#and how it lacks any actually compelling characters

[seventeenreasonswhy]

Super Shy ~ A JWW School-Life Romance Pt. 3

Star Athlete!Wonwoo x Shy Wallflower!Reader

Jeon Wonwoo... THE Jeon Wonwoo is... paying attention to you!?

~1.5k words

Read Part 1 + Part 2

Series content: fluff, first crush plot line, school-life anime vibes, slow burn/yearning, some light angst, classmates to friends to lovers, fem reader, reader is ~*super shy*~ and has low self-esteem, reader is kind of bullied (?), sweetie pie Wonwoo, appearances by Choi Hansol and more!, all characters are in high school so no explicit content (but probably kissing eventually).

My Masterlist

Author’s note: Thank you to everyone who has read, reblogged, and liked this little series so far! This part reveals more about Y/N’s interests and talents, which she’s afraid to share because she is insecure! But not for long with sweet Jeon Wonwoo around. Also she has a fictional younger sister named Daehee (not after anyone in particular, I just like that name). 😉 These two are so innocent and cute, I’m having such fun writing them! Enjoy!!

Taglist: @clownprincehoeshi @soffiyuhh  @wonwoos-wineparty @hamji-hae @junniesoleilkth @seokqt @haniinah @yangtyunhannie @cherrylovescheol @lukeys-giggle @cookiearmy @sojuxxi  @vixensss @lixisoul99 @mjpark15 @lelsforlino  @neivivenaj  @blvkkeddcc (lmk if you want to be tagged!)

~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+~+

“Whoa you’re going all out on that, Y/N—”

Your younger sister, Daehee, had come down for breakfast with her bangs still in curlers, wearing her school uniform shirt over her Hello Kitty pajama pants. She was watching you as you concentrated on preparing various dishes at the stove. A thin omelet, grilled shishito peppers, vegetable tempura; it was pretty simple stuff, but you’d developed an urge to create aesthetically pleasing lunches these days.

You couldn’t really explain it, although somewhere in your heart you knew it probably had something to do with Jeon Wonwoo.

For the past week, Jean Wonwoo had been spending lunch on the roof alone with you.

The two of you barely exchanged words, really. Your longest conversation probably lasted only a few minutes. But not for Wonwoo’s lack of trying! You still wondered why he was spending his lunchtime up there at all—even more so why would he keep trying to strike up conversations with you? You guessed he really was just that nice. But every time you were around him you couldn’t help clamming up somehow.

“Are you in any clubs, Y/N?” he’d asked you the other day, between bites of his kimbap.

“Uh, no...” you answered quietly, your nerves frazzled from your total lack of conversational skills.

“None of them appeal to you?”

“Uh, not really that...” you didn’t know how to answer him. You’d ended up just looking at him blankly, like a fool. However, nothing in his facial expression or his tone made you feel like you had to necessarily come up with an answer... But his gaze was intent, and you found it hard to hold onto for more than about three seconds.

“What do you do for fun? To relax?” he followed up breezily, “You’re the class mystery.”

“Um,” the odd self-consciousness you felt at being called ‘the class mystery’ aside, you couldn’t really think of anything to say to him.

Actually, there was one thing that came to mind... but it wasn’t something you’d ever shared with anyone. Your one ‘hobby.’ Though to you it felt more like... squeezing a stress ball. It was what you did when you needed to turn your brain off.

He wants to know what I do to relax?

You couldn’t say what compelled you, but you pulled out your phone and found the photo album you had saved of your miniature paintings.

You worked with acrylic paint on very small canvasses, using very fine, small brushes to create miniature floral designs, portraits, landscapes... Your style was incredibly detailed. You had hundreds of tiny canvasses in little boxes and frames all over your room. You took pictures of most of these tiny paintings when you finished. You had even recorded a couple of time-lapse videos, showing you creating them in fast motion. You’d never felt compelled to create a social media account to display or monetize them, though. You painted because it was what you had done since you were a preteen—the careful, methodical process of dabbing tiny paintbrushes into your carefully mixed colors, getting the tone and shading of a poppy flower’s petal on a tiny scale just right... For you, creating these paintings was like a meditative practice.

By some stroke of inspiration—or insanity—you handed your phone to Wonwoo. His face became visibly more curious as he took your phone carefully in his hands.

“Wowwww,” Wonwoo said, holding the screen closer to his face. He seemed absorbed in your phone—you even caught him zoom in on a few pictures. You could tell he was looking carefully through the album.

“You’re crazy talented!” he said after a while. He sounded genuinely impressed.

“No, haha,” you somehow laughed, coughed, and gasped at the same time, your heart accelerating out of embarrassment from his compliment.

“No, seriously—Y/N, these are really incredible!” he said. “They’re so detailed, and they’re so small! How do you even do that!?” His eyes were glued to your phone screen. A part of you was screaming inside, why on earth you would show these to him!? and urging you to snatch your phone right out of his hand, throw it over the side of the building even. You couldn’t believe that Wonwoo was seeing this, this... habit. And YOU had been the one to show him, of all things!

“I wouldn’t say they’re ‘incredible,’” you said, filling up with more and more anxiety over coming off as bragging or crossing some social boundary that you shouldn’t have crossed.

Wonwoo finally looked up from the screen, looking directly at you instead. You still couldn’t bring yourself to meet his gaze, but you felt his eyes on you. After a long pause, you dared to glance up at him...

But he quickly looked away from you.

Ugh, I’m probably making him feel like he has to be super nice or something...

“Oh, whoa—a time-lapse?” He said, quickly recovering from the somewhat awkward moment when your eyes had met. But his stumbling across the most recent time-lapse video that you’d made prompted you to snap out of your reverie and bolt to grab your phone out of Wonwoo’s hands.

“Ah, don’t watch that!” you lunged for your phone, but Wonwoo reflexively pulled his hand away, surprised by your reaction but still effortlessly dodging your attempt. He smirked down at you, and your heart almost stopped.

“Why not?” he said, and the deep resonance of his voice made you realize how close your bodies were—you were practically sprawled over him after reaching for your phone, his face just inches from yours...

