#St. Guess trilogy

[artdecosupernova-writing]

Character Voice Tag Game

Thank you @ashen-crest for the tag!

Rules: Rewrite the line of dialogue from the person who tagged you into the voice of your OC’s! (You can include a short beat of action to help establish character if you want.) Pass on the tag with a new line of dialogue.

Tagging @drippingmoon, @sleepy-night-child, @pertinax--loculos, @drabbleitout, @druidx, and anyone who may want to participate ✨ Your line is "That's easy!"

My characters' line is "Say that to my face." I've chosen to only use characters from my two most established projects as I'm more attuned to their voices at the moment.

Partners/St. Guess—

Reagan: "Try again." Ben: "You think you got the chutzpah to say that within haymaker distance, pal?!" Mickey: He gives a slow, shark-like smile and beckons with a finger. Tod: "I'm sorry, what was that?"

Darkspace Portent—

Thrive: "Would you like a chance to correct yourself?" he asks, eyes glittering dangerously. Warren: "Sorry, what the fuck is up?" Guetry: "C'mere and say that with your whole chest."

[rotisseries]

HELLO?

[dasboligrafo]

Illinoise -- May 24, 2025 @ St James Theatre

Oh my god, what to say about this one. Remember my theatre rating system (how many times I cried, over 5?) By the system, this show is...what percentage is infinity out of 5?

Basically, the lights went down, the (absolutely fantastic) band swelled out the first few bars of "Concerning the UFO Sighting," and I started silently weeping and I. Could. Not. Stop. for the remainder of the show. Despite being, generally, a huge crybaby, I could not have predicted that reaction.

I passed on seeing this show at the Armory (I have a string of terrible decisions involving the Armory...I still have not seen Lehman Trilogy after passing on seeing it on opening night, among so many others.) I will say I'm not sure that was, for once, necessarily the wrong decision, just because it's hard for me to imagine seeing this show there, especially from high up in the seats. I suppose it depends on the showz but that space can feel quite alienating. The St James is a pretty small theatre and I doubt there are any really bad seats in the house as a result. I'm sure the show got sanitized, some edges polished unto anodyne for Broadway. It doesn't matter. It was so fucking moving.

Before taking my seat, I grabbed my summer theatre treat of choice (the $50 big white wine, with ice. Pure class) and the lady who sold me the drink, while perfectly friendly, asked me what I knew about the show in that sort of tacky way I get asked about stuff in New York by younger white people who assume they must know more than me than whatever interest of theirs I'm about to engage in. (I guess, interpreting charitably, I look like a tourist to them.) I mumbled something about Justin Peck and NYCB, not even trying to get to -- listen, Lady, Sufjan was the music we listened to in college, so by extension, it is the LAST popular music I am aware exists. Sufjan is very much the soundtrack of my life.

Only I didn't really realize that, apparently, until I saw the show? Although I listen to Seven Swans a few times a year, I didn't realize, prior to "Illinoise," that I know every word to "Illinois."

The thing about "Illinois" is that, like all great generational works of art (there, I said it), you can receive it entirely differently depending on your age at the time you encounter it. So when I heard "Illinois" as young dumbass, I thought it was music about yearning; about the things you want so badly and might never realize and/or might not be able to front the cost. And now as an old(er) dumbass I find the record is about regret, about the things you give up and the mistakes you make ("I made a lot of mistakes...") making those choices or letting them happen to you, and about how the choices haunt you, even as you're making them. And I didn't understand that then, although the *second* word sung on the record is "revenant."

The *magic* of this record is that it is spiritual concept folk-rock opera music, still managing to connect, in an age devoid of spiritualism and shy of conceptual pop music, with an incredibly broad audience. To clarify, I'm talking about the current age; when the record came out, you could still make a concept album. I believe that age ended around 2012, Kendrick Lamar excepted. I don't know when the age of spiritualism ended, I think it was before I was conscious of contemporary art works. If you go to a Sufjan Stevens concert, or to "Illinoise" for that matter, you will be treated to the sight of literal children -- people under 15 years old -- singing all the lyrics. And crying millennials, naturally. My boomer friend told me "Chicago" is his and his (gen z) daughter's song, dating to when he drove her to Chicago for graduate school.

And oh, yes, it is a sublime piece of Americana purporting to exalt the state of Illinois and its millions of inhabitants and events, past and present, and actually examining, at the most personal level, how faith can fail to deliver you, and still impart your life with grace.

The magic of "Illinoise" is that it is a concept ballet masquerading as Broadway, of all things, i.e. an expression of universalism and accessible theatrical cliche where the text is, incredibly, a tale-as-old-as-time style campfire story anthology (hello, Decameron! I've got your story framing device here....) WITH NO DIALOGUE, about leaving your (gay) lover behind to experience the pleasure and promise of the big city and how you will feel regret and gratitude forever for the gift of having him, the gift of moving on, the gift and curse of free choice, the curse of loss.

When I think about "Illinois" only barely disguising its core concern with Christianity ("to recreate us...all things go, all things go" only a couple misunderstood syllables away from "to the Creator..." for example) and outright telling us what it's about in other places ("I made a lot to mistakes," "If I was crying, in the van, with my friend, it was for freedom from myself and from the land," etc)...this beautiful directness and lack of high-minded artifice was always already destined to be on Broadway. I didn't mind that the show is, at times, frankly...quite literal. I experienced "Illinoise" as the rare miracle of a message arriving packaged in its perfect medium. I feel so fortunate to have seen it.

Coda: I thought the dancing was fantastic, easily my favorite Justin Peck choreo this year. Genuinely accessible, technically proficient, appropriate to its text and moving.

[jadejedi]

Fantasy Book Review: The Tarot Sequence (Books 1-3) by K.D. Edwards

JJ’s rating: 4.5/5

How feral did it make me: 5/5 

My book reviews

Okay, I read these kind of randomly, not really sure what I was getting into, and oh my god. Oh my god!! Okay, so most of the sci-fi/fantasy books I have read other than these were written by AFAB authors in their 20s and 30s. Which is great, and fine, but that’s a fairly limited perspective. These novels were written by an asexual man in his forties (sorry Keith, just sort of guessing on your age here lmao) and is it weird to say that it’s kind of refreshing to read a mlm romance actually written by a queer man? No, I don’t think so. These books, despite the dark topics they sometimes cover, feel like warm coziness to me. Reading these books feels like following along with a group of your beloved friends. God. I love them. 

Summary time! In a world in which Atlantis was a secret society of demigods called the Arcana (all named after tarot cards) before being destroyed in a civil war with humanity, the remaining Atlantean society has relocated to the island formerly called Nantucket. Rune St. John is the last son of the Sun Court, the rest of the Sun Court destroyed in a mysterious attack that left Rune with emotional, mental, and physical scars. Rune and his Companion (think platonic soulmate meets bodyguard), Brand, hire out their work essentially as mercenaries to scrape by. When a son of Lady Justice goes missing, Rune and Brand are hired to find him. Also, they acquire an orphaned teenager? Are they fathers now? They might be fathers now. 

These characters guys. Holy shit. They are perfect to me. K.D. Edwards was really out here like, what if I just… smash every toxically masculine stereotype out there? What if I make a snarky bodyguard character who unabashedly loves his best friend? What if these two men who have known each other all their lives are not afraid to be open about how important they are to each other and how much they genuinely LOVE each other? What if I make a romantic interest who is patient and kind and loving and not at all threatened by the relationship between his boyfriend and his boyfriend’s oldest and most important relationship? What if I create a relationship between these three men that blurs the lines between romantic and platonic?? What if I create an urban fantasy society in which queerness is normal and accepted, and where polyamory is normal and accepted? What if I make a group of characters who need a family and then FIND ONE WITH EACH OTHER???? WHAT. THEN????? (then we all cry, that’s what)

FUCK! 

These books are fun, witty, full of monsters and villains, but also some of the most heartwarming characters and relationships I’ve ever read??? Like, god. These are some of the few books that I have bought both audio book and e-book copies because I could not put them down. I *had* to be reading them, if I were at home, or at work, or in the car. And as soon as I finished them, I picked up the first one and reread them. 

