cloud do end up BOTH confirming their feelings for each other. Remake it making the mutual attraction very obvious early on. It’s much more slow in OG and much less obvious until you get to the Northern Crater and he starts to crack. Then it’s fully realized in the Lifestream.

If you want to say FFVIII was an apology for something, I’d say it would be for the incredibly dark plot that FFVII had in comparison. Though, I don’t think an apology was needed. I definitely don’t think there was a thought for FFVIII as apologizing for a ship. 

One thing they DID make sure to do was make the canon romance more obvious going forward. There was no more ambiguity - Squall and Rinoa, Zidan and Garnet, and Tidus and Yuna were all made obvious by the end of the game.

Oh wait, Cloud and Tifa were too... I guess the difference is there wasn’t an illusion aspect or a major character death for the future titles. FFX is one you could say there was, but that gets wiped out in X-2 when they bring Tidus back. 

[mcrmadness]

Madness draws: Behind the Scenes of the Bela/Farin: “Widumihei” comic.

A few months ago I posted here this comic:

CLICK HERE for the original post about that comic where you can see it in better and bigger size, and also reblog it ;)

And this post is just a deep dive into how I plan, do and draw my comics.

Let’s start with sketchbook things...

So every comic needs a story, right? My comics usually are born from either some dialogue I imagine in my head or by an impulsive inspiration that happens when I see something or talk with people and a random idea is triggered. I’m very good at coming up with new ideas solely based on just one word or so which is why I often ask people if they have anything they would want to see/read because I suck at coming up ideas on my own. Or I do get ideas, but not as often as I’d want to.

This particular idea was very old and I have tried but I cannot find the piece that was my inspiration but it was in some of my old German books because I remember laughing at it with either my brother or even with the German teacher in 2011 or 2012. I was only able to find my first “sketch” of the story:

This is in the notebook I used for writing down some comic ideas and even had one comic in it, plus it’s also my fanfiction writing notebook. It has no date but I know for sure it was either 2011 or 2012 because that’s when I did my last Bela/Farin comic and pretty much started my (unintentional) 6 year pause from drawing altogether.

I have always been trilingual when I do these plans for my comics, often writing the “narration” in Finnish and the dialog either in English or German because I just cannot imagine them to speaking Finnish. The translation of that text goes as:

COMIC (sarjis = sarjakuva = comic book in Finnish)

1. The phone is ringing. 2. F: “Widumihei?!” B: ? 3. B: “Farin wtf?” 4. Farin walks from another room. 5. B: “Widumihei?” 6. F: “It means, “will you marry me?”“ 7. B: *wtf* REPLAY:

1. Bela is sitting/laying somewhere. 2. The phone is ringing. Reached with his hand? 3. Looks at the phone, “wtf?”, a thought: “von Jan: Widumihei?!” 4. Bela: “Farin?” / “Jan?” 5. F comes from another room, looks in from behind the door frame or something. B: “Widumihei?” 6. F: “Widumihei: “WIllst DU MIch HEiraten”“ 7. B: “WTF”

So when I then started to draw these comics again in 2018, I kept thinking about this one too and still wanted to draw it one day. If you have read the finished comic, you may notice something different in the old plot versus new: I switched Bela’s and Farin’s roles. Back then I didn’t know too much yet but over the years I have learnt much much more about them and I just figured that asking to marry him even as a joke would be too much for Farin and that it would fit Bela’s persona much much better.

***

I had a bit of problems with getting started with this one, mainly because the last times I drew a dä comic was in June 2020, in April 2020 and before those in October 2019. Because of so long time between the comics, I just always forgot about my methods and in which order I do things and what works for me the best. So every time I started to work on a comic, I had to start completely over because all I had was blank paper and I somehow needed to get my thoughts in order and out of my head, into a physical form aka as text and images on the paper, and it’s easier said than done.

So pardon me but from this on the text is going to get a little bit confusing for a little while from now on - but it’s also a very good look over how the life with my suspected ADHD be like sometimes...

I started working on the plot once again to my sketchbook... I think it was somewhere in the beginning of 2020. Because the next idea there is from the summer. This is what the plot looked like at that point - here I had already switched their roles:

Shortly, the texts go: 1. Farin is reading a book. 2. A phone makes a noise. 3. (Farin) looks at it/read the message. / 6. B appears into the doorway. / 11. F spits out the tea.

And underneath it you can see one of the stick figure storyboards I often do in order to kinda see the text in pictures better, and I will write down or draw important aspects like expressions (Farin’s eyebrows) or things like *facepalm’* or *eyeroll* so that I remember to add them.

