#Chosen books

[tom4jc]

In Jesus' Name (book review)

Title: In Jesus’ NameAuthor: Rick DubosePublisher: Chosen BooksDate: 2023Pages: 176 In Jesus’ Name (book review) The author, Rick Dubose, is currently the assistant general superintendent of the Assemblies of God and is a great man of God, whom I have known for many years. Along with being senior pastor of churches, he has also been a sectional leader, district leader and now a national leader.…

[the-overanalyst]

it's always so fascinating and heartbreaking when a character in a story is simultaneously idolized and abused. a chosen prophet destined for martyrdom. a child prodigy forced to grow up too fast. a powerful warrior raised as nothing but a weapon. there's just something so uniquely messed up about singing someone's praises whilst destroying them.

[notbecauseofvictories]

I'm re-reading the Discworld series for reasons, and honestly the most relatable part of reading these as an adult is how many of the protagonists start out being tired, used to their little routine and vaguely disgruntled by the interruption of the Plot. Sam Vimes wants to lie drunk in a gutter and absolutely doesn't want to be arresting dragons. Rincewind is yanked into every situation he's ever encountered, though he'd much rather be lying in a gutter too. (Minus the alcohol. Plus regretting everything he's ever done said witnessed or even heard about fourth-hand in his whole life.) Granny Weatherwax is deeply suspicious of foreign parts and that includes the next town over; Nanny has leaned into the armor of "nothing ever happens to jolly grannies who terrorize their daughters-in-law and make Saucy Jokes"

Only the young people don't seem to have picked up on this---and that's fortunate, because someone has to run around making things happen, if only so Vimes and Granny and Rincewind have a reason to get up (complaining bitterly the whole time) and put it all to rights. Without Carrot, Margrat, Eric, etc. these characters don't have that reason; they're likely to stay in the metaphorical gutter and keep wondering where it all went wrong or why anything has to change.

............well, that's not quite true. You get the sense that Vetinari knows how much certain people hate the Plot. And as the person sitting behind the metaphorical lighting board of Ankh-Morpork, he takes no small pleasure in forcing the Plot-haters specifically to stand up, and say some lines.

[shisasan]

August 4, 1924 Journals of Anais Nin 1923-1927 [volume 3]

[physalian]

7 Misused Tropes (And How to Improve Them)

Tropes in isolation aren’t inherently bad, but a lot of them are prone to poor execution. Each one of these probably could have a whole post by themselves. A few of these used to be good but have since fallen by the wayside as their original meaning has been lost.

7. Dramatic Miscommunication

You know the ones. I think it’s worse when the story is otherwise good, the writers just could not come up with a better way to get X alone or send Y off on the necessary side quest than the lowest of low hanging fruit.

Two essential ingredients for fixing this trope: Precedent and consequences

Precedent–have the character doing the missassuming already be prone to jumping to conclusions, already suspicious or insecure, or misled by a third party so this looks inevitable, instead of pulled out of your ass.

Consequences–usually these are big blow up fights that fizzle out without any impact on the plot once they fulfill their purpose, but if it’s a nasty enough fight, characters shouldn’t just forgive and forget. While they might not completely ruin relationships, it should have characters taking a step back and either second guessing where they stand, or using this blowup to fix an underlying issue in said relationship.

6. Love Triangles

Good Love Triangle for the first 3 seasons: Elena/Stefan/Damon (TVD).

Bad Love Triangle for the entire series: Bella/Edward/Jacob (Twilight).

The difference between them (besides time to flesh out both candidates) is that both brothers brought valid pros and cons to Elena’s life, both got the chance to be with her, and Elena’s whole arc wasn’t solely focused on the agonizing choice of which brother she should pick. Regardless of which camp you’re in, Stefan brought stability, that classic cliché high school romance, mostly all good vibes. He never challenged her or talked down to her or got aggressive with her. Damon did the opposite, for better or for worse, and we know which direction the show went.

On the other hand, Jacob never for one second stood a chance with Bella and the narrative wasn’t kidding anyone. They never so much as went on one date (unless you count the motorcycle ride) and it seemed like Bella was only letting him hang on for pity’s sake. Theoretically he brought pros to the table that Edward couldn’t (like, idk, being alive), but the narrative never explored what could be done with him. He just ended up being the Nice Guy friend who then decided it’d be hot to lust after an infant.

5. Agency-less Chosen Ones

These tend to be wish fulfillment characters that bring nothing to the story and have no discernible skills, yet are constantly in the middle of the action, have all the love interests fawning over them, and are Important and Critical to saving the world… because the narrative said so. They don’t make a single choice the entire plot except to move forward or stagnate, chosen by the gods or a prophecy or fate and destiny.