This series is planned to be a trilogy of trilogies, with books 1-3 currently finished, and book 4 being written right now. I am so excited for more of this series, I can’t even tell you. Dear god. 

There is some dark content covered in these books, specifically based around what happened to the Rune on the night when his father’s court was destroyed, so if you have any questions about trigger warnings, don’t hesitate to ask. 

These books are an absolute DELIGHT. They are the queer fantasy I’ve always wanted to read, because Edwards understands that what makes the queer community special is the COMMUNITY. It’s about finding and CHOOSING your family, bitch!

Here’s a meme I made a while back to convince people to read these books (yes I spelled dinosaur wrong. oops):

READ THEM!!!

[chasingshadowsblog]

"I've seen suffering in the darkness. Yet I have seen beauty thrive in the most fragile of places." - History, Culture and Identity in Cartoon Saloon's Irish Mythology Trilogy

Written accounts of Irish history and culture only begin to appear from the 5th century onwards and what came before we are left to piece together from archaeological remains whose meanings and motivations we can only guess at. What is clear, though, is that during that broad stretch of time between the Early Mesolithic and Late Iron Age, a distinctly Irish identity had been established and cultivated through by the craftsmen, artists, hunters, foragers, farmers and warriors that populated the country through their housing, weaponry, metalworks and stone monuments. The development of the Christian church throughout the Early Medieval period brought its own beauty to the art and architecture of the country, but also adapted its culture to suit the needs of an integrating religion and sites and ceremonies of pagan worship were amalgamated into the Christian calendar. Following this were Viking raids, Anglo-Norman settlement, English conquest, plantation, oppression, rebellion, famine and civil war. From the Early Medieval period to the present day Ireland has experienced an almost constant shift in leadership and identity with little time in between for the dust to settle. Culturally, a "Celtic Revival" in the late 19th and early 20th centuries sought to re-invigorate the arts and history of Celtic Ireland (a broad, problematic concept in itself) as an expression of nationalism and to bolster a distinctly Irish artistic and literary identity. All of this is to say that wading through Ireland's history of social upheaval, religious and political conflict, and loss and confusion of identity is no mean feat. To take those threads and conjure up original stories for modern audiences, embracing the suffering and celebrating the beauty, is impressive. To do it three times is witchcraft.

In their films depicting Irish history, culture and mythology, animation studio Cartoon Saloon have approached their stories with a respect for the past, both fact and fiction. By evoking the artwork, legends and real history of Ireland's past and combining it with their own fresh, unique visual style, Cartoon Saloon brings some much needed authenticity and vibrancy to the depiction of Ireland in mainstream culture. Absent are the twee figures of backwards island folk or the commercialised idolatry of a St. Patrick's Day parade. What we get instead is something more personal, recognisable on the surface to every child and adult who learned about Fionn, the Fianna and fairy circles in primary school and with nuggets of information and visual cues for explorers of Ireland's broader history.

"I can't tell you which parts of this story are true and which parts are shrouded by the mists." - The Secret of Kells and the line between history and mythology

Set roughly in the 9th century AD The Secret of Kells is the earliest depiction of Irish culture in the trilogy. This period saw the introduction of Christianity and the eventual integration of the religion among the native Irish, a relatively smooth transition when compared to later events as noted by historian Jo Kerrigan: "And so the people of Ireland combined the new ways with the old…not bothering too much that the names had changed." Although the main character, Brendan, comes from a Christian monastery and carries those beliefs, The Secret of Kells does well to capture this balance between a new religion and old beliefs with the inclusion of Aisling and Crom Cruach, and without dismissing them as a childish or archaic. "Pagans. Crom worshippers. It is with the strength of our walls that they will come to trust the strength of our faith." The threat of Viking raids is what spurs Abbot Ceallach's desire to build a wall around his monastery, but, underlying his actions is another aspect of a monk's work - converting the natives. In The Secret of Kells the abbot's wall not only protects them from invaders but cuts them off from the forest beyond - the domain of shape-shifters, wild animals and pagan temples, a world that Brendan can only glimpse through a crack in the wall. A staple of the entire trilogy is this depiction of wilderness in some form and its association with Ireland's symbolic wilderness and pagan ancestry. When Brendan enters the forest for the first time it is dark and frightening until Aisling, an ethereal Sídhe figure who can shape-shift into a wolf, shows him how to navigate it. Brendan's fear is eliminated and Aisling quickly becomes his friend, each amused and fascinated by the other.

Hidden throughout Brendan's trek in the forest are old, moss covered ogham stones and stone circles, allusions to native practices, but deeper in, the colour palette changes from bright greens and natural browns to a wash of dark greys and black when Brendan stumbles across a temple to Crom Cruach (a deity who, in Irish mythology, is eventually destroyed by St. Patrick). Aisling tries to warn him away, "It is the cave of the Dark One," but Brendan dismisses her worries, "The abbot says that's all pagan nonsense, there's no such thing as Crom Cruach." At the sounding of the deity's name, black tendrils emit from the cave and pull on Aisling as she stops them reaching Brendan. Later, Brendan returns to the cave to steal Crom's eye - a magnifying crystal that will help Brendan and Brother Aidan with their illumination. In a beautifully animated sequence Brendan battles Crom Cruach in his cave by trapping him in a chalk circle and stealing his eye. Crom Cruach is depicted as a never-ending snake (in a geometric pattern reminscent of both pre-Christian art and the knotwork of Christian manuscripts) possibly in reference to the 'snakes' (demons) banished from Ireland by St. Patrick. What's most fascinating about this sequence is that Brendan experiences it at all. Although the experience is supernatural it is never implied as anything other than real. Brendan is a committed monk in training who will spend his life in service to the monastery and creating the Book of Kells; even after meeting Aisling and battling Crom Cruach he never questions his faith or his elders and when he returns to the monastery with the eye no one disputes the story of how he came by it, "You entered one of the Dark One's caves?" At this time, at the edge of a growing monastery and with a direct reference to the abbot's desire to convert the natives, there is still space for pagan ideas to exist. Whenever Brendan is punished by Abbot Ceallach it is for disobedience not a lack of faith. Similarly, Aisling using Pangur Bán's spirit to free Brendan has an effect on the real world. There's an argument to be made that this is a film and anything can happen, but for problems to be solved by magic, the way Aisling frees Brendan, firm world-building rules must be established; in this world, 9th century Ireland, spaces exist in which otherworldly figures reside and actions beyond the mortal realm occur and these spaces exist alongside this film's version of civilisation, the monastery.

"I have lived through all the ages, through the eyes of salmon, deer and wolf." As an animated feature, there is a lot the film can tell us through visuals alone, and The Secret of Kells does a wonderful job capturing an Ireland in transition. The prologue opens with a close-up image of the Eye of Crom with abstract shapes swimming around it, followed by a glimpse of Aisling hiding in a tree as she narrates over these images in an eery whisper. Following these we see a salmon, deer and wolf, three animals important to Irish mythology, identity and history; the salmon, related to The Salmon of Knowledge, represents mythology, the deer is the national animal of Ireland, and wolves (in the world of Cartoon Saloon) represent its wildernes and history (the elimination of the wolf population became more active in Ireland during times of English occupancy, a theme that is explored more deeply in Wolfwalkers). Even the waves crashing around Iona as Brother Aidan escapes morph into wolves, futhering their symbolism as something wild and dangerous, yet they are never associated with the Viking raiders; the wilderness is as equally affected by change as the people are. The monastery is littered with Iron Age motifs existing alongside Early Christian imagery. Spiral motifs occur in trees and plants, in the ropes that bind the wall's scaffolding together, and circular, semi-circular and zig-zag shapes continue to appear with knot-work patterns and religious figures - even the snowflakes during the raid are strands of knot-work. The monastery itself is accurate to the period with its round tower, beehive shaped structures (called clochán) and the town growing around it, while outside its walls Brendan crosses a stone circle. We even see a game of hurling, the ultimate unifying bridge between pagan and modern Ireland. The walls of the abbot's cell are covered in his own drawings of plans for the monastery's construction. These are exquisitely detailed and clearly a plan for the future but drawn in a style that cannot escape the past; zig-zags, spirals, circles, semi-circles, dots, triangles, sun and star motifs and something that looks like an alignment chart. The style is evocative of the insular La Tène that preceded the arrival of the monks in Ireland; a combination of abstract and geometric, seemingly random, but clearly symbolising something greater.