Next I was struggling with the era. It needed to be an era with the old mobile phones with SMS options but still not too early because I feel that Farin would have not been the first in line to buy a brand new technology object, especially not when it’s a phone. I was even googling when did Germany get their first mobile phone - I remember I got my first phone aka Nokia 5510 in 2000 or 2001 after my mom got a new one and gave her old one to me, so the story shouldn’t happen too many years before the Millenium.

Originally I planned 1997 for that - I needed to think about that based on their styles because shorter hair is harder to draw. Here’s me trying out some hairs and how they’re to draw and which era would suit my needs the best. I actually find the text hilarious altho it’s mine but this is what it’s in English:

Time period -> 1996-1997? 1998 I’ve never drawn 1999 is not that much fun to draw 2000 is already a bit too late? Bela not that much fun to draw. -2001 moustaches are not fun to draw?

I think I was struggling with my thoughts because the next thing in that sketchbook is yet another storyboard:

Or actually I think this was just to see how many sheets I’d need and how many panels I could fit on one sheet.

Anyhow, I then did other things for some time before I got back to this project this year. Including finishing with the sketchbook I had been using since 2010 (and the half of it since 2018!) and I had to get myself a new one. So when I started to think about this comic again, one night I was just thinking about some Bela/Farin scenarios as usual and suddenly I just felt that I NEED to do the comic in the 1998 style!!! So suddenly we jump from the original 1997 idea to the new era, only because of the colors. 

So asap I grabbed my sketchbook and started to look for the proper colors for the hairs:

This one I posted here before too as I was struggling a lot and just felt that I didn’t know how to draw, again. Sometimes when I feel like that, I start drawing with my non-dominant aka left hand because it doesn’t have all that in muscle memory so drawing and writing with it feels more free and it feels almost like pressing a refresh button in my brain. Suddenly the right one know again how to draw because left isn’t too well in control. The below part of the image is done completely with the left hand, including the coloring.

And because I had now a new sketchbook, I somehow couldn’t... deal with the plot and plans being in a different sketchbook than everything else so I had write the plot/dialog AGAIN, into this new sketchbook, along with the storyboards and everything:

Translations: kirja = book, puhelin = phone, oviaukossa = in the doorway, teet suusta = tea(s) out of a/the mouth. “Puhelin zoom” just means “close up to the phone screen” in Madness.

You can also see that I found out that I don’t need to do the stick figure storyboards to imitate a sheet when I can just draw this rectangle and smaller rectangles inside of it and write there numbers to match the things in the dialog to make it much easier for me to plan the pages. And here’s also a small easter egg: there’s 13 panels overall in this comic :D I almost did 12 but then felt that no, I really need to do 13 because, you know, the hairs, the era, the album title. And also because I like the number so much lmao.

So from there we get to the second storyboard which is not just stick figures anymore but just me planning how I want the panels to look like. To get the imagery of the rooms and facial expressions etc. out onto the paper so that I can see them in real life instead of my shady imagination that sometimes isn’t as vivid as what I could be.

Also have you ever tried to draw a beach chair? It’s more difficult than you’d think:

I tried to draw the same thing from the same reference photos so many times and still I always felt like I was trying to draw that impossible triangle or some other illusion image. And it just went on and on here:

Originally I also had planned the second panel to be a close up of the phone so that Farin’s face would be left at the background from the frog perspective. That’s what I was trying to with that weird-ass face on the left but turned out that I have never drawn these characters from such angle and I just... couldn’t see it in my head clearly enough to be able to draw it. So I dismissed that idea and that’s why the angle changed from a phone close-up to a side view to the room and at Farin.

As I was in the middle of planning the second page, I suddenly wasn’t happy with my original plot anymore. I wasn’t sure if it would work and needed to think about it one more time. So I wrote two other dialogs here, along with a storyboards for them both. I ended up choosing B from those two options eventually.

I don’t remember anymore if I had already done the first sketch of the comics or not but at some point I just felt that I no longer knew how to draw in my style. Sometimes you just draw and learn wrong things and wrong methods that you get used to and then you have to take a break and actually do a little bit of studying over your own style to find again the way how you want to draw, and get rid of the bad habits and find the good ones again. In my case it was to draw the eyes way way too big when they originally never were THAT big, so I had to learn how to draw them small and normal again. That’s why I did these, as I really needed to pay attention to the faces and remember how to draw them again:

The front-side views were another big readong for this “study” because I have drawn that perspective only once or twice before and I needed to figure out how I want to draw that. Also, I don’t know if it’s just me but for some reason the front-side Farin reminds me of one of the parent characters from this cartoon called The Rugrats which I watched as a kid. It was totally unintentional, but you can google The Rugrats if you don’t know how the charatcers looked like in the cartoon.