Your whole body seemed to flush a deep shade of red before you catapulted backward away from him. You could have sworn that you saw that Wonwoo smiling to himself, but you were so flustered and anxious about the way you’d completely invaded his personal space that you couldn’t think straight.

“I won’t watch it,” he said light-heartedly, smiling at you as he tossed your phone back to you. “But you are super talented, Y/N. Painting is such a unique skill, too.”

And just like that, he went back to eating his kimbap like nothing had happened. His relaxed, friendly tone mercifully neutralized the atmosphere, but you just stood there clutching your phone to your chest.

“It’s not that I’m embarrassed,” you started, even though you couldn’t look Wonwoo in the eye, “It’s just—I’ve never shared these paintings with anyone except my family...” Your heart kind of ached for some reason as you said this to Wonwoo, who just continued to look at you in silence. What on earth had compelled you to share that with him?

Agh, say something! You willed for this pause in conversation pass, but it didn’t seem to be budging.

“Thank you for showing me,” Wonwoo said at last. His low, gentle voice seemed to shoot directly into your bloodstream, flushing you an even deeper shade of red than you thought was humanly possible. You looked at him briefly, and something about the way he was looking back at you...  

The moment had played over and over again like a movie in your head for the past few days. The directness of his gaze. The rich, sincere quality of his voice. The way he’d smiled to himself... you couldn’t stop thinking of that particular lunch hour.

Standing at the kitchen counter, Daehee watched you dip veggies in tempura batter and toss them in the pot of hot oil on the stove. You let your mind run through the questions it had been asking all week: why was he spending time with you like this? Did he lose a bet? Is there some kind of hidden camera prank you should be wary of? More than that, why was he being so nice?

“Hellooo, earth to Y/N! I said you’re really going to town on your lunches these days,” Daehee tried again to get a rise out of you.

“Oh,” you said, taking the last piece of tempura squash out of the oil. “I just like experimenting.” You weren’t lying, exactly—you did like exploring all kinds of different food and dishes. Cooking was fun to you, different from the calm of painting.

You would be lying if you said that an added bonus wasn’t Wonwoo noticing and complimenting your work.

You liked it when he praised you. It felt like he meant it.

No one could be that good at faking sincerity, could they?

You couldn’t help but hear that small voice in the back of your head, doubting Wonwoo’s intentions.

But he hadn’t done anything other than come up to the roof during lunch this week, mostly just eating in silence with you—the two of you simply looking out at the sky...

But after you had shown him your paintings...

Maybe it was since then that you had started to put more effort into your lunches.

[aroaceleovaldez]

I think one of the problems with the HoO characterizations is Rick kind of forgot to give half the cast hobbies and general interests, and maybe like people they know outside of their families and outside of camp, or if he did remember to it rarely gets brought up for most of them, or in the special case of Annabeth - she randomly develops a hobby in weaving for exactly one scene and then never again. Apparently she just knew how to do that, even though it is a skill she has literally never used before nor uses again.

The best examples I can give of this are comparing/contrasting the examples of when we do actually get this with the lack-thereof: Hazel and Frank are good examples. Hazel has hobbies and interests generally unrelated to all her demigod stuff (horses and art) and we see this repeatedly discussed and brought up. She also knows and interacts with people outside of the necessities of her quest/Camp Jupiter or her family - Sammy was her best friend at school and they hung out and stuff! Meanwhile, Frank, as far as we know, doesn’t know anybody outside of his family even though he presumably went to school before Camp Jupiter? His hobby is... archery? That’s the only thing he ever really shows interest in but at the same time it only rarely gets brought up except for him using a bow as his main weapon and the like two instances of noting that Frank had hoped he was an Apollo kid for a little bit. The closest other detail we get to Frank having any other kind of hobby/interest is him mentioning off-hand that he used to play Mythomagic.

Piper and Leo - We can presume that Piper knew Shel before moving to Oklahoma, because Piper used to visit her grandpa often and as far as we know that’s also where Shel lives. But we never see Piper ever mention knowing anyone else in her grandfather’s community. Heck, when she’s introduced we’re basically outright told that she doesn’t interact much at all with any of her classmates outside of necessity, and we don’t even have any confirmation that before Hera’s mind-meddling that she even acknowledged Leo’s existence. Also, Piper has like, exactly zero hobbies. We do not know what Piper does in her free time or what she likes (except vaguely that she has surfed before), only really what she dislikes. Leo at least does have some kind of excuse for not really knowing anybody, and an explicit explanation about why that is the case and how he feels about it. Leo also has a repeatedly referenced interest/hobby in mechanics that’s very core to his character.

Percy and Annabeth? Pre-HoO, they both have plenty of interests and know people outside their general circles! Percy knows kids at school. Annabeth’s general outer social circle is Camp Half-Blood, because she grew up there, but she clearly knows people at camp. She’s also super into architecture! And Percy does a ton of stuff in his free time - he skateboards! He plays basketball! He has two pets he takes care of (Blackjack and Mrs. O’Leary)! Post-HoO he’s on a swim team! But during HoO? Percy’s hobbies just kind of disappear, besides “oh yeah he uh. Does water stuff.” There’s no acknowledgement of like, “Yeah Percy sets up a little basketball hoop on the back of his door on the Argo 2 and shoots trash at it.” Literally anything! And yeah, Annabeth’s architecture interest is somewhat acknowledged, but also like, not really? We at least get some kind of “Yeah, in her spare time she’s usually on her laptop working on stuff” but we also barely get any instances of Annabeth thinking about her friends at camp except for like, Tartarus.

For Jason it at least kind of works because a.) he has amnesia and it’s implied he doesn’t really have close friends at Camp Jupiter besides Reyna, so it figures he only ever really references random other legionaries like, twice. and b.) there is also the heavily implication that Jason doesn’t have hobbies, because his entire life was so focused around his training at Camp Jupiter. This works less with Reyna, but she also kind of has an excuse for not knowing people besides like, her sister and Jason, given she ran away when she was young, Circe’s island was destroyed, and she could have only been at Camp Jupiter for like 3 years maximum at that point. And she’s not exactly the most social character. We also don’t get much indication of her hobbies, besides she also likes horses and it’s heavily implied she likes nature/gardens? Presumably, given we get like, one note of that in HoO, maybe two if you count her living on Circe’s island, and then like one more nod to that in TOA. And we only get her POV chapters in BoO anyways so again, she has some excuses. Coach Hedge also is incredibly bland besides maybe him having a hobby in sports, and... violence? Which definitely does not count. And him lacking any POV chapters doesn’t really help.