"You must bring the book to the people." In their last interaction as children Aisling helps Brendan recover the pages of his manuscript as he flees the Vikings. In this gesture Aisling aids Brendan on his religious journey - during the montage later on she even guides him home. Faith never comes between these two, their relationship is one of mutual curiosity and sharing their differences. In Irish mythology, female figures (particularly shape-shifting ones) are often symbolic of Ireland itself and to have the support of these figures is, for kings and heroes, a mark of validation. At this time, these two worlds still live alongside each other and Aisling is allowed to support Brendan's work as a monk while maintaining her own natural way of life. Although Brendan's final journey home shows the spread of Christianity across the country we get one final image of Aisling, changed to her human form in a flash of lightning, that shows us she hasn't disappeared just yet. Brendan, now an adult, returns to Kells and although Abbot Ceallach is old and sick, the monastery stands strong and Brendan brings with him the completed Book of Kells, ready to continue the abbot's work.

"This wild land must be civilised" - Wolfwalkers and the taming of Ireland

Set in 1650, Wolfwalkers occurs roughly 800 years after The Secret of Kells and presents a vastly different universe. The monks' Christianisation of the natives was a far more gentle affair and one founded in a desire to educate people. Ireland under the Lord Ruler (a stand-in for Oliver Cromwell) is a world of service, punishment and fear. By chopping down trees and employing hunters to cull the wolf population the Lord Ruler is attempting to 'tame' the countryside and, most importantly, the people themselves. References to "the old king" and "revolt in the south" place us, historically and politically, in the Cromwellian Conquest, when Cromwell was sent to Ireland to quell uprisings against the newly established English Commonwealth. Heavy stuff and this is a simplification of a period of major conflict in Ireland but Wolfwalkers impresses on us the feeling of living under the thumb of an active oppressor on a much smaller, more personal scale. The Lord Ruler wants the people of Kilkenny afraid and complacent so that they support his efforts to cull the wolves and cut down their forests. Although the wolves pose no threat to the city, people have been made to fear them, resilting in the loss of their connection to the forest outside the town walls. Any reference to a world ouside of the current mode of conduct is cause for immediate punishment and suppression. Even Bill and Robyn, loyal English citizens, are punished. When one of the woodcutters talks of "pagan nonsense" he is confined to the stocks and Robyn is forced to work as a maid in the castle when she does the same. When Bill fails to cull the wolf population (and control his own daughter) he is stripped of his rank as hunter and forced into the role of soldier, robbed of the little freedom he had.

"This once wild creature is now tamed, obedient, a mere faithful servant." Although this line is spoken in reference to Moll, held captive in a cage in her wolf form, it is the human characters who suffer the most from this ideology - even the nameless background characters are confined to the walls of the city. What comes to mind when hearing this line is Robyn in her maid's uniform, once lively and imaginative, now returning home with lines under her eyes after a long day of hard, monotonous work, and Bill, shackled at the neck and forced to march behind the Lord Ruler's horse ("we must do what the Lord Ruler commands"). Although Moll is held captive too, it is in the form of a humongous wolf; she is locked away in the Long Hall for fear of the danger she represents because the Lord Ruler is aware of how poweful she is and so he must keep her locked up to show the people of Kilkenny just how much control he can wield, quelling any potential notions of power they might have held in themselves. In the case of Moll, Robyn and Bill, each time they are held captive by the Lord Ruler their captured bodies submit to the wolf form to escape: Moll uses its strength to break free of her chains, Robyn leaves behind her human body to launch an attack against the soldiers with the rest of the pack, and Bill, who had no idea what being bitten by Moll would do to him, submits to a primal instinct within him to protect his daughter and attacks the Lord Ruler. The Wolfwalkers are able to draw on this power but the people left behind in Kilkenny have no such escape.

"What cannot be tamed, must be destroyed." The ending of Wolfwalkers is bittersweet. Robyn, Médb and their parents are safe after defeating the Lord Ruler and his soldiers and ride off, not quite into the sunset, but onto horizons new. "All is well," Bill and Robyn tell each other and the family appear content, but, before now, leaving the forest was not on the agenda; leaving the forest meant retreating from a threat, as Moll desperately wanted Médb to do, and this is still the case. Médb wanted to save the forest, but, after everything that's happened, the family are no longer safe on the borders of the town. Robyn, Médb, Bill and Moll all save each other but they can't save their home and their retreat from Kilkenny is just that - a retreat. The Lord Ruler may have been killed but that doesn't mean the end of his conquest. Historically, this period saw Ireland amalgamated into the Commonwealth and Irish Catholic landowners ousted by English colonists, as well as a high level of deforestation and the elimination of the wolf population. By having the family leave their home, together and with a bright sky and grassy hills ahead of them, Wolfwalkers' coda balances the narrative conventions of a story by giving the viewers their satisfying ending without sanistising the history it's based on.

"Remember me in your stories and in your songs" - Song of the Sea and loss:

If Wolfwalkers is the taming of Ireland then Song of the Sea is Ireland tamed. Set roughly in the 1980s it is the closest depiction of a modern Ireland in Cartoon Saloon's ouevre. In contrast to The Secret of Kells and Wolfwalkers, which represented Ireland's native identity in the forest, here it takes the form of (drumroll) the sea, but while those other films depicted the battle between the wilderness and civilisation Song of the Sea depicts its defeat. The last of the Sídhe live in hiding in a rath disguised as the centre of a roundabout and use a sewage system to get around. In their diminshed forms, Lug, Mossy and Spud also resemble more closely what we might think of as 'fairies' in Ireland today, not the imposing figures of mischief and chaos the Sídhe really are in mythology. Still, Lug, Spud and Mossy wear torcs, brooches and earrings of gold and strewn about their home are ogham stones and hurls; in a nice marriage of modern and ancient tradition, they play the bodhrán, fiddle and banjo, singing a version of the Irish language song 'Dúlamán'. Only in this one pocket in the middle of the city do different aspects of traditional Irish culture survive.

All throughout Song of the Sea we see iconography of modern Ireland. Conor drinks a pint of Guinness (unlabelled but unmistakable), the front of the pub he sits in is decorated in proto-typical Irish pub fashion. On the wall in Granny's house sits proudly a picture of Jesus with the Sacred Heart lamp as she warbles along to the classic Irish children's song, 'Báidín Fheilimí'. Ben and Saoirse take refuge in a shrine to a holy well with a rag tree outside that is bursting with religious iconography as well as a toy sheep. Symbols that are as much a part of the national identity as those pre-historic and mythological ones. There are also references to the assimilation of pop culture outside of Ireland in a Lyle's Golden Syrup tin, the Rolling Stones poster on Conor's old bedroom door and Ben's 3-D glasses and cape, an emulation of a superhero costume. These images are, ultimately, harmless but have overtaken their native counterparts. Although we see statues of the Sídhe in the background, these are not shrines but detritus, and they lie forgotten, covered in plants and moss, in the company of bags of rubbish and old televisions. The diminishing of one era of Ireland's history to make way for a newer more powerful and modern identity is just one kind of loss that is portrayed in Song of the Sea, but each character experiences their own version throughout. The loss of Bronach that has affected Ben and Conor; the potential loss of Saoirse as she grows sicker; the loss of Mac Lir that drove Macha to such despair she literally bottled her emotions and those of others until they turned to stone. All of this comes to a climax at the end of the film when these tragedies are laid bare. As in Wolfwalkers the greater connotations of this theme are presented on a smaller scale: Ben and Conor's pain by the loss of Bronach.