The things below are just me testing something. The red Farins were just to test how the colored pencils work on each other and how the fineliners work with the colored pencils, and which way is the better way to do the shading. And the red colored pencil was the only one available at the time so that had to do.

A little bit about the heads btw: You might notice some difference between the left and right faces. It’s because I have always, always struggled with drawing anything that is looking at right. Most of the animal portraits and all I have drawn so that they look at left because I just find it so much easier to draw. I think with comics it’s because I always start with the eye (and the eyebrows if I don’t forget it) and then do the forehead, nose, mouth and chin, and after that I either continue from the hair (from the front) or do the ear first. But when I am drawing them to look at right, I have to basically draw the mirror image and starting from the hair is not the key because it can easily mess up with the perspectives. I still usually draw everything in the same order but it really is difficult because I’m doing a mirror image and my own hand is on the way, too. Basically I’m drawing from right to left instead of left to right! (I think I should try drawing those with my left hand, then...)

And from here we get to the first sketch of the comic. From here on the images are from my phone’s camera so they are sometimes illegally bad but no can do, I again didn’t think I’d post these to anywhere:

Here you can see I was mainly just focusing on the shapes and the space inside those panels. Just trying to see the perspective and how everything is. The only thing that I drew more precisely was the third panel, with the hand and phone. I had quite a nice memory of old phones in my head but I still googled for some reference photos of Nokia 5110 phones as that was my first phone (as I mentioned earlier), and I also happened to have some of my other old phones on the table nearby so I took my own hand reference photos too:

They always say there’s a little bit of the artist in their art and this one literally has that - “Farin’s” hand is actually my hand! :D And I think the size is kinda on point too because this phone was like 2-3 times smaller than Nokia 5110 and I have small hands, and I believe Farin must have much bigger hands, so the 5110 probably would have looked about the same size in his hand.

After the first sketch, the next step was then - the second sketch:

I also wanted to add more action to the panels so that it’s interesting to look at and not just basically the same panel over and over again with just different speech bubbles, so I came up with the idea of Farin spitting out his tea not being as cartoony as it could be and that he would have to actually clean it up instead of just leaving it there just because in cartoons/comics everything is possible. That way I got more depth into the panels and it was also interesting for me to draw because I drew lots of new postures I have never drawn before, and I’m surprised how well it went despite me not even looking for any kind of reference photos! The only things I used reference photos for were the beach chair, and the phone in a hand. (I have actually always been quite good at drawing 3D objects and spaces, especially if they are rectangular.)

So yeah, this is the phase where everything is then finished with pencil and what follows next is drawing the lines with fineliners - I use Sakura Pigma Micron fineliners for everything else, and black Promarker for doing the lines for the panels (and also if I need bigger pitch black areas done).

Here are the panel lines done but I only had a photo of this first sheet.

And here are both sheets with the finelining done and all pencil marks etc. erased. I really like this part because it looks so clean when all those sketch marks are gone. It’s also crazy to think I literally spend hours drawing something in pencil only to erase it all away later :D

And here’s one photo of the coloring process, the first one has only the base colors done but none of the shadows yet (apart from the shirts), and the second one has some of the shadows done but not everything yet.

Usually after coloring, I will then go through everything with the fineliners one more time to make sure all the lines are dark enough as it just gives everything the finished yet a bit “sketchy” look that what I really like with my comics. The actual last detail is always adding my signature along with the date or year.

And here’s the finished comic one more time for comparison:

Don’t forget to check and reblog the actual post about this comic if you read this post all the way here. I’d appreaciate that a lot since art and artist on Tumblr are not really that much appreciated.

[marlmckitten]

Mr & Mrs Kitty (An Introduction)

A new Blackinnon series by MarlMcKitten and PadsMcfoot

As so many of you know I have trouble letting go of past plots. And I spent three years working on a beautiful Blackinnon one with a friend. Unfortunately that story has come to a close but to keep it alive I want to share it with all of you. But since I also have commitment issues with writing an entire story at once. This is going to be written differently. It is going to be a number of short or long snippets of their lives in no particular order. This first ‘chapter’ is going to be a short, point form introduction to the version of Blackinnon that I will be sharing with you and all the important side characters that come with it. (Mainly bc my new Blackinnon is sooo different and all my plots are gonna shift a little now.) Thank you!