I think this is why Nico continually feels like such a strong character, simply because we know what he does in his spare time. We know he knows people outside of the camps (most of those people are gods or ghosts, but he at least knows people) and technically you could argue him knowing about Camp Jupiter between BoTL and TLO counts too. He even references his old neighbor at one point. Obviously, he’s very into Mythomagic, and that comes up a lot because it’s his special interest and is usually also relevant to their quests. He travels a lot, and apparently used to when he was younger as well. We also learn he used to have a special interest about pirates and that apparently may have played into his crush on Percy. Like, all that is so simple and minor but it makes such a difference for how Nico feels as a character. Most of Nico’s stuff though is established in the first series, which definitely helps because the first series was pretty good about giving characters hobbies and maybe some people they know - Annabeth, Percy, and Nico we’ve already covered, but also like, Grover knows other satyrs and is usually practicing music and also we know what foods he likes. Thalia is very into punk culture and music. We know she particularly likes Green Day. We know she knew the Hunters of Artemis before the events of TTC. Rachel's whole thing is that she’s super into art and she has a bunch of connections through her rich family, and she’s basically Percy’s only mortal friend. They have lives!

If you put a protagonist in a room and told them to occupy themselves, you should have an answer for what they do. They should be able to name one person outside their immediate social circle who they are generally friendly with or vaguely know, unless they have a specific reason for that to not be the case. HoO crew needs to occupy their time by themselves, no weaponry, for twenty minutes? Hazel could be drawing, Nico could be organizing his cards, Leo could be tinkering, Annabeth could be working on her laptop, Percy could be trying out little skateboard tricks. Jason, Piper, Frank, and Reyna? What would they be doing?

TOA does actually answer that question for Jason, at least, because we learn that Jason makes tiny dioramas! That’s adorable! Why doesn’t he do that in HoO?! TOA also gives us more depth to Will Solace besides “He’s a medic and does medic things” with telling us that he’s into Star Wars. Like, that’s actually so much information to work with! Thank you! And then we also find out in TOA that Nico’s also kinda into art! We still don’t get anything new for Piper, Frank, or Reyna - besides again one more potential implication that Reyna thinks plants are Pretty Okay, and that nature is Mildly Alright. Like, not even “maybe she keeps a houseplant” territory, all we have is “if she had the option, she might be interested in visiting a flower garden.” But honestly TOA at least gives us something for most of the characters we see. Like at least one thing. Most of the rest of the writing is a mess but at least the characters are mildly interesting.

Anyways, give your characters hobbies, it’s good for them.

[imminent-danger-came]

how would you rank the ninja from worst to best based on the ninjago seasons youve seen?

Nya and Wu are the best, everyone else is the same to me

[graysoncritic]

A (Negative) Analysis of Tom Taylor's Nightwing Run - Introduction

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

I want to start this essay by admitting I’m actually embarrassed by its length. Why did I spend so much time on something I dislike? The truth is, I did not begin this with the intention of creating such an extensive, formal study of the Tom Taylor and Bruno Redondo’s Nightwing run and how it reflects the wider problems with DC’s handling of one of their most iconic characters. I was just trying to organize the thoughts that came up during discussions with other Dick Grayson fans. Before I knew it, I had enough material, enough desire to challenge myself, and enough frustrations to vent to properly create this monstrosity.

I did not begin this Nightwing run determined to hate it. In fact, I was ready to love it. As Taylor promoted the run before the first issue was officially released, I was so excited for it. As I read short interviews where he discussed Heartless, I could not wait to have a new, incredible villain. Foolishly, I believed Taylor when he said he loved Dick Grayson. 

Needless to say, I was disappointed. Then frustrated. Then angry. The beginning of any story is a period where writer and reader form an indirect bond, and as the story progresses, so do the highs and the lows of said relationship. As such, a reader’s tolerance for negative factors will either increase or decrease depending on their experience up until that point.

In other words, if the writer fails to earn the reader’s trust and instead takes their attention for granted, even seemingly insignificant details become irritating in a way they would not be if presented in a better story. In such scenarios, the reader can no longer overlook those minor moments because there’s little good to balance them out with. It is a death by a thousand cuts. 

In the case of Taylor and Redondo’s run, along with those thousand cuts are also broken bones, internal bleeding, head trauma, and severed limbs. A weak plot, simplistic morality that undermines the story’s stated themes, and, most importantly, a careless disregard for Dick Grayson and everything he stands for utterly destroyed my enjoyment of this series. 

It is still too early to tell what sort of impact Taylor’s (as of time of writing, still unfinished) run will have on Dick Grayson’s future portrayals. But just because we cannot predict its long term significance, it does not mean we cannot critique it. Currently, we simply lack the benefit of hindsight. 

If this essay were to have a thesis, then it is this: Tom Taylor and Bruno Redondo’s Nightwing not only fails to tell a compelling Nightwing story, but it also exemplifies a cynical, self-serving, and shallow approach to storytelling that prioritizes creating hollow viral moments to boost the creators’ own online popularity over crafting a good story, honoring the character in their care, and respecting his fans – fans who have, historically, often been women, queer folk, and other individuals who felt othered by a cisheteronormative patriarchal society. Taylor and Redondo’s thoughtless and superficial narrative not only undermine the socially progressive ideals they supposedly care for by propagating a cisheteronormative patriarchal worldview, but they also demonstrate a lack of love and understanding for the character in their care. At best, Taylor and Redondo have no interest in getting to know Dick Grayson, nor any respect for their predecessor and their contributions to this character. At worst, they despise Dick so much that they wish to reinvent him into something completely different, tossing away everything that was special to his fans in order to appeal to a readership that never cared about Dick Grayson. 