Ben and Conor are representative of the human world and so suffer her absence more visibly than Saoirse who approaches her mother's world with curiosity and ease. In contrast, Ben, although he misses Bronach, rejects the sea (her home and symbolic identity) and his sister, a physical as well as spiritual reminder of what's been taken away from him. He turns his back on his past as much as he mourns its loss. We see it less obviously in Conor who wallows in his own memories and grief and tunes out Ben's references to his mother "It's as though I've been asleep all these years. I'm so sorry." Ben's grief is more expressive compared to the inwardly focused Conor and even towards the end of the film when Ben is trying to help Saoirse, Conor brushes over his insistence that only her selkie coat can save her. It's only when Saoirse is finally wearing the coat and wakes up from her sickness that he finally engages with Ben on the subject of Bronach, "She's a selkie, isn't she? Like Mam." "Yeah." (Which looks like a weak conversation written down but it's the happy smile on his face and the emotion in his voice that give the single word weight). "Please don't take her from us." During the film's final sequence, when Saoirse sings her song and wakens the sleeping Sídhe, Bronach returns but only to take Saoirse away. With tears in her eyes she begins to lead Saoirse along until Ben and Conor stop her, not forcefully but pleadingly, "she's all we have." All they have is Saoirse, all they have is a thread connecting them to Bronach's world and their memories of her.

"All of my kind must leave tonight…" As the Sídhe are wakened by Saoirse's song we watch them rise joyfully to form a glowing processional in the sky as they make the journey across the sea to their home. This scene is so beautifully animated and so filled with a sense of magic and wonder that we are charmed into believing this is a good thing. The Sídhe are returned to their noble forms and going to their home "across the sea"; they fill the sky with a warm, mystical light, but they are taking that light and their magic with them. As Bronach quotes in the film's prologue, "Come away, o human child, to the waters and the wild, with a fairy, hand in hand, for the world's more full of weeping than you can understand." This is a world that can no longer bear the force of two identities. Unlike The Secret of Kells where Brendan and Aisling were allowed to live alongside each other without compromising their beliefs or ways of living, Bronach, a spiritual being, is forced to leave, while Ben and Conor have no choice but to stay and Saoirse, who walks both worlds, is made to choose between them. Although this is a happy ending it is still being depicted on a personal level. On a grander scale, the country has lost something that isn't coming back and this is depicted as a relief for the ones leaving it behind. On the other hand, Saoirse's decision to remain shows that, in small pockets of the country, the magic remains.

It is fitting that Song of the Sea, as a representation of modern Ireland, draws on loss; Ireland has been experiencing loss on a grand scale for centuries. Although the march of progress is mostly positive, in some cases it has altered our respect and interest in the past. Today there is a nihilism attached to Irish heritage; the spirituality that is associated with airy fairy hippies dancing naked in a moonlit field; the language that is almost universally despised by every secondary student forced to grapple with the Tuiseal Ginideach; its disappearing and continually exploited ecological landscapes; traditions and tales that grow more twee and archaic with every tourist bus that passes by; the preservation of archaeological sites in frequent battle with the progress of industry. In the interest of leaving behind the worst of our past we are at risk of losing the best. The writer Manchán Mangan suggests that this desire to forget lies in the pain we feel when we consider our history. Some, like Conor, try to push all reference to this pain out of their lives, others, like Ben, divert their pain into misplaced anger. Mangan cites the Famine as a source of generational pain and its effect today on our use of the language, but really it can be attached to many events and periods of time, "English was the future; Irish would only bring suffering and death." This is a sentiment that carries through to this day; despite encouragement from schools, local councils and the government, Irish remains a least favourite subject for most people who dismiss it as unuseful for success in the wider world. By proxy, anything to do with the notion of "Irish", the language, history and culture, is old-fashioned (suffering and death) while success and the future lie outside of the country. Mangan goes on to suggest that only by confronting the pain of our past can we unlock an ability in ourselves to engage more fully with our identity, "We might stop blaming our failure to learn on teachers, or the education system, or Government policy, and realise that we have no difficulty learning any other subject…" Ben and Conor are given the opportunity to say goodbye to Bronach before she leaves, allowing them to carry on with their memories of her and the last strand of their connection to her as represented by Saoirse. More and more people today are looking to Ireland's past, ecology and language for whatever it is they need or want to find. It isn't necessary to convert to paganism and live on the shores of the Connemara coastline to achieve this connection, but actively disengaging from your past can only hurt more than it can help. In their respective stories Brendan does not compromise his beliefs but still builds a friendship with Aisling, while Robyn and Bill integrate fully into Médb and Moll's world. There is no right way to engage with this side of our history and identity, but in contrast to Ben and Conor, Brendan and Robyn have balanced and fulfilling relationships with their native counterparts - the threats to their world come from outside sources. Ben and Conor were stuck in their pain over Bronach's loss and it is only after getting to see her one last time that helped them to move on and heal. Conor tells Bronach that he still loves her, he will carry his love and memories of her forever; Ben lets Saoirse into his life and is able to move past his grief and fears of the sea. Here, the threat of loss and destruction in modern Ireland comes from within, and can only be treated by engaging with the past - its rich heritage and tragic history - and moving on with all of the wisdom and experience it provides.

[bardic-tales]

HAPPY STS from Idaho!

What’s the story behind your current WIP?

Good morning from NY! Happy belated STS. I hoe you are doing well today, and thank you for the ask.

The story behind 'Fantasy Worlds Collide' is I guess one where I had to focus on moving forward. I had a lot of trilogies planned: a dark fantasy trilogy featuring Cold as Ice (a book that I have been since 2015), the Blood Chronicles (an erotic series that featured a vampire named Bianca), and another series that was set in the same universe as the Blood Chronicles featuring the Order of Divvik who is the last bastion against the Apocalypse. Everything came to a screeching halt when I lost almost 2 decades of planning / manuscripts in a data glitch in 2021 and I couldn't restore them. I was left with a few notes and an gnawing sensation of 'what now'.

FWC is a project that spans multiple fandoms, as well as original work. I wanted to practice a technique that would take a hero (Bianca Moore) and slowly turn her into a villain. When the Final Fantasy 7 Remakes that were released, I decided to take Bianca back to her roots: as she has always been a FF 7 OC since the release of the first game in '97. I had three versions of her that I would use writing: one that got updated when any FF 7 media was published, one that was for pure fluff pieces set in Inuyasha, and one with the original story about how she was turned into a vampire (who in that world are known by incubi/succubi, too) by her soulmate. The first book of the series was called 'Timeless Souls'. It was very kink focused, as well as explored themes like soul-mates.

Now, all three wips that I listed above are part of a huge overarching story. Bianca is the daughter of Asmodeus, who desires powers of his Father: the Creator Deity. To do this, he conceived BIanca Moore, who is part of a prophecy about tearing down the multiverse. She spent her whole life fleeing him: even from when she was a fetus and her biological celestial mother Seraphine cocooned Bianca in a womb of temporal energy and gifted her to Seraphine's most faithful, Sarah Moore.

With a lot of time-traveling (and space-traveling) shenanigans, she is now on the Planet Gaia and convinced that Sephiroth, the man who will try to end that world and become a God, is her mirrored soul. Sephiroth and Bianca are connected with a 'red string of fate'. The string reacts stronger to their emotions: glowing brighter when they have intense emotions. She has fallen from Grace and is completely devoted to him and his mission. Bianca will do anything to see him become immortal as she fell in love with him at first sight and, as a result, she is being denied entrance to the Celestial Realm. Divine law states that angelic beings cannot love mortals and is strictly enforced: as this is what caused the great war in the Celestial Realm because Lucifer fell in love with Lilith and went to the Creator Deity to ask that they be an exception to the rule. The Creator Deity refused and Lucifer went to war. His rebel army, including the primodial demon named Asmodeus, were cast from the Celestial Realm and now call the Abyssal Realm home. Bianca is his living weapon.