Marlene McKinnon:

your 70′s bombshell

loud, outspoken, unpredictable, wild

she fell in love with Sirius the day he arrived at Hogwarts on a motorcycle, grown out hair, new tattoos and a brand new family (The Potters)

she didn’t admit it for a while though

eventually they fell in love

she didn’t die with her family

but she was devastated

and pregnant

Bellatrix used occlemency to make her believe that it was Sirius who was killing her family

that was what made Sirius go to Azkaban

Marlene ran away, she made her way because she had to, she was pregnant and that was now the last living member of her family and the McKinnon line

she worked in shops, she kept a low profile and she did not tell anyone who she was

she gave birth to a beautiful young boy and named him Lynx McKinnon

the boy looked so much like his father

she would cry watching over him, her mind so conflicted on how Sirius would do that for her when her heart knew he wouldn’t

it was years before she saw Sirius again, but one day she just had to talk to him so she went to Azkaban to visit him

he believed she was dead and she asked him how the hell he could do that to her and her family in her emotional rant she let it slip that she had his son

this prompted Sirius to break out of Azkaban, finding out that he had a child and that Marlene was raising him all alone

Eventually they met up again, and Marlene ended up believing him. She always knew in her heart it couldn’t be true.

This Marlene was so much more grown up, (being a single mother wil ldo that)

They went into hiding again, now at Grimmauld Place. Lynx was terrified of his dad. It broke Marlene’s heart and she did not know what to do.

Years later, the war ended, her family was back together. Sirius never died and she wanted to add to her family.

They had two more children. Halo and Aurora Black.

All Marlene ever wants is for her whole family to get along.

Sirius Black:

such a rebel

such a rebel

but he has a weakness

blondes named Marlene McKinnon

he’s infatuated

you think James is bad? You should see Sirius around Marlene.

he never thought he deserved a happy ending but he got it with her.

Well- for a while. Before she died and he was framed for the murder of her and her entire family.

What was the point of living after that?

He didn’t see one.

Years passed. Nothing mattered and then one day ... “Hey split ends.”

He has a son.

He would not be the same shit parent that his were to him. He has to get out.

And he does and he finds them. It doesn’t take much convincing. His Marlene always trusted him.

But Grimmauld Place and all those childhood nightmares are back. He cannot be a father or anything to Marlene.

So instead he drinks.

A lot.

Too much.

He feels Marlene getting distance. He can tell Lynx hates him but he can’t stop himself. And he hates himself for it.

He dies. Through the veil .

But miraculously he finds his way out. Just in time to save his Marlene and his son during the war.

Him and Marlene lead all the Slytherin children out of the castle, away safely. (Even Pansy Parkinson.)

Marlene never forgives McGonagall for locking her son in the dungeouns during a war, but Sirius knows she was doing her best.

Him and Lynx never get a great relationship.

They’re always rocky. But he gets another chance with Halo.

This pushes Lynx away even more but Sirius can’t help it.

He tries to make peace with it and then Aurora comes.

And oh Merlin how he loves Aurora.

They have a very special bond.

Sirius is a great father to Halo and to Aurora and he tries to be for Lynx too.

It takes so much time.

But he has his wife, his kids and Sirius gets the life he never knew he deserved.

Lynx McKinnon

Sirius lookalike

he hates it

he hates his father

but his mom is everything to him

She works a lot when he is a kid, so he tries to help her out.

One day he pleads her to go to the fair with him. It’s the last day, all the other kids have gone and she promised. He is only 7 at the time.

He meets a lonely little girl named Juliet.

They become instant best friends and for the rest of his life no one will ever matter to him quite like his Ma and Juliet do.

Then he is sent to Grimmauld Place, away from Juliet. And he is so scared.

His father terrifies him. The house terrifies him. He sleeps with his mom most night.

Hogwarts comes and he goes there, an escape. And there he finds Juliet also. She’s a muggle born witch and the world is restored!

He protects her when he is sorted into Slytherin and she is a Hufflepuff.

But he misses his mom dearly.

He befriends an ambitious and beautiful young girl named Valencia Mae.

They also become close. The three of them are happy with just each other.

One day he realizes that he is in love with Valencia and he asks her out.

She says yes.

She comes from a very rich family so he tries his hardest to impress her.

Lucky for him, she has some daddy issues.

He learns that he is a very talented artist.

When he decides to persue his dreams as an artist Valencia dumps him.

He is left devastated.

Lynx drops out of school, he leaves everything behind. He leaves his home.

He’s a little dramatic. (Don’t tell him that he gets that from his father.

But years, and years later, he is reunited with Valencia.

They’ll get a chance at their own happy ending.

Halo Black

such a mama’s boy

but so protective over his baby sister

loves his dad too

really a family guy

from a young age he wants to have his own family one day

he’s a little spoiled but doesn’t know it

doesn’t like Lynx much, doesn’t get why his brother doesn’t love his dad like he does

Lynx tries to tell him that growing up with a single mom then going through a war is much harder than growing up in a mansion with two happy parents and the Black family fortune

Halo doesn’t see it.