I structured this essay so that, hopefully, each part will build on the ones that came prior. Naturally, because all aspects of a story are interlaced, there will be overlaps between each of the sections. As it may have become obvious from this introduction, I’ll be focusing primarily on the writing of this run. That is not to say that I will not address the art, but writing is the field I know most about, and so it feels only fair to focus my critique on that. 

I hope that by the end of this essay, I will have successfully proved that this run’s mishandling of different narrative elements betray a cynical appropriation of progressive ideology and a disregard and disinterest in what makes Dick Grayson so special to so many people. This is an attitude that is present within DC Comics’ current ethos as a whole.

Now, who is this essay for? Honestly, it’s probably not for Tom Taylor fans. I do not believe I’ll be persuading anyone with my writing, and, to be quite honest, neither would I say I wish to do so. Taylor and Redondo’s run has won numerous awards and has many dedicated fans who adore it for what it is. If that is you, then I’m glad. I wish I could be among your numbers. I wish more than anything that I could love this story. But I do not, and I know many others agree with me, and it is to them, I think, that I’m speaking to. As Taylor’s run is praised to heaven and back, I needed a safe space to voice my thoughts. This essay became this safe space. And to others who also feel unseen by the constant praise this run is getting, I think this could speak to you, as well. To be cliche and cringe, this will hopefully let you know that you are not alone. 

Finally, I want to acknowledge some people whose thoughts greatly contributed to the creation of this essay. For around three years now I’ve been having wonderful interactions with other Dick Grayson’s fans, and those discussions were not only incredibly fun and cathartic, but also provided great insight into what needed to be included in this essay. My best friend especially gave me a space to vent when I got frustrated, and my original outline borrowed a lot from the messages I sent her, as well as notes I took for our discussions.  

I’ll also be directly quoting four different Dick Grayson fans (identified as Dick Grayson Fans A, B, and C in order to allow them to keep their anonymity). Their analyses were so critical to the formation of my thesis and for a lot of what will be addressed in this essay that I actually feel like they deserve co-credit in this essay. Dick Grayson Fan B especially deserves a shoutout in helping me track down a couple of pages used as supporting evidence, as I knew what pages I was looking for but was having a hard time remembering in which issue they were located. I’m quoting them with permission, and crediting their ideas and contributions whenever relevant. 

Now, without any further ado, let’s get started. 

[the-badger-mole]

How did Brkye manage to make their pet character so uncompelling? Think about it. Aang is the least shippable character, and he stars in far few fics in general than Katara, Zuko and even Sokka. There's a general lack of engagement with him period. Oh, sure his stans are very vocal about him, yes, but are they writing fics? Are they writing meta? Making art? Yes, they are more than willing to jump into a fight full of personal attacks if someone expresses their dislike, but why are there so few Aang creators?

Don't get me wrong, I'm not saying there aren't any Aang creators. There are. But for him to be the hero of the story, the creators' favorite character, and to have such a fanatical group of defenders, it's a lot less than one would expect.

Look at this...

This is just sorted based on character. No ships involved. And this doesn't even take into account how many of these fics Aang just appears in and doesn't star in. I'm just saying, for as much hate as people who don't like Aang get when we voice our opinions, Aang really doesn't seem to be that popular.

This isn't to make the point that Zuko, Katara and Sokka are better than Aang (although they are, imo). The number of fics doesn't actually matter (except maybe as a point of fandom pride), and I acknowledge this could change at any time. I don't really have a point as much as I have a question. What gives? Why is this a thing? Why is the character that is at the heart of so many fandom disputes not as compelling as the character that was his main antagonist for half the series?

[homielander]

victoria's death made me... so sad? it was so abrupt and anticlimactic that i actually skipped back to watch it again because i could not believe that was it??? we didn't even get a lingering look of horror as she realized what was about to happen? what...

i feel like her relationships with stan and homelander and hughie were so underexplored (literally the only reason this close friendship between her and hughie played well at all is because the actors have excellent chemistry, there wasn't much groundwork in the writing itself). and i would have loved to see more of her and zoe, too. incredibly compelling backstory and dynamics all played by a very charismatic actor but i wish she had been fleshed out more, particularly in lieu of multiple members of the boys essentially just repeating arcs from prior seasons and gobbling up already-limited screentime. (write something original or relegate them to background roles, i don't care!!!)

anyway, very very very upset that this is how it ends for her. i wish her death had packed more of an emotional punch because the material was certainly there. there was so little opportunity for her death or the tragedy of her life to sink in. it sucked! (zoe ending up at red river was a good inclusion, though)

it is also not lost on me that this finale killed off two women -- mallory and victoria -- solely to mark two male characters' turns to darkness. i'm not against this in principle but this show has an annoying habit of killing off female characters in pretty poor taste, i think. these did not feel like worthy conclusions to their own arcs.

mallory's death could have worked if not for the lack of meaningful interaction between her and ryan last season. it makes a lot of sense that ryan restored purpose in her life after the death of her grandchildren! why didn't we get any hints of that in s3 though🤔 and why was she so bad at delivering this news to ryan when she already manipulated butcher with the same subject matter very tactfully and effectively??? not thrilled that this is how a first-season character goes out.

[saurons-pr-department]

Isn't silvergifting weird ? I mean celebrimbor is the guy whom sauron straight up tortured and killed him painfully and it's 2nd most popular ship for celebrimbor?

At the risk of being a bit too blunt here, it's really only weird if you're under the (incorrect) impression that shipping is like when you think two of your friends would make a cute couple and not simply the idea that the dynamic between two or more characters is compelling in some way (which is what I've usually seen it be in the almost 20 years I've been in fandom spaces). There is value in stories that end badly. Lies and betrayal have just as much reason to be in a story as any other element.

Celebrimbor and Annatar/Sauron worked alongside each other for centuries. The arrival of Annatar usherd in a golden age of new discoveries and power for the Elves of Ost-in-Edhel/ Eregion as a whole. Celebrimbor let Annatar in despite the warnings of family, like Galadriel, and the Elves of Lindon telling Annatar to jog on and take his suspicious self elsewhere. Is he trying to make up for his family's tragedies caused by lack of trust? Does he want power? Does he want to outshine his (in)famous grandfather? Get one up on his father? And that's just Celebrimbor's side of this. There is so much to explore between these two, so it's really not surprising that romance is something that people include.