While Fantasy Worlds Collide may focus on the relationship between Sephiroth and Bianca (as well as Sesshomaru and Bianca, as Sessh was her first guardian), it is a foray into questioning if you can really overcome fate. Will she destroy the Multiverse and rebuild it into something that Sephiroth and she can rule together? The worldbuilding that I was able to recover from the data glitch is incorporated into the world of FWC. It's my passion project, and it seems I have been working on it for 27 years.

Thank you for the question again. I hope you have a wonderful day / night.

[faeparrish]

What did you think about Adam apparently trying to talk himself out of being in love with Ronan when he went home to st Agnes every night?? It sounded so prosey but it didn’t feel like it was supported by the text? Like I felt the Opal story and CDTH did nothing to indicate that

omg sorry i only just saw this q !! but yeah idk i’ve been thinking a lot about that recently. i think with certain contexts it does make some sense to me? not that adam would want to stop loving ronan but that he’d feel like he should stop loving him. that ending things sooner rather than later felt like the safer thing to do for both of them, emotionally speaking. having said that, i feel like if we’d been in adam’s head at all through trkopal or dreamer trilogy, it would’ve made this information less surprising (another loss for the adam pov agenda rip). i have a lot of thoughts on this tho and i ended up writing a lot more than i intended to so i’m going to get into it under the cut !

ok so first off, i think in terms of adam’s arc in dreamer trilogy (or what we saw of it lol) it would make a lot more obvious sense for him to be having that dilemma. at that point he’s actually living in this version of himself that can’t coexist with the version of him who chose a life with ronan. it did kind of surprise me that he’d been feeling that way in the opal story, but then again that story was only told through opals eyes so we only really got bits and pieces of the full picture. we weren’t in adam or ronan’s heads. i think it’s kind of interesting that maggie went back to it from a sort of omniscient point of view in greywaren tho — she tends to do that a lot, like retrospectively add new context to previous scenes by changing perspectives. i guess a perk of writing multiple points of view is that you get a novel filled with unreliable narrators, which means you can withhold information from readers by having characters misread or ignore certain aspects of a situation.

going back to what you said tho i feel like some people would read that section you mentioned and take it to mean that he was going back on his conversation with gansey in trk or that he didn’t want to be with ronan. i don’t think that’s it at all - i think he saw that they were heading towards a future that couldn’t hold their relationship without either of them having to compromise some fundamental part of their lives. and these were compromises that neither of them could make or would let the other make. it was also a conversation they weren’t having; we know they weren’t properly communicating at that point, not in the way they perhaps should’ve been given their situation. but it’s also heavily implied that the reason they weren’t voicing their concerns was because they both knew they wouldn’t be able to fix these problems by just voicing them. they were going to go in circles: adam didn’t want to do long distance; ronan couldn’t move to boston; adam could go to a closer school but ronan would never let him do that.

i think it’s also important to note that they were both at a crossroads in their lives that summer. they’d survived past the point where they thought they would, and now the things they thought they wanted in life were starting to feel different to them. everything was going to shift when adam moved away. they both knew something about their situation had to change but neither of them were ready or able to make it happen. and so they spent a blissful summer trying to avoid confronting it, because it hurt too much to admit that it all felt impossible.

i think we should also remember that we didn’t have any povs from adam in dreamer trilogy OR the opal story. every time we saw the pair of them interacting in dreamer trilogy it was through ronan, who was absolutely in denial about how hard it was going to be for them (see: his theory of plausible deniability at the beginning of cdth). we have to base our understanding of adam’s behaviour on outside observations of him. ronan’s pov in cdth does mention how tumultuous adam’s mental state had been during that summer, especially when he found out he was accepted at harvard. he was anxious about starting something he’d been working towards for years, and he was anxious about leaving ronan and having to deal with the reality of their relationship outside of the barns. it makes sense that adam, who is generally less in denial about harsh realities than ronan, was probably having a silent dilemma over it. he’s an incredibly practical character, he over-analyses everything, there’s not a single outcome of a situation that he wouldn’t consider. there was no way that he hadn’t at least touched on the possibility of having to end things with ronan, however painful that outcome is. he was probably debating whether it was worth dragging themselves through something that was inevitably going to hurt them, or if it would just be easier to confront it head on. it’s one of those things that sometimes happens in relationships where, yes, the love between the two people is strong and present, but the love isn’t the problem. it’s their circumstances. sometimes you can’t see a way to fit your life and your relationship together, sometimes you can’t find a compromise that works, and i think that’s what adam was afraid of. he associated ronan with the magic part of his life. in his mind, magic and harvard couldn’t coexist.

the problem adam clearly had was that while this self-preserving and practical side of him was trying to reason it out (i.e. if you convince yourself you don’t love someone then you save yourself the pain of losing them), the more emotional side of him couldn’t fathom not loving ronan. as soon as he was with ronan again, the reality of loving him was too tangible. which also fits into why it feels slightly surprising to learn this information: we pretty much only saw adam when he was with ronan in trkopal, and (as we now know) every time he was with ronan he forgot everything he’d been telling himself when alone. it became impossible for him to imagine ever throwing their relationship away for anything. i also think that’s why that line is so sad. ronan meant so much to him that adam couldn’t convince himself to step away and save his heart from further pain.

and then we have ronan. he’d essentially been having the same dilemma over their situation as adam. distance from someone makes it easy to convince yourself that things won’t work out. isolation and distance makes it even easier. which is why (amongst other factors) it reached a point in book 2 where ronan, more isolated and distanced than ever, ended up being the one to call it. because ronan sees things in black and white and adam tends to focus on the grey areas. because ronan is driven by impulse and adam is driven by considered decisions. because at that time, ronan couldn’t exist in multiples; he was already being pulled in so many directions by his human side and his magic side. he didn’t know how to exist as both: as soon as one thread from his human life came loose, he was unable to contain the rest. adam, however, has always existed in multiples. student and logician, man and boy, etc. his life is a balancing act. he’d balanced friends and school and magic and work and an abusive home life; he could balance this too. he could hold on to this. to quote adam himself, he wanted it too much. even after ronan had essentially ended things between them, adam still found somewhere safe for ronan’s body, still came back to visit him, still risked his life scrying in order to find him. it’s like adam said in greywaren, ronan was where he stored all the reality. with the direction he was going in his life at that point, if he lost ronan, he was losing the one person who knew the truest version of him — he’d essentially end up losing himself fully.

so yes. i think considering everything, it does make sense to me that adam had that dilemma because it fits with the way he behaved in dreamer trilogy. it also feels very realistic. everyone has doubts, or considers cutting loose to avoid the risk of heartbreak. i think it’s quite an accurate depiction of how a lot of people behave and feel in relationships, especially when it’s your first long-term relationship, and especially when you were never taught how to properly and healthily communicate (which neither of them were). it’s hard to imagine a way out of the problems you’re facing, especially when those problems feel out of your control. but i think for me it only solidified how strongly adam felt for ronan, because even with those fears and those doubts he was never going to walk away. no matter how much easier it may have felt to do so, he always came back.

[nalyra-dreaming]

Hi! A question about Memnoch, was he one of the Replimoids from PL trilogy or was he really the devil? And did Lestat go into a coma cause he thought he had really helped him?

Hey!

Kapetria says in her tale that she suspects that Memnoch is also one of those, yes:

"I suspect this Replimoid, Maxym, too survived the destruction that was soon visited on all of us. But not bodily as we did. I suspect that he exists as surely as Amel exists, and that his name is now Memnoch, who creates astral traps for unwary souls."

Memnoch acts like the Devil, but he actually isn't not in the... ultimate sense of the word, though I would argue he definitely is in the sense that he is that incarnation for the souls he keeps trapped in his purgatory.

Lestat... went a bit mad after his encounter with Memnoch. In part for thinking he helped the Devil, yes. And, supposedly, God. And because he saw the Hells. And Heaven.

The eye that was taken from him (and that he later got back) also served as a kind of anchor for similar beings, "angels", angels who then made him do their bidding.