He has a lot of back problems.

He’s awkward and so clumsy it could put Tonks to shame

he looooves his (very much alive) Uncle Remus

He wears cardigans and he is a hopeless romantic, after a girl in his year who he idolizes in his head

they are doomed to always be in love but not have anything ever go their way

truly tragic but the love story Halo always wanted

Aurora Black

if Halo is too much of a mama’s boy he’s got nothing on how much of a daddys girl Aurora is

she can’t function without her father

and her brother

oh boy is she spoiled

and optimistic

naive

honestly just not that smart

but has the purest heart and the best intentions

she is always trying to get along with Lynx even though she doesn’t even meet him until she’s about 6 years old

she loves Lynx’s art

she messages him all the time, and never gets a response

she is bullied a lot for being air headed.

And it gets bad.

Some girls play a nasty trick on her.

She is turned into a werewolf.

It breaks Sirius’ heart the most.

She would have been killed if Halo hadn’t have saved her life.

She then keeps to herself more, believing that she is ugly and a monster.

Remus helps and Tonks helps but she thinks she will forever be alone.

After all Remus was until his late 30′s.

But she still manages to keep a smile on her face.

She really loves animas.

Her life ambition is to open a bakery with her father.

She never wants to leave her family

She can even melt Lynx’s heart when she really wants to

but man is she s t u b b o r n

and as sweet as she is she can piss anyone off with her stubbornness to always get her way and not see anyone else’s

Juliet Buchannan:

Lynx’s best friend

not the brightest, but very honest

she keeps Lynx from going too hard, he keeps her grounded

but they both really like getting high together

and talking about aliens

Lynx around Juliet is very different than regular Lynx

she happens to love Sirius, calls him Mr McKinnon and he loves it

Calls Lynx Kitty.

Calls Marlene Mrs Kitty.

She goes wherever the wind takes her

Carefree.

Despite her very lonely childhood.

Her father was abusive and neglectful.

She spent more of her time with Lynx and Marlene

They are her family.

Works in Disneyland when she is older as a face character.

She literally just wants to see everyone happy all the time.

But she makes a lot of bad decisions and always has the wildest travel stories

Valencia Mae:

the love of Lynx’s life

BDE

she gets what she wants

her family exploits muggles to make their fortune

hardcore business woman

loves fashion

never goes anywhere without her Louboutins

she really isn’t that into the wizarding world and hates Hogwarts

but still gets good grades

ambitious AF

dont mess with her

seriously don’t

she will also stand up for Juliet once she is forced to take her in

dating Lynx means dating Juliet as well

really not the jealous type though so she doesn’t care

just a bad bitch in fancy heels

wine

Lyra

the girl Halo is way too in love with

she is not easy to love

she is so troubles Halo just wants to fix her

they are on again, off again faster than anyone can keep track

she has a small thing for Lynx and also one for Sirius

she has serious abandonment issues

the bottom line is she just wants to be loved and accepted but doesn’t know how to be

she does not have a strong sense of self-identity

Sirius really takes a liking to her, and is kind to her, she misjudges that and develops her tiny crush

but it is always Halo she loves

she just doesn’t know how to

she’s there to create the drama without meaning to

Lynx hates her, but she’s good at art so he helps her with that

Valencia and her would kill each other if given the chance

Aurora adores Lyra

Marlene hates seeing a girl break her baby’s heart

Just so lonely.

[captainsolocide]

Okay we’re trying this again because last time I tried to write this out Tumblr crashed.

I’ve been watching Avengers Assemble a lot lately, and I’m on s2 where the Avengers decide that the time to split up is when Ultron comes back, and it really strikes me just how ooc it is, mainly for Steve, and I’m gonna get into why after I give a little context.

So right before Ultron makes his grand appearance (I mean literally right before, maybe thirty seconds? A minute tops) The Avengers got done dealing with Thanos, which, you know, is a lot. Tony got the other Avengers to stall Thanos for time while he programmed this robot named Arsenal (a gift from his dad, and the only thing Tony has left of him) to be able to contain the Infinity Stones, which he did, but Tony cut it dangerously close, something Steve was quick to point out once everything was said and done. So Ultron comes back by taking over Arsenal’s body, and Tony manages to build a virus thing that’ll be able to take down Ultron, but won’t be able to save Arsenal...or so everyone thought. The Avengers were able to take down Ultron and Tony gave him the Ultron Destroyer (yes that’s what he actually named it) except it didn’t completely destroy him. Tony didn’t want to give Arsenal up without a fight, but he wasn’t able to save Arsenal and Ultron got away. Given previous episodes, the course I expected Steve to take was a fairly routine one: he would talk with Tony, tell him he fucked up, and tell him that someone else is going to be in charge of taking down Ultron, since Tony has proven that he isn’t able to do so. Except that’s not what Steve did. Instead he completely lost his shit, he told Tony that he’s been taking too many risks (I’m gonna get more into his whole thing with risks later) and that he’s put his own self-interests above the fate of the world one too many times (not even a little bit true) and then he tells Tony he can’t trust him anymore and leaves the Avengers.