There's also quite a few flavours of Silverfisting/Silvergifting out there. There's the one where they both fall for each other. There's Sauron stringing Celebrimbor along because it suits his purposes. There's Celebrimbor playing along to try and get close enough to find out what Sauron is up to. There's Celebrimbor thinking Sauron actually wants to turn over a new leaf. There's the version where that's even true! There's Sauron thinking Celebrimbor could actually swayed to follow him. Etc. etc. etc. etc. I could go on forever.

And on a more general level, some of us like sad stories. Sometimes the cruelty just hits that much harder when it was preceeded by kindness. "I hate you" can sound kind of bland on its own, but when it replaces "I love you" it has the ability to cut that much deeper. It adds layers to each happy scene to know that that's not how it's going to end, to be privy to knowledge of a future the characters are hurtling towards, blissfully ignorant.

A ship doesn't need to be nice. It's purpose is to put an interesting story in front of us. And sometimes that interest comes from watching on in horror as the inevitable catches up with the characters.

[shaunashipman]

i am genuinely a bit scared for my fellow bucktommies because with all the love eyes for bucktommy and tommy, i am not sure if people don't happily-ever-after too close to the sun with their expectations about how the bucktommy relationship will continue. 911 is still very much a drama show that will create drama out of thin air if it has to, oftentimes in ways that feel very dumb and will make the characters look very bad. we have seen in the past that resolutions are usually very lackluster, or sometimes even off screen. i personally really look forward to see buck and tommy, but i hope we all remember that buck AND tommy will fuck up at some point, and maybe even fuck up Bad. please be careful out there with how high you set your expectations, my fellow bucktommies, and don't forget that buck and tommy will have conflict again, with the others or with each other, sooner or later! (i hope it will be compelling and nuanced and interesting conflict that fuels their development, at the very least 🤞 but i also know that i am watching 911 so...)

so nonny, this isn't really directed at you, but i'm gonna use your ask as a springboard cause i'm seeing this sentiment pop up a lot

people need to stop conflating fanon actions with desires for canon

by this i mean, 99% of what i post about bucktommy, are things i never expect to happen in canon, and some of it quite honestly i would not want to happen in canon. i obviously can't speak for everyone, but most of the people i interact with are well aware that the characters on screen are not really the characters we're playing with in our sandbox.

and that's okay. that's how fandom is supposed to work. fandom is separate from the source material. we didn't used to need to post disclaimers about how no, we don't actually think this is going to happen. no, we don't actually think their relationship is going to be sunshine and roses. ppl in fiction act stupid cause sometimes the writer needs stupid to move the plot where they want. I, as a fan, can choose whether to incorporate said stupidity into my existing fanon, whether to analyze it to see how it could fit with my existing fanon, or whether to toss it out, baby and all.

part of the reason fandoms start is because we find the source material lacking. so honestly, when buck or tommy, or any characters, inevitably acts like a dick in a way that seems counter to their previous characterization, it's just more fodder for fandom, a new facet of their character that we then get to analyze and decide why they're doing it. well behaved women rarely make history and well behaved characters rarely make fandoms

so, just so it's clear, at least from me, unless I specifically state that this is what I think will happen in canon, everything I post about bucktommy, and basically all of my fandoms, is not even wishful thinking, it's just me playing with my dolls.

[panlight]

I know I've mentioned this before, but sometimes I think it's a blessing that SM hadn't really read/watched much Vampire Stuff before she wrote Twilight.

Don't get me wrong--there are definitely times where I'm very frustrated by this, where she misses a key moment that someone more genre savvy would have taken full advantage of. The main character being turned into a vampire in such a clinical way removes so much of the intimacy and eroticism of vampire lit, for example. Or the way she didn't give her vampires any weaknesses and how that makes it so much harder to raise the stakes and put them in any real danger. Or to feel bad for their cursed existence because like . . . it actually seems not that bad without all the weaknesses and limitations.

But It's a blessing in a way because it allowed her to come up with characters like Emmett, Esme, and Carlisle. MOST of the sympathetic, 'good' vampires in fiction end up being like Edward. This brooding vampire who hates what he is and probably has some kind of Dark Past (Edward's vigilante era in his own opinion) but wants to be good but oh, the endless midnights! And obviously that's a compelling story; these tropes are used so often because people ENJOY them.

But then you have Emmett, who is a 'good' vampire too and just . . . doesn't care. He's nice. He'll protect you. But he's also killed people. Whoops. Probably felt bad about it at the time. Probably still feels a little bad if he thinks about it now. But he's not brooding about it. He's generally pretty happy and fun and doesn't take things too seriously. Normally this would be a 'bad' vampire or at least morally gray vampire but as written by SM, he's clearly intended to be a good guy. Just one of the bros who happens to be a vampire.

Then there's Carlisle, who had every reason to be the brooding vampire who hates himself (was actively hunting vampires when he was turned! son of a pastor! alone for centuries!) but instead he . . . just got on with it. Also I think his success with vegetarianism is in itself kind of unusual and refreshing for the genre. I know lots of people think he'd be more interesting if he had killed people but as someone who read Twilight during a marathon read of other vampire fiction the fact that he HADN'T was actually what made him interesting to me. It was bizarrely . . . hopeful? It's the kind of thing that someone actually vampire genre savvy probably wouldn't have done.

Likewise Esme just being this white suburban midwestern vampire mom and playing it 100% straight. This isn't some commentary on how vampirism is a shallow perversion of motherhood or whatever, Esme IS the mom. She does mom things. It's taken seriously. She's not some sinister Other Mother, she is genuinely loving and gentle and motherly and again, I feel like someone genre savvy wouldn't have played it that way.

Anyway, yes sometimes I long for more typical vampire stuff in Twilight, but sometimes the lack of genre knowledge worked out in its favor.