"Angels," he said, musing, "or those who call themselves angels, or would have me conclude that they're angels; and they have come to me in the long years since I fled Memnoch. They've come to me as I lay like one in a coma on the chapel floor of St. Elizabeth's, the building in New Orleans which was bequeathed to me by Roger's daughter. It seems my stolen eye, my restored eye, my bloodshot eye, has established some link with these beings, and I could tell you a tale of them, but now is not the time." "They harmed you, didn't they?" I asked, sensing it in his manner. He nodded. "They left my body there for my friends to watch over," he explained, and for the first time since I'd seen him, he looked troubled, indecisive, even faintly confused. "But my spirit they took with them," he went on. "And in a realm as palpable as this very room they set me down to do their bidding, always threatening to snatch back this right eye, to take it forever if I didn't do what they bid me to do."

So the coma was not always voluntary, something David also guesses at in Merrick, and which Lestat here tells of in Blackwood Farm.

However - Lestat in PLatRoA also remarks that Memnoch has no power over him anymore (and interestingly he brings up Armand as a spellbinder here as well):

“Who was Memnoch?” “Why use the past tense?” asked Gremt. “You don’t think he’s hovering near you, quite ready again to sweep you up into his imaginary worlds?” “He can’t,” I said. “He’s tried. He’s tried for years.” They were skeptical. “Every spellbinder has a signature,” I said. “Once I learn to recognize that signature, I become immune. They can’t make it happen to me after that.” I studied them individually. “Centuries ago, Armand would seek to sweep me up in his spells. I learned to recognize them instantly.”

(This non-voluntary coma (and this comparison of Memnoch and Armand(!) is also why I think "the groan" might be Lestat in his coma in Dubai, but that just as a remark^^.)

[perexcri]

day 5: full au

this is the day i’ve been looking forward to most for this event!! i’m so excited to share a few au recs :D

first of all: Tip-toeing on Lily-pads by my beloved @cherryisgone!! it’s a lovely little fantasy au where Will’s a prince, Mike’s a knight, and El likes to curse Mike by turning him into a frog. i bet you can guess the only way the curse can be broken, right? >:) anyway, this is so well-written, it’s 7k words of Will pining, and it’s got all the things i could ever hope for out of a fantasy au: two people being held back from each other because of politics and duties to one’s nation :’D i mean, yes, it was a birthday gift to me, so in a lot of ways, it was tailored to my tastes, but it’s got such a fun vibe and beautiful descriptions that i think it can be (and should be) enjoyed by all. so, yeah, take some time to spend with a princess and the frog-esque au written by one of my dear friends 💜🐸

then: A New Fight by @tea-for-one-please! i was out of town all last week, and even though i brought a couple of books with me to read, i spent all of my free reading time with this lovely trilogy. it’s a fantastically imagined star wars au, and while byler is a big focus of it, i truly enjoyed how the author integrated all of the party members into the story in such a natural way. i wouldn’t say i’m the most die-hard star wars fan - in fact, i probably could only barely describe the plot of any of the movies - but the franchise does hold a special place in my heart for personal reasons, so it was so enjoyable getting to read about some of my favorite characters from st being thrown into the rebellion!! seriously, if you have some time, definitely spend it with this series

Warm by @notebooknonbinary! this is just a quick little d&d au that’s so cute and sweet. as my beloved Vee says in the description, it’s nice to see that Mike has the self-preservation skills of a lemming in any universe lol. of course he put himself in harm’s way to save Will!! and now we get to see the aftermath of it with Vee’s lovely writing :]

Daydream by disaster_energy! another d&d au, but this time, Will gets chosen by the moon goddess, and Mike decides to pledge his allegiance to that paladin order. it’s really sweet, and the universe the author built was also super fun to see!! it kind of reminded me of the world-building in percy jackson, so if you liked those books, definitely check this one out!!

The Trees Are Growing Restless by @light-lanterne!! this is a super interesting groundhog day au with a specific focus on Mike’s unresolved trauma. i still need to read the latest chapter because i am nothing if not behind on reading, but i’ve been so excited for this one and can’t wait to see where it goes. Angel’s writing is amazing, and he’s got Mike’s character down so well :]

that’s all for now, i think!! i’ll be back tomorrow with more~ :]

[starfall-spirit]

Hate to break it to you, but Feysand has always been a retcon and SJM is a liar who says she’s always had them planned to sound cooler and to cover up the fact that she’s always said 1) she never plans her books and 2) she had to add Rhys in earlier and that she’d originally planned for him to be the villain.

Detailing the actual story of how ACOTAR came to be from her own former newsletter, she wrote two and half ACOTAR books in 2009 (then originally only a trilogy). In 2014, SJM scrapped and rewrote the entirety of that original second and half of a third book and completely started over with them, creating what is now ACOMAF and ACOWAR. She did not change anything in ACOTAR, though, but she did add things in during editing. She’s also said Nesta and Lucien were originally supposed to be mates and that she didn’t even plan for Nessian until she wrote the scene where the IC goes to ask Feyre’s family for help.

If Nesta and Lucien were originally endgame, that would infer that Feyre in the original second book actually spent a majority of her time in the Spring Court because how else would Nesta meet Lucien? He doesn’t live in the NC. He doesn’t live the AC. And if a majority of the plot is taking place in Spring and the story is from Feyre’s pov, it would also imply Feyre was still with Tamlin. 🤷🏼‍♀️ And a quick reminder that the entire series was originally a Beauty and the Beast/Tamlin retelling, not just the first book.

You can love Feysand, no one is telling you not to, but if you’re going to try to debunk what others are saying, then at least find out why they’re saying it in the first place so you can provide a proper counter argument. There’s overwhelming evidence within the first book that anything after it was never planned.

In fact, you could take Rhys out of the first book and the Calanmai scene would still work if Lucien had been the one to find her. The dresser would still work if Feyre and Elain’s drawers were swapped. Amarantha’s whore could be anybody, and the scene where Rhys forces Tamlin and Lucien to beg for Feyre could’ve happened with that anybody, not just Rhys. Maybe you should think about why the first book of a book series, where he’s supposedly been the plan all along, could still play out without him. 😬

Hi, anon.

I would first like to let you know, my inbox is not a place to start ship wars or attack people for their opinions of canon fandom matters. I hope in the future you respect the simple request at the top of my page to leave me polite asks.

But, to clarify a few points you've addressed here, look under the cut

"She never plans her books."

Anon, I'm not sure what precisely you mean when you say plan. There are many types of writers. When you're drafting an original story you may create an outline detailing the step by step plot, conflict, character development, call to action, etc.

Or perhaps you are an author like me, who instead prefers to free write. I won't hesitate to admit I can't stick to an outline beyond points A, B, and C. For example, my Anastasia AU

Chapter 1: The Rumor, The Legend, The Mystery (St. Pete)

Rumors

Plan Con

Meet Elain

Chapter 2: Things My Heart Used To Know (December)

Learning Heritage

Rhys’ 1st appearance

Chapter 3: The High Lord Lies Cold (Neva flows)

Rhys Bonus

Chapter 4: Let Me Say Goodbye (Stay I pray you)

1997 ~For the Magic~

Carriage out of Dusk 

Carriage stopped enroute

Escape

Chapter 5: In a Crowd of Thousands

Nightmare/Talk

Travel on foot to gate to Day

Meet Helion

Chapter 6: Could it Be? (Quartet)

2. "She had to add Rhys in earlier than planned to be a villain."

What exactly is the point of this statement? Maybe Feyre could have stayed inside the manor on Calanmai. Maybe Lucien could have stumbled upon her and the three fae who targeted her. If you think she's the only author to rewrite a story or add characters in an earlier or later position, I'm going to guess you don't have much of a concept of the natural writing process.

3. "Detailing the actual story of how ACOTAR came to be from her own former newsletter, she wrote two and half ACOTAR books in 2009 (then originally only a trilogy). In 2014, SJM scrapped and rewrote the entirety of that original second and half of a third book and completely started over with them, creating what is now ACOMAF and ACOWAR. She did not change anything in ACOTAR, though, but she did add things in during editing."