The problem: These characters walk with the crutch of “I’m the chosen one thus I don’t need a reason to exist in the story” and that’s just not a satisfying narrative shortcut. So? Give them agency. Even if they’re chosen by some ancient prophecy, you still have to convince the reader why the Universe wasn’t just talking out of its ass.

Good example: Emmet from Lego Movie literally says he’s useless and has no skills and cannot think outside the Lego box. He’s supposed to be as generic as painfully possible and when he does have creative ideas, they’re supposed to be asinine and stupid. And yet. He might be physically dragged around by the other characters, but he has plenty of choices, plenty of opposition to what’s happening, plenty to say about the state of his world, and his ideas do matter and his intimate knowledge of the instructions and playing by the rules is how they win.

4. Bad Boy Love Interests

These guys were supposed to be counter-culture icons, standing up to The Man for the little guy because he knows the system is broken and rigged. He’s an affront to the stereotypical nuclear lifestyle, he resents a robotic and soulless office job and wants to create art or music or in some way benefit his world and isn’t going to play nice just to get his way. He exists in contrast to the nuclear female protagonist: Conservative, demure, rule-following caged bird who falls in love with him because he shows her that life isn’t meant to be lived in The Man’s cage. He respects the authority that deserves respect, the teachers who actually give a shit, the janitors, the librarians, but probably not the principal or the police or the local politicians, because he knows they don’t respect him and respect is a two-way street. He’s probably a mama’s boy or at the very least loves his parents (if they’re alive) and while he might engage in a little property damage like graffiti, it’s for a good cause.

This dude is NOT SUPPOSED TO BE: Abusive, controlling, aggressive, or condescending to his love interest. He’s not supposed to be an overprotective stalker or plagued by insecure jealousy over any other man in his love interest’s life. He’s not rude to his friends or arrogant about his own smarts and doesn’t think he knows best about every little thing in the world. He’s not sexist or racist just to make himself feel better and he doesn’t pressure his love interest into sex because she owes him or whatever.

Ahem.

Please bring back classic bad boys. That is all.

3. Major Character Death (for shock value)

I remember the implosion of the Walking Dead fandom after they killed Carl, one of the very few characters who was supposed to make it to the end, for… various sketchy reasons and I could never figure out what was true. Some theorized that his actor was aging out of the ‘child actor’ payscale and they didn’t want to pay him as an adult and while I have no proof, it wouldn’t surprise me at all.

Carl died after getting bit in just one of those hectic moments where he got unlucky, while doing something noble and stupid. In isolation, it fits the nature of the “anyone can die” show but man did it just come across in poor taste.

Obviously “for shock value” shouldn’t be the reason you do anything in your story but there is still a way to pull it off without it causing a riot: Make sure they get killed in a non-contrived way. If you plan on killing off one of your heroes suddenly, either make it bitterly ironic, or make it a situation that this character would absolutely get themselves into. The more it “fits” the less likely audiences will see the hand of the author coming in just to break the character’s fictional contract.

2. The Power Inside You All Along

This trope is usually disappointing because it tends to melt a character’s whole arc down into something pointless—this whole adventure was apparently useless if they didn’t actually need to grow or change or challenge their conceptions of the world. They could have got up off the couch as joe shmoe and beat the villain day one.

While that’s probably not what their creator intends, ‘it was inside you all along *wink*’ tends to feel that way, as it discourages internal conflict. Usually, their creator is likely trying to convey the message that one need not change, that it’s what’s inside them already that makes them special.

I present to you once again Kung Fu Panda’s “there is no secret ingredient” i.e. “the power inside you”. The difference is. Po still has plenty of internal conflict: his own self-confidence. He begins the movie eager but inexperienced and a bit oblivious, fanboying it up around his heroes. He and Shifu both insult his weight and his lacking kung fu skills, and his arc is learning self-confidence, learning how to use his weight and the body he has to fight in a way that the villain isn’t prepared for, to where Po can shit-talk him to his face during the final fight.

Most failures of this trope don’t bother exercising their protagonist. They’re pissy and resistant for the entire story and only win when the narrative agrees they were right all along. Therefore, no change, no conflict, no resolution.

1. Strong Female Characters

So many of these read like "slapped boops on a male character". They don’t work for many reasons (usually being very preachy with their agendas), but they especially don’t work when by trying to be pro-feminist, they’re still reinforcing masculine standards. A lot of people, when Captain Marvel came out, said “you didn’t have any issues with Tony Stark being an asshole but now you do when he’s a woman” which. No.