[thedailydescent]

Thomas Sharpe never really interested me as a character or love interest in previous watches, but now that I've rewatched it again with more appreciation for the love story, I'm thinking more about him:

Like he's a practiced scammer. The love declaration to Edith at the hotel was copied almost word for word from Jane Eyre. Did he also say this to his other wives when proposing to them? And what made him choose her at the time? Even Lucille, the more 'evil' one, disapproved of Thomas's choice, telling him she was much too young. Like she hasn't even lived yet, yet Thomas insisted on having her, knowing that she'd likely be killed. Was it just to spite her father at the time, who disliked him and humiliated him, or had he already formed that strong of a regard towards her? His lack of expression and how he 'comforts' Edith when she has a breakdown over her dead father makes me think he hadn't actually fallen in love with her yet, and was still planning on killing her.

Then their first night at the house: both Thomas and Lucille are seen preparing Edith's poisonous tea. Guillermo makes it apparent that he's not innocent or being forced to do this by Lucille: he's an active participant. The recordings Edith listened to of him talking to Enola: so dismissive and annoyed. Thomas didn't respect or care for any of his previous wives. But Edith is different. She believes in him. Therefore he feels compelled to respect her, and later on try to save her.

Considering how he really believed till the very end he could convince Lucille to give it all up and live happily together with Edith away from Allerdale Hall, maybe he naively thought at the time he could marry Edith, get her money, and back out of the murder plan at any point if he wanted to. It doesn't even occur to him how absurd that idea is, but with a background like that, how could you expect him to see coercion, entrapment, incest, adultery, and attempted murder as unforgivable, when that has been his whole life?

[inbarfink]

So although Order of the Stick is explicitly textually not an actual D&D game with actual players, it’s pretty cool how well Belkar’s character arc work not just as your usual ‘asshole character learns to care’ story but also mirrors the narrative of an asshole troll player learning to play the game seriously.

Like, while the whole Order kinda plays on standard D&D Class Stereotypes on some level, Belkar was always the one who played more into a Player Archetype than a Character Archetype. Maybe because that Player Archetype is often defined as lacking an interest in serious Roleplaying.

I mean, there’s nothing wrong with wanting to play a tabletop RPG just for dice-throwing and violence. The problem with That Kind Player is more when they attach themselves to a group that is otherwise interested in character and plot - and rather than finding some sort of compromise with the rest of the group or just looking for a new one more amicable to random violence - they keep hanging around while expressing just a total disinterest in the plot.

And caring for really nothing but scoring as many kills as possible, even if it gets in the way of the group’s general strategy...

And/or the DM trying to tell a compelling narrative...

And sometimes just being disruptive and causing conflict for the lols.

Also, Belkar has, like, objectively the worst build in the entire Order and he started out with no understanding of his Class outside the Two-Weapon Fighting. He really does act just like the One Guy who really wanted to play a double-wielding character because it’s badass, saw it’s a Free Ranger Feat and refused to read any of the other features or flavor text of the class.

So when he befriends Mr. Scruffy, it’s not just the ‘Mean Character Warms His Heart to a Cute Animal’ trope - it’s also figuratively about a player learning how to actually play and roleplay his Class and use other class features that are not directly related to just Stab the Enemies and They Fall Down.

And so much of his character arc is about the realization that he doesn’t really know himself. It is a character arc from an in-universe person but it also parallels a narrative of someone who is learning how to engage with his character for the first time and almost, like, retconning more connection between Belkar and his non-combat class features as the metaphorical Player becomes more invested in using them.

And it’s just… pretty interesting, in a stage where OOTS is really moving away from meta-D&D jokes - that the most meta-D&D part of the comic is the pretty-serious character arc of one of the main party members

And, I dunno…

[northern-passage]

just found one of my favorite pieces of writing advice when it comes to interactive fiction, i think if you've read literally any of my work, it will be pretty obvious how much i use this in my own writing. i actually couldn't remember where i read this for the first time and on a whim i went through my twitter likes and found it in a thread. i'm going to transcribe it for ease of reading, but this is all coming from Alexander Freed (@/AlexanderMFreed on twitter)

he has a website here with other compiled writing advice about branching narratives and game design, though he never posted this there and hasn't really updated recently (but still check it out. there's some specific entries about writing romance, branching and linear & other game writing advice)

original twitter thread here

It's Tuesday night and I feel like teaching some of what I've learned in 15 years of branching narrative video game writing. Let's go in-depth about one incredibly specific subject: neutral / fallthrough / catchall response options!

Player ownership of the protagonist in choice-based branching narrative games (a la BioWare, Telltale, mobile narrative games, etc) is a vital aspect of the form.

The ability for the audience to shape a Player Character, to develop that character's inner life in their own mind, is unmatched in any other medium.

The Player determines the character's actions and THE MOTIVATIONS for those actions. The character's psychology can literally be as complex as the Player can imagine. However, this works best when there's enough space for the Player to develop those motivations. No game can offer enough options to support every interpretation imaginable; much of the character has to live in the Player's head, without necessarily appearing on the screen.

That's complicated. We're going to unpack it.

Generally, when presenting choices to a Player, we want those choices to be as interesting and compelling as possible.

But compelling, dramatic choices tend to be revealing of character. And no game can support hundreds of options at every choice point for every possible character motivation a Player might imagine.

This sort of narrative CANNOT maintain its integrity if the Player is forced to constantly "rewrite" their characterization of the Player Character on the fly. You want your Player to feel like they have more than enough viable options at any given moment.

At the simplest level of writing, this is where "fallthrough" responses come in.

In the examples above, each moment contains a response which furthers the story but doesn't imply a huge emotional choice for the Player. The Player is asked to choose A or B, agree or disagree, but can sidestep the issue altogether if desired.

These "neutral" responses are vital if both A and B don't appeal to the Player... or if, perhaps, the Player likes A but not the WAY A is being expressed. Milquetoast option C works for anyone; thus, the Player is never forced to break character because of a lack of options.

Questions work well for this sort of neutral option. Tacit agreement and dead silence also serve, in certain sorts of stories--as a Player, I know what's going on in my silent character's head and the game won't contradict it.

The important thing is that I'm never forced to take a path that's outright WRONG for my character. Even if other characters misinterpret the Player Character's motivation, my character's inner life remains internally consistent.

"Neutral" responses aren't the only ways to go, though. Some responses are appropriate for any character because they're tied to the base character concept.