Again, the natural writing process. Rewriting a hundred times over if it's necessary to get the book published. Editing for the sake of a fluid storyline.

4. Your points on Nesta, Lucien, and Cassian have nothing to do with a Feysand of Feylin endgame. There could have been a dozen different ways SJM planned on Lucien and Nesta meeting outside of Spring that we will never know. The fact is that in the end, SJM decided "Lucien and Nesta would be at each other's throats. And not in a good way". Or something along those lines. In walked Nessian.

5. "You can love Feysand, no one is telling you not to, but if you’re going to try to debunk what others are saying, then at least find out why they’re saying it in the first place so you can provide a proper counter argument."

I am aware I have the freedom of expression in the fandom. I would also like to clarify I was entirely polite in "debunking" the counterargument to defend Tamlin. Did you feel particularly attacked when I told a new fandom member to try the second book and see if it was to their liking when they saw Rhysand's story?

Or was it my assessment of Tamlin's lack of anger management and every marker of an abuser he shows from the second he comes to take Feyre across the wall.

TL;DR

No matter how many rewrites ACOTAR went through, there was no character retcon on Tamlin or Rhys. Book one was an adaptation of Beauty and the Beast and Book two was an adaptation of Hades and Persephone, even if very few elements were taken from the actual tales.

For any others who wish to drop in and give me a polite hello, my inbox is always open and I'm chugging along so I have some lovely Feysand and crack ship snippets to provide you with.

[ryehouses]

alright, y'all, may the 4th is right around the corner, which means it's time to play Guess That Mug, a game in which I try to figure out which planets Disney/Starbucks is turning into mugs that I have to buy to continue hoarding them like a ceramics-obsessed magpie.

the mugs so far: bespin, dagobah, hoth (2020), baatu, endor, tatooine (2021) and ahch-to, naboo, nevarro (2022.)

my top guesses this year are:

1) mandalore, because we've seen plenty of it now in both animation and live-action, and if I don't get a mandalore mug eventually I will cry

2) coruscant, because it's one of the only remaining prequel trilogy planets we haven't had a mug of yet (the other being geonosis, which. hmm.) and because we saw it again in andor and the mandalorian

3) dathomir. between clone wars/fallen order we saw a good bit of dathomir, and a red/black color scheme would be sick

4) kamino. I expected this one last year, actually, because 2022 was the 20th anniversary of AOTC and we'd been there in '21 with bad batch

5) mustafar, though maybe they'll hold out on this one until the 20th anniversary of ROTS to hit us with it. see dathomir for my feelings about a red/black color scheme

runners-up: lothal, as rebels is about to get its sequel in ahsoka, and i expect we'll see a live-action lothal some time in the show. atollon for similar reasons.

any planet featured in the sequel trilogy, including jakku, takodana, canto bight, etc cetera. we didn't really get a sense of place in the st like we did in the ot and pt, imo, which is why st planets are runners-up.

ferrix, because it was COOL.

[artdecosupernova-writing]

Excerpt St. Guess

↳ Joey peered hard through the doors, cupping his hands around his eyes to get a better look inside. "Huh," he muttered, his breath fogging the glass in front of his face. "Well, it ain't a whiz-bang in there. Guess it's not open after all. Let's come back tomorrow."

Mickey looked in over Joey's shoulder and his expression settled on a concentrated frown. Farther inside the museum, in front of what Mickey could vaguely make out to be the security office, a man in a tan single-breasted suit without a hat spoke to a much more refined, older gentleman. The younger man took a catalog envelope from the older man and smiled personably, patting him on the shoulder and engaging with him directly, holding grateful eye contact. The older man smiled as well, shaking his hand as his brows pitched in apology.

"Are there people inside?" Joey asked.

Mickey watched the younger man laugh at something and turn toward the front of the museum. "Security guard talking to the director. Likely picking up a series of misplaced paychecks."

Joey stepped away from the door and urged Mickey to do the same. "What?"

"During the renovations, the staff paychecks were either misplaced, improperly handled, or halted," Mickey explained as he moved to stand closer to Joey. "One of the security guards has just received his back pay."

"How do you do that?" Joey shrugged, mystified. "One of these days, you gotta tell me how you do that."

"And give away my secrets? Joey." Mickey tutted with a grin. "It's fairly obvious."

"If it was obvious, d'you think I'd be standin' here makin' myself look stupid?"

"Hmm," Mickey intoned, choosing at the benefit of everyone not to respond to that otherwise.

The security guard opened the door, brushing past the pair as he exited. "'Scuse me, fellas," he said, gracing them both with the same warm smile Mickey had seen inside the museum.

Mickey locked eyes with him for one moment that dragged on like several. Neatly combed, blue-black hair—dyed. Shiny. Slicked down with pomade. His eyes were green, full of life, youthful in contradiction to the shallow crow's feet at the outer corners. His smile could have illuminated an entire room.

He shifted the envelope to his other hand and bounded down the steps.

Mickey watched him, his gaze tight. Willing the man to glance back at him.

Some physical distance grew between them before he did just that. He threw one last look behind him, halfway across the street, and the friendly smile developed into one of deep understanding…an acknowledgement of words unspoken, or perhaps a pass of pleased appraisal.

Joey's stare bounced from the man to Mickey. "You know him?"

"No," Mickey said.

But he was sure he would.

[ignitesthestxrs]

fuck yeah I'll come talk to you! my goodness. I've long been hesitant to send asks to blogs I don't know or consider popular.

I followed you for your pjo writing, so I was very surprised to find out that your url is from matthew stover's ROTS novelisation. two-ish years ago I watched star wars for the first time and fell in love with the prequels, it is probably still the fandom I most interact with on here.

I notice most (all?) of your star wars fics on ao3 are sequel things. I haven't seen the sequels yet because of general negative internet sentiment towards them. although this is bad logic because the internet feels negatively about a lot of great things, including ("great" is subjective I suppose) the prequels.

as someone who still mainly associates you with pjo, I guess I'm just curious about you and star wars in general. did you watch the movies when they first came out? or did you, like me, discover them later? and would you care to make a case for watching the sequels?

and as an aside - how do you feel about anon asks. do you prefer when people are non-anon?

truly genuinely i dont think i've ever met a person on this website, Popular Online or not, who has been upset about receiving genuine asks. LIKE as someone who prefers to be approached rather than to approach people i very understand the reticence to make contact, but if you ever have hesitance because your brain is like 'ooooh they aren't gonna want to talk to meeeeeee' i really truly think you can let that one go. esp because anon is an option - the worst thing that happens is that someone doesn't respond, which is also not personal and is usually related to brain death on the part of the person receiving the ask

BASICALLY i really think that most people making themselves available on the social media want to use the media to be social - if they didn't, they'd close their ask box.