Tony was an asshole, but being an asshole was the whole point of his character, and he got humbled right quick by getting blown up and held hostage. “Proof that Tony Stark Has a Heart” and all that.

Carol was an asshole with nothing to substantiate it, and never got a reality check. She had amnesia so we didn’t get insight into who she was before to understand this transition into dickishness and was so OP, she wasn’t ever physically or emotionally challenged like Tony was.

But the other thing is this: Slapping boobs on a male character with a slew of toxic masculine traits also says that to be a successful woman, you must behave like a man. It swings so far from the femme fatale sexy leg lamp that it comes around and eats its own tail. These characters are just mean and insecure and build themselves up by tearing down the men around them.

So. Calhoun from Wreck it Ralph is this exact trope done extremely well. She’s aggressive, arrogant, loud, rude, and cynical. For about 10% of her arc. The movie immediately throws her into a situation where her strengths are basically useless—she’s stuck in Candy Land and has to rely on someone who is the antithesis of her game and character to make it out. The movie also shows you why she’s cynical via her tragic backstory.

Not only that, she’s more than just a heap of toxic masculinity in a pixie cut. She laughs, she cries, she admits when she’s wrong, she has a soft side, a gentle side, a caring side, and remains a badass through and through.

Or, once again rolling out Tigress from Kung Fu Panda: Proud, aggressive, the snubbed chosen one, cynical, mean, and overconfident in her abilities. Tigress nearly gets her entire team killed in her arrogance. She’s allowed to be wrong, very wrong. She also has her soft moments and, like Calhoun, has a very valid reason for being jaded, and is still shown to be capable of softness and nurturing during the evacuation.

Third example to hammer home that I don’t hate badass women: Andromache. Jaded, overconfident, short-tempered, aggressive, and a little mean-spirited. Tragic explanatory backstory? Check. She is also caring and loyal to her team, allowed to get emotional, allowed to be wrong and fail and lose, and kind of the surrogate mom of the team, who can also laugh and joke around and have light-hearted moments.

Whether the character is a man or a woman, being an arrogant asshole who takes zero accountability and refuses to admit when they’re wrong and never loses, audiences aren’t going to like them.

[stormingfrost]

Kinda obsessed with the historical context of Rise of the Guardians. Pitch wanting the Dark Ages to come back, which historically was the decline of culture and records. The Guardians rose at the same time as the Renaissance with the rise of culture, knowledge, and science. (Tooth in particular mentions that she hasn’t been out in the field for 440 years, give or take, which would put that smack dab in the middle of the Renaissance) 

The way Pitch doesn’t want the world to change, the way the Guardians change in tune with the world. The way Jack, who lived in has a human in the 17th or 18th century, who lived in the time after the Renaissance and lived witnessing the world all the way to the modern era, is there to show the Guardians how much they missed and how they can further change and improve for the more modern world. These characters are immortal beings who have so much power over the world, it makes so much sense that when they fall and rise in power it impacts the world that they want to influence, for better or for worse. 

[agueforts]

just an appreciation post for the set itself. my GOD have they outdone themselves this time

[hanzajesthanza]

geralt "i will NEVER deadname my best friend" of rivia

"he will ALWAYS be dandelion to ME"

[steamclouds]

I regularly think about this. It's so random and out of the blue. My favourite item in Forgotten Realms lore, the heart-shaped locket of friendship.

(Excerpt from R.A. Salvatore's The Halfling's Gem)

[cecoeur]

His ass is not reading that book | Drive the Dream

Still: The Slow Home Still is an interiors book that invites readers to take on the philosophy of the SLOW movement. Living Sustainably; Local; Organic; and Whole. It talks not just to the question of the physical structures we choose, but also the surrounding environment, and what effect that can have on general happiness and wellbeing. Still includes about a dozen case studies featuring escape homes and owners who live according to these aforementioned principles, enlightening readers as to why they chose this path and how it has benefitted their lives.

[watersoupsaucesoupwater]

Guys I was praying in this garden and my disciple came over and is just staring at me like this what do I do

[letraspal]

“One kiss and you think the world is upside down.”

[dumbledorathexplora]

IWTV - S2 Ep.1

[cieffeitsme]

The Book of Love - Peter Gabriel From Aziraphale & Crowley's Angelic Playlist

[flo-n-flon]

I'm having trouble drawing lately but I had a mighty need to doodle Faile Bashere: Lady. Hunter of the Horn. Falcon

[wigglebox]

Suptober [Extended] - Day 21 || Love 💚💙