Here, for example (from @/seankmckeever's X-Files), the Player is a marine on a mission. The Player can respond abrasively to her partner's fear or look into the issue (out of compassion or genuine belief), but our fallthrough is actually the TOP response.

There's no version of our marine who would absolutely break character by picking "Stay calm and on mission." It's not blandly neutral; rather, it reinforces aspects of the character we can be sure of and gives the Player an option if nothing else works.

Different sorts of narratives will use different sorts of fallthroughs. A comedy might treat the option to say something funny as a fallthrough, of sorts--it's entertaining and will never violate the characterization the Player has created.

In a quest-driven RPG, a fallthrough response can often boil down to "How do I move to the next step of this quest?"

That said, the strongest moments in a narrative will often have no "fallthrough" response at all. They'll work by creating multiple responses that, by overlapping, cover all reasonable Player Character actions while still leaving room for the Player to ascribe motivation.

[everybody-loves-purdy]

With a bit of inference, Moth Flight’s Vision is an accidental tragedy about generational trauma.

Moth Flight’s Vision is a book which tries to justify the medicine cat abstinence rule, and it fails at this. This is mainly due to the exceptional circumstances Moth Flight was in when she gave up her kits. And obviously you have the fact she was a very young mother with four children in a time before a nursery system and when Moth Flight herself was also navigating being the first ever medicine cat. But I want to bring up another aspect of Moth Flight’s Vision that heavily influences our titular character’s decision to give up her children and bar all medicine cats from ever having mates or kits: Trauma.

And I want to stress that at no point so I think the Erins wanted to make this a story about trauma. But boy did they accidentally make a pretty compelling story about generational trauma. You need to squint a little though but trust me, it’s there. Accidentally put in the narrative like some of the best stuff in warrior cats often is.

So the trauma I am referring two comes from two cats in her life, her mother Wind Runner/ Windstar and her mate Micah.

So if we start with the former, Wind Runner at the start of Moth Flight’s Vision is very critical of Moth Flight. She has no patience for Moth Flight getting distracted and her lack of hunting skill, and voices how she dislikes Moth Flight’s lack of prey contribution to the clan, and frequently insults her and makes snide remarks to her. Such as you can see in just this one example.

All this leaves Moth Flight feeling inferior and feeling like she is wrong.

All this cumulates in an argument in which Wind Runner lists how irresponsible she believes Moth Flight to be tells Moth Flight she is a danger to her clan. And Moth Flight believes her, and runs away.

Now after this once Moth Flight returns as a medicine cat we don’t really get anything like this from Wind Runner again but the damage is done. Now here’s where the inference has to start coming in a bit. Who wouldn’t be left with a complex after this? Who wouldn’t be left with the need to prove themselves however they can? Moth Flight certainly sets out to please Wind Runner and prove she can be useful to her clan in the early part of the book when she’s receiving this abuse. So why would it just evaporate later when she actually finds something she’s good at and can be of great use to her clan doing? Just put a pin in that for a moment.

Also while we’re talking about Wind Runner; Moth Flight has a conversation with her dead siblings about how she wishes she could please Wind Runmer, which leads to her dead siblings saying that the reason Wind Runner is so harsh towards Moth Flight is because of the trauma she experienced when she lost her kits. Wind Runner’s trauma is ultimately what is causing her to inflict trauma onto Moth Flight.

And now we move onto the second inflicter of trauma in Moth Flight’s life: Micah. Don’t worry, unlike Wind Runner, Micah didn’t inflict any trauma on Moth Flight through his own actions. Unless you count dying in a tragic accident right in front of Moth Flight. In which case yeah, his actions did inflict trauma on her. At least it was an accident.

Micah’s death deeply traumatises Moth Flight. She cannot bear to be in WindClan due to it, she lives in ShadowClan for a moon, avoiding going home due to her grief, and then only travels back once she realises she is pregnant, and decides she wants to be with kin.

The stage is set. The Erins have a young cat set up about to have four kittens that she’s going to give away and change the medicine cat code forever. What they do not realise is that the trauma they have influenced on this character can most definitely be inferred to have an effect on her actions surrounding her children from this point forward, ultimately being perceived as a large push as to why she gives them up.

The book wants us to believe that she gives up her kittens because it is just inherently impossible to be a medicine cat and have mates and children. Which isn’t true as cats such as Leafpool and Yellowfang have since proven wrong. And obviously there are the exceptional circumstances Moth Flight herself has been subjected to during this period. But her trauma can also be perceived to pay a huge part in her feeling like she cannot balance her duties and her children.

To start off with. The first moon of her kits life is fine. Moth Flight steps back from medicine cat duties and lets the very knowledgeable Reed Tail take primary healer duties for the clan. The book skips over the first moon with her kits and therefore we can assume nothing important happens, and no issues come from Moth Flight raising her kits for this first moon. Moth Flight does reflect that how she did on occasion try and do checkups but her kits always called her away. And here, while Moth Flight is reflecting on this, we get this paragraph:

So here we learn two things:

She feels ready to stop having Reed Tail help her when her kits are a moon and a half (6 weeks) old.

Moth Flight does not want to let go of her kits for any amount of time. She equates Slate saying that she can leave the kits for short periods to them not having a mother figure in their lives. And she thinks her kits can only receive adequate love from her.

So with point 1, Moth Flight’s kittens are still little babies. And she feels that she should go back to being a full time medicine cat when they’re still that young despite having Reed Tail to hold the fort, and dismissing him as her helper entirely after this point. And here I’m going to bring back the idea of inference. I feel that this could stem from Wind Runner’s abuse at the start of the book. Wind Runner left her daughter feeling so compelled to be useful to her clan that she’s throwing herself back into her work far too early in order to keep her mother happy and be of use to the clan in the only way Moth Flight feels she can be. Is any of this written in the book? Hell no. But I feel that you can absolutely infer that Moth Flight’s drive to get back to work so soon is due to the lasting trauma and insecurities her mother had imposed on her.

Point 2 is a lot to unpack and here, and this is a point that comes up again, how Moth Flight feels compelled to take care of her kits personally rather than hand them off to babysitters due to their lack of a living father.