MAN okok i love to talk about a personal fandom history LOL star wars is a weird one for me! i came into the fandom extremely sideways - while it turns out i had watched at least one of the prequels in theatres as a child, i had somehow wiped all memory of them from my mind, leaving only a residual obsession with padme amidala's lipstick lingering in my hindbrain

so my first Real Encounter with star wars as a fan concept was via Livejournal Role Play lolol, the premise of which is that you would roleplay as characters either in an AU setting, or an isekai-your-character-was-captured-from-their-home-world-somehow setting. so i was playing sakura from naruto in a harry potter/final fantasy fusion AU (there's a fun sentence) when someone joined the game with Jaina Solo from the star wars extended universe, and i just thought the character and player were the fucking coolest?

so that's how i ended up learning about like, the post-original Star Wars trilogy EU books first LMAO and then eventually i watched the original trilogy and re-watched the prequel trilogy (this was back in 2009/10 so sequel series were not on the horizon at all). i rp'd a bunch of star wars characters in a bunch of games (most notably middle aged Leia from the later EU books and a man called Kyp Durron who i refuse to believe was not the template and inspiration for kylo ren), and also played the Knights of the Old Republic games, and eventually helped create and moderate an rp based on those games. so my first star wars creative endeavors were very rp based, and kotor based, and any fic i was writing at the time was like, kyp durron and alyss from a ya novel adaptation of alice in wonderland are falling in love in the harry potter/final fantasy fusion setting where we also included pokemon so kyp has a shuckle for a pet because jaina gifted it to him as a gag. all that fic is littered around the internet - lj accounts and dreamwidth accounts and defunct aim group chats, where you'd write stuff for like the three people who were into your extremely, impossible to replicate cross canon ship instead of doing your stats homework, it was heady shit.

the username came about after i decided to abandon my old internet handle/identity of 'feilyn' lolol. basically i made up 'feilyn' as a name for myself when i was like 15 and used it everywhere, which resulted in most online friends i made at the time calling me 'fei', which in turn got cuteified into 'feibean', which is what i originally called this blog right up until someone sent me an ask going 'hey feibean' and i went oh NO i HATE that, and decided that i needed a username that was like, Poetic and Pretty

the funniest part to me is that i hadn't actually read the stover novelisation at that time? i just knew about the passage it came from because a friend had quoted it at me before and i was like oh that's Beautiful. so i did probably the most pretentious thing in the process of making a pretentious internet handle, which was to refer to a thing i hadn't actually read (i have since read the novelisation LOL and highly recommend it to anyone into star wars i general, but especially if you feel the prequels had Great Themes and Poor Execution - the book does a much better job at the execution part)

SO by the time the sequel movies were announced i had been into star wars for like, 5, 6 years? and it had been a staple part of not only my creative life but also my social and romantic life, so i was primed to be fucking obsessed. at that point i wasn't journal rping anymore, and most of my creative energy was split between fic (pjo and grisha at the time) and trying to make my original book idea work (it did not), and i had gotten into the groove of Writing Fic For An Audience.

and then the first sequel movie came out and i fucking loved it! like sure it was a little derivative, but it had so much of what i loved about star wars in it, and it especially helped that kylo ren really did seem like a kyp durron expy, and i was right in the middle of my weird heterosexual lesbianism phase where all i wanted to write was Overpowered Man Gets Stepped On By Brunette Teenager He Underestimated so reylo hit me like a fucking freight train.

i think in the first month after that movie came out i wrote like, 21 fics in he space of a month. i went to my first ever music festival and was just lying in the tent writing fic on the budget smart phone i had bought so my actual phone didn't get stolen. it was SUCH a flurry of creative energy for me, because star wars before that point had been not a dead fandom, but certainly not a fandom that had a lot of Fic-Centric Life in the spaces i was in, and the movie brought so much new blood and voices and interest and readers to the canon. so if i told people i felt like writing x thing and asked for prompts, i'd get like 10 or 12 requests at a time - more than i could fulfill, certainly, but also so many that it really fed the fire of my interest and determination to Provide Content

and then, you know, the Drama and the Discourse and the weird creation of shipping as identity where people became A Reylo instead of shipping reylo, and this formation of Antis as a thing, and on and on until fandom in general becomes this place of adversarial combat that is supposed to reflect on your ethics and moral as a person and Oh Man i do remember being exhausted by all of these arguments at the time (and now tbh, but these days i am not actively participating in them). eventually i dropped out of star wars as a fandom from like, creative and discourse burnout i think, and also my relationships with the friends i shared the fandom with were changing, and i was also changing as a person and then TROS came out and was really a death knell to any joy i'd gotten out of the fandom or canon from that point.

as for a case for watching the sequels - i think if you can watch them without needing them to Be Anything In Particular, you can have a good time with them. like, for example, i think TROS was an objectively bad fucking movie, but i had a lot of fun when i watched it because i went it with a baseline of curiosity about how or if abrams could pull this off, and the answer was 'by trying to split every fandom argument of the last 4 years down the exact middle' and 'no, he can't pull it off'. that shit isn't a movie, it's a video response to every star wars trending topic between 2015-2019. and at the time of viewing, this was very fucking funny to me. i had a ball.

SO if you can watch them with the contextual understanding of like, these are massive corporate enterprises created by committee, with different people at the helm of different movies who had very different understandings on what the point of this trilogy was, i genuinely think they can be a good time. there's pew pew lasers, there are some real affecting moments, and there is a lot of bewildered amusement to be had at nature of attempting to create Billion Dollar Art.

if you are looking for a story that is going to leave you feeling fulfilled and as though the creators had consideration and respect for either their viewers, their actors, or the story they were telling, then give them a pass. like i really really think there is a lot of fun and interest to be had in watching the sequels for both 'here is a space fantasy laser fun time' reasons and 'what does art look like when it's primary purpose is to create obscene amounts of wealth based off the nostalgia of nerds but also the concept of modernising a franchise for the 21st century' reasons, and these are both big reasons why i engage in any kind of media LOL

but i also understand the special place star wars holds in a lot of people's hearts, and not wanting to engage in material thatg feels like it has sucked a lot of the joy out of that special place is always legit. so like, if you are intrigued, give them a shot, and if you find yourself hating the experience then stop watching. trust ur heart babe

FINALLY i have no strong opinion on whether people are anon or signed in! it's all about your comfort level truly, i do not put emphasis on one mode or another. sometimes people will send me something signed in and ask me to respond privately, which i am always happy to do, and sometimes people will send messages anon, but identify themselves as like 'oh im the anon who asked about sunflowers, i'm sunflower anon'. SO YEAH whatever combination of identifiers is personally comfortable for the person sending the ask is how i prefer people to communicate.

THANK U for ur ask clearly i love to Talk & Engage and i appreciate u giving me the opportunity <3 <3

[mann-walter]

Just finished episode 10 of, you guessed it, Andor.

I can't tell you how incredible it was. The prison break, the Luthen monologue...

But what really got me, twisted my gut, was "I can't swim". It was just so sad!

You see, there are only a select few scenes in the history of on-screen media that can make me feel the way I felt about that scene. I think, if there is another addition to this list, it cannot possibly come from Star Wars. Because, seeing the development of the ST (Sequel Trilogy) made me cancel all hope for a profoundly emotional scene.

And yet, here I am, writing to the public of how I nearly teared up because of a... what, fifteen seconds... scene from the newest and arguably the best, Star Wars show.

[theygotlost]

book ask 4 & 6 :)

4. Did you discover any new authors that you love this year?

I'LL GIVE YOU THREE. GUESSES. ok jk TECHNICALLY ive read pratchett books in the past (i read the bromeliad trilogy when I was about 10) and i read my first ever discworld book (going postal) last december so that doesn't count as "this year" but by god it has been The Year of Pratchett for me. and so will the next!!

Another one that was definitely this year is Natasha Pulley. i am definitely going to read more of her books in 2024!!

I will also probably be checking out some more of Emily St. John Mandel's work as well. yay women

6. Was there anything you meant to read, but never got to?

One Hundred Years of Solitude by Gabriel Garcia Marquez has been at the top of my reading list for basically the entire year but I kept finding other books that I wanted to read more urgently. I think ive been putting it off bc ive heard it can be kind of confusing and hard to keep track of all the different things going on and that scared me but I still intend to take a crack at it someday

[artbyblastweave]

In terms of assumptions...I'm going to guess that you have a favourite piece of media locked away somewhere which you would badly like to share but it's either way too complex/tied up in continuity to easily talk about or the kind of shit which clashes with your brand so thoroughly you're not sure how to bring it up.

The absolute closest I get to this in practice is The Reckoners trilogy by Brandon Sanderson, which was 100 percent a proto-Worm in terms of its influence on my artistic sensibilities, but which has basically a dead fandom on here due to being riddled with more holes than a participant in the St. Valentines Day Massacre. I’ve got several half-finished effortposts on the series. A runner up would be the overall Garth Ennis catalogue, which I think is better than a lot of people give it credit for, but which I’ve also found elicits a Pavlovian Beserk response in a high enough percentage of comic fans that it’s generally not worth it to broach the topic unprompted. Similar situation with Mark Millar’s work.