It was...shocking. I remember the episode, I watched the first two seasons when I was 11, this show was actually what got me into Marvel, but now that I’m a bit older and I understand a bit more about characterization and other plot things like that, I was able to see how totally out of the blue it was for Steve to have reacted like that. He has consistently been Tony’s #1 fan, always defending him from other’s and Tony himself, and being a constant source of support for him from quite literally the first episodes of the show. So what gives? What on earth could cause Steve to so completely change how he views Tony?

(I hope you don’t mind if I take a shot at answering)

Let’s break down Steve’s reaction to how Tony handled the Ultron situation. His bit about Tony putting his own interests above the world is.....just complete bullshit, and I think Steve was just so angry with Tony, he was just searching for excuses to leave at that point, so I’m not gonna go into anymore detail on that particular detail. That risk line though...

Let me give you a bit more context. The episode after Steve leaves the Avengers, he joins S.H.I.E.L.D. but he ends up fighting Ultron with his old teammates at Avenger’s Tower anyway. Ultron has taken over Tony’s extra Iron Man suits and is attacking the Avengers and Steve, when Falcon has an idea to stop them. He tells Cap it’s a little risky to which Cap replies with something along the lines of “Enough with the risks. Can’t we try something a little more viable?” Jeez, Cap, since when have you been allergic to risks Mister “I’m gonna crash my plane into a fucking iceberg and get myself frozen for 70 years”? I’m sure nobody on that team enjoys taking risks like that, but in your line of work, that’s sometimes (all the time) your only option. It’s almost like something has happened recently, something to make Cap scared about his team taking risks....

Huh. Tony took a pretty big risk when they were fighting Thanos. And another one when he tried to save Arsenal from Ultron. Maybe Steve....is scared....about Tony....taking risks? 

It’s an interesting thought at the very least, and can also explain his line about not trusting Tony. It’s not that he thinks Tony is a bad leader or would ever put the world behind his own agenda, it’s that he doesn’t trust Tony to know when to stop taking risks and take care of himself. 

Steve didn’t leave the Avengers because he hates Tony and can’t work with him. Steve left because he loves Tony too much to see him get hurt.

[mytwistedhome]

“The Alchemist” ❤️❓

A very old request that I’ve finally finished for @rainebowkitty​ !! 

It took me a while because it required a bit of research (of which I really enjoyed doing!)

This little drabble involves Riddle and... another Disney character (leaving the name out in this intro because you don’t really need to know who it is to be able to understand this story >u< ) 

Summary: During his alchemy class, Riddle Rosehearts gets paired with a strange, magic-less student that he's never noticed before. This student seems to know quite a lot about the subject, but his bizarre ideas tend to stray from the rules that Riddle is used to.

I think that the reason why this particular story took me so long to complete was because the subject of alchemy was quite intimidating to me •́  ‿ ,•̀ Even after weeks of having the basic plot written and taking many notes on the actual science of alchemy, I still always hesitated to complete this. Every day, I would try to write just a little bit, but I always ended up cowering away because all the different little parts of the science seemed overwhelming and, again, intimidating. I've never before procrastinated this much or run away from subjects of my own writing, so this was quite a new experience for me... I wish I could've gotten this done much faster, but I think this entire writing process helped me to face a fear I didn't even know I had--a fear of writing about science/scientific topics! It might be silly, but that's really the way I felt while writing this: afraid to delve too deep into the subject.

Still, I am very happy that this is finally done! I only hope that I served justice to this ancient science 💗 Kitty, I very much hope that you enjoyed your two favs together!!!

Okay!!! I'm gonna stop being annoying now

Riddle stood in the midday class with his back turned to his alchemy professor, easily slipping the buttons through the holes of his lab coat as Divus gave his greetings and instruction. His voice was clear and loud, reciting his usual classroom demands of always taking full precautions, ensuring safety, and arriving prepared. Always, it was these same rules, yet they were just a little bit different each day to suit whatever the current project may be.

But, on this day, Divus added to his instruction, "And, boys! Make sure you pair with a NEW partner today."

Riddle turned his head to stare at his professor and froze in place, absolutely dismayed. Crewel was asking them to switch partners? A brand new partner? All of a sudden?

How very strange that was, for wasn't it better to keep with the same partners? So that the two are familiar with each other and can work their best together? This switching of partners was truly, very odd, and it seemed just the thing that Professor Crewel would be against, for he was always the most sensible in keeping to rules and the traditional order of things. But, who was Riddle to argue or question the one in charge of the classroom?

He turned his head away once more and smoothed over the small wrinkles in his coat as the clean, clear goggles slipped over his eyes. It seemed the others in his class were just as confused as he, for they stumbled about awkwardly in search of a friendly-looking acquaintance of whom they were unfamiliar with. Riddle breathed out a huff and narrowed his eyes, a bit annoyed to have to deal with the uncertainty and the bother of finding a "brand new" partner. He turned around and looked, himself, for a person that seemed amiable and new, and to his luck, he was able to spot someone standing at one of the large, wide cauldrons of whom he was sure he hadn't ever worked with before.

He slowly approached where the other boy stood with his back to him. He was hurriedly flipping through the pages of several different books that were spread over the long desk just beside the pot of which they were to work. He had dark hair of an impressive volume and seemed rather intriguing in the way he went about his work. Riddle tilted his head slightly, watching with curiosity and interest as the boy worked quick to search what he was looking for, before he said in warm greeting, "Hello.. I don't believe I've worked with you before."

The boy went still upon hearing Riddle's voice, and he turned himself around to acquaint the unfamiliar classmate as he pushed the round goggles he wore over his head. "Hello!" he said with a nod, "I could work with you, if that's what we must do." There was clear enthusiasm in his voice before he turned his head once more to focus back on whatever he may have been searching for.

Riddle blinked several times in bewilderment. He had never even seen this student, let alone worked with him before. In alarm, he stared to get a better look at this stranger. His dark hair was accentuated by a teal stripe that ran down the center--a unique trait that Riddle had never noticed in a student before. He also had a soft, summer, sun-kissed shine to his complexion, which flattered and glowed upon his warm and freckled face, making him even more unrecognizable to Riddle.

Divus then gave further commands to the class, telling them that their goal was to make a particular potion. Riddle payed close attention to the details of the instruction, but all the while, he could not help but think in the back of his mind upon how strange his partner seemed to be. And, then, with the brief lecture over, he turned his attention again to that unknown student. "I'm sorry, but what is your name?" his voice was soft and polite with an ease in his eyes, "I don't believe I've payed much notice to you in this class before, and I'm sorry for that."

"Oh! Uh, I...." he dragged that last syllable out, much to Riddle's distaste, as he rummaged with the ingredients spread before the cauldron, "I only just began coming to this school. Not that long ago, really, so it makes sense if you didn't know. And--I'm Varian, by the way."

"You just began coming here?" Riddle said with alarm as his head tilted with even more interest than before, "A new student on the middle of the school year... And just like that? That isn't a typical thing here. How did it happen?"

Varian gritted his teeth and briefly glanced off to the side in attempt to avoid the question, "It's a... rea~lly long story. Don't worry about it."

Riddle looked at him with skepticism in his gaze. How odd it was to have a student transfer in the middle of the school year. As far as he knew, it was incredibly uncommon in NRC, for it meant that they would miss the welcome ceremony and so many other lessons and meetings that were essential in their learning.

But, again, who was he to argue with the way the school was run? Perhaps Crowley had a very special reason to allow this student entrance in the middle of the year.

Riddle took a small step to better observe what Varian was doing. All around on his side of the desk, there were sketches of obscure symbols that appeared unrelated to their project at hand, along with notebooks opened to pages of quotes that were beautiful poetically, yet seemingly unintelligent. How strange, how strange That one word kept repeating in Riddle's head, and he grew slightly skeptical of the student standing beside him.

Riddle pulled his head away and pressed his lips together as he began looking over the ingredients, chemicals, and metals that were laid out neatly upon the long desk, but his attention was seized once more by Varian who immediately grabbed two beakers of melted medals and mixed them carefully with one another.

"Just a touch of sulfur, and some more iron for the base...The iron brings forth the energy of Mars, so we'll have a fiery and quick result for this potion!" Varian was getting more and more excited as he explained the steps, and he seemed to talk more to himself than to Riddle. But, he soon took a breath in woeful thought as he continued with the mixture. "I really wish we had access to use gold in this lab. I guess it's understandable that we aren't allowed, but it isn't fair! Gold, after all, represents the sun, and the sun is connected to a princess I've been honored to become well-acquainted with--"

"Varian!" Riddle let out loudly, cutting him off after having had enough of his mindless chattering, "What are you even doing with all of those metals and chemicals?"

He reached out and took hold of the beaker that his partner held in his left hand, vigilant enough as to not disturb the dangerous mixtures, but harsh enough to cause a drop of the pinkish liquid to fizz onto the table.

"Woah be careful with that..!" Varian said frantically, trying to steady all the beakers that could cause a mess.

"What have you made?" Riddle's eyes were fixated in a glare, yet his voice wavered with fascination as he asked the question.

"Oh," Varian smiled with excitement and straightened his back, and he cleared his throat, preparing to deliver a recitation of all he created in a matter of minutes, "That's still just sulfur with an iron base, but the sulfur also works as a primer. You know... the 'spirit of life'. I also added a bit of mercury to better blend the high concentrations with the low ones, which also aids in connected the high and low energies. And, of course, I added a touch of salt as well, just as another primer."

"I see..." was all Riddle said in quiet response. He knew of the three primers and their functions in the mixtures--every student learned that at some point or another in the class. But, as for the other symbolic and rather spiritual things mentioned by Varian, he had never heard of them before, and he wasn't sure if he should believe them now.

Varian only continued, "It's unfair that we can't use gold or silver. I'd complain if I wasn't so new to this school." Getting excited again, he seemed to be talking mainly to himself once more, "Gold is the sun! And the sun is willpower, inner ability and inner strength! It's deeply connected to the heart and the heat of the body... It ignites passion and life! And it's connected to vision, too. But, silver probably has even more use than gold does. It's connected to the moon and creation... but in formulas, it helps the metals grow more quickly and aids in their blending."

The scowl on Riddle's face deepened, and his small nose wrinkled every slightly in skepticism and suspicion, yet that typically unsavory expression looked oddly beautiful over his fair face, and so Varian payed him no mind. Instead, he kept up on speaking, though this time it was less of a ramble. "We should probably go through the first couple steps together, shouldn't we?" he asked with a kind smile. "The first thing would be to go through the operation of calcination. You know, heating things to purify the metal and cancel out any toxins. But, I trust this lab, so it's fine to skip that step. Next would be dissolution, like... using water to dissolve bits of the metal into rust at the edges. It usually works as another purifier, as the water brings in life. But it really isn't that important, is it? Let's skip that one! Then, that brings us to the operation of separation. Specifically, separating the components of the dissolution... But if we don't do the dissolution, there really is no point. It's basically isolating the rust and the different elements of the metals by filtering them carefully and then discarding the bad materials. That always seems to tedious to me. I doubt there's anything very bad that could sabotage our results, anyway. I don't think it's necessary; it'll only eat up our time. We should skip that as well--"

"Varian!" Riddle's patience was reaching its brim. His anger ripped through his voice, causing Varian to flinch back and widen his eyes. "We shouldn't skip anything! There's an order for a reason!"

"Okay, okay," Varian said with a timid smile in attempt to ease his partner's nerves. "But trust me, we should just go ahead a proceed with the fourth operation. Conjunction. It's basically the re-combination of the components that should have been separated in the previous step. But, combining the metals is basically what I've been doing so far, so it's like we're ahead. All we need is potassium nitrate. I promise! It's like a short cut." Varian said, looking to Riddle with pleading eyes in hopes of convincing him.

"Alchemy is a discipline," Riddle said sternly, though his voice was now kept soft, "There are rules and a direction you must follow. Every step involves a precise measurement, and unless you adhere to the order set in place, you will never achieve a good result!"

"Well, yes, you're... kind of right."

Riddle stepped back, blinking in disbelief. Kind of right? Who did he think he was? An alchemy expert? Someone so profound that he could skip around on the steps? Riddle's anger was building up inside, heart racing, blood boiling. His face was heating up, just about to burst--

And, then, Varian quickly drew from the cauldron a small sample of the potion they were to create. It was small bit, but it was perfect. Made with such quick ease, and filling up half of the beaker. It was quite impressive to have achieved such a wonderful result in such little time, and noticing this, Riddle slowly calmed.

"Hey... Relax, okay? It's really not something to stress over," Varian reassured with a confident chuckle and a mocking role of his eyes that went undetected by Riddle.

Riddle pressed his lips together before softening his expression and letting out a sigh, easing himself of the tension and excitement, yet also ashamed now for having gotten so angry before. Maybe, perhaps, he could trust this kid to do what he seemed so passionate about.

yes... drew the pic because I wanted the two of them together but, obviously, there are none that exist, so I had to create my own with my very slim art skill. I was originally going to have it at the top, but I am NOT confident enough in my doodling to do that lmao