So if we use some of that inference here, we can infer that Micah’s death has left Moth Flight insecure about leaving her children alone. She feels that she is the only one who can properly take care of them in her clan. And, undoubtedly by accident, this idea comes back. There are two incidents with her leaving her kits to be babysat and irresponsible babysitting causes the kits to get hurt. The first is where she goes to a gathering and Rocky encourages three of the kits to climb a rock but tells the fourth she’s not ready. So the very next day she climbs the rock. She falls, she gets hurt. And not once does Moth Flight get angry at Rocky for encouraging her children to climb a big rock, oh no, she blames herself.

There isn’t one second where she thinks about how it’s Rocky’s fault this situation arose. She entirely blames herself for it, and the situation is never even discussed with Rocky.

And then something similar happens later on. Storm Pelt is supposed to be watching the kits while Moth Flight goes to RiverClan. And then all four kits end up following her and one of them falls in the river. She doesn’t blame Storm Pelt for any of this. She doesn’t have a single word of blame to say to him about him allowing all four of her children to follow her to RiverClan. And from that we can infer (even though again, the book doesn’t say) she feels the blame lies with herself. This inference can be strengthened given that this is the incident which causes her to feel she should give up her kits.

On top of her feeling wholly responsible for her kits at all times no matter who is looking after them, the main other way they distract her from her medicine cat duties is when she suddenly becomes paranoid that some horrible tragedy has befallen them while she isn’t watching them. And I think all of this paranoia and heightened sense of responsibility regarding her kits all comes down to Micah.

He died traumatically in front of her eyes. She feels extra protective of her children because they no longer have a father. And we can infer that her paranoia of them meeting a gruesome fate has come from her witnessing the painful death of her beloved Micah.

And where does this leave us? All this trauma stemming from both her mother and beloved? Well, Moth Flight decrees that medicine cats must not have mates or kits. She then inflicts trauma onto her own children by separating them and forcing them all to live apart. The trauma that Wind Runner and Moth Flight experienced can now be inferred to have trickled down to both Moth Flight’s kits, and many, many medicine cats for decades to come. The book wants you to believe this is because kits can distract from medicine cat duties, that they can pull a medicine cat away from important duties. But that only happens in Moth Flight’s Vision due to poor babysitters or mainly Moth Flight becoming paranoid that her kits are going to die horribly like their father once they’re out of her sight.

Is this all a stretch? Absolutely. I have no doubt this was absolutely not the intention of the Erins at all. But in the words of Todd Chavez:

Isn’t the point of art less what people put into it and more of what people get out of it?

And thats what I get out of Moth Flight’s Vision. A story about how tragic trauma can be, not only for an individual, but also for others if it becomes generational.

[vigilskeep]

one thing that i think is true about anora is that she’s so accustomed to ruling as anora-and-cailan she’s forgotten that it wasn’t just her. it’s so typically mac tir to forget that diplomacy and winning hearts actually matter instead of simply being the meaningless frippery of politics that someone has to do before we can get to the cold hard work. cailan’s contribution to the partnership was his charm and popularity. anora is blunt, as direct in her ruthlessness and betrayals as she is in her leadership, and too proud to lie or apologise, all of which is her greatest shortcoming as a ruler and certainly the number one reason players and wardens keep her from the throne. and that’s not players and wardens being superficial; this is a major deficiency for a ruler. having the charm to easily convince the warden to like and back her is a skill she could have and doesn’t. having staunch allies in denerim that answer to her not her father is a skill she could have and doesn’t. there’s a reason the epilogue slides for a partnership with alistair emphasise him contributing with the kind of travelling and people pleasing fundamental to medieval kingship, which anora never seems to bother with on her own

i don’t say any of this to put down anora; from a player’s perspective all of it strengthens her character, and from an in-world perspective, alistair’s equally as incapable of doing what she does. i just like to discuss that her style of ruthlessness and directness has its strategic drawbacks—people react to being betrayed and talked down to—and by contrast being friendly and likeable has its strategic value. i like that the mac tir abrasiveness has genuine political consequences left and right, and how especially applicable it is in a choice-based game where the personal response these characters manage to get from you really matters. i also think it’s one of the most compelling arguments for a joint ruler ending that, as the epilogue slides suggest, they can potentially fill in for each other’s lacks

[lakesbian]

i was pondering some Thoughts about how people sometimes refer to worm as a "found family" story (& how this is sometimes mocked), how in-text alec explicitly says that the undersiders are the closest thing rachel has to family, how taylor tells them "you're my family, in a way," how the found family trope works in general, etc.

access to financial support, housing, medical care, And So On, is primarily attached to the institution of the family. the material necessities provided by membership to a nuclear family are why it's so common for people to reconcile with or keep in touch with family members they wouldn't if there was no material value attached to that relationship. the cultural prioritization of the nuclear family is how we get people offering "well, they're family" as an explanation for remaining associated with someone they wouldn't otherwise care about (or would even actively be trying to escape from, but this post is more about just Social Incompatibility in families than the outright abuse that the structure enables), with the expectation that the explanation is considered to make inherent sense.

aside from the found family trope demonstrating a lack of imagination about non-familial ways important relationships can take shape/demonstrating an inability to see relationships as truly important or deep unless they mimic the nuclear family, i think a lot of what appeals about the found family trope is a character dynamic that provides the same support, security, and undying love/depth of connection that the idealized nuclear family is purported to--and that does so as an escape from and superior replacement to the original blood family.

and what's interesting about the undersiders is that they're extremely not that. they're terrible at communicating. many of them don't get on with each other very well. they're oftentimes even actively shitty to each other: everyone but taylor towards rachel, brian towards alec (and aisha, but she's actually related to him), taylor towards alec and aisha. but there's still repeated in-text acknowledgement of a supposed familial dynamic between them! i think they're a "found family" in the sense that their group imitates the general role of the nuclear family--a small unit of people who (are supposed to) function as each other's fundamental supports in a world that, at large, does not care about any individual member, and who (are supposed to) do so regardless of any internal conflicts or lack of compatibility.

like, this is not a particularly articulate analysis of the nuclear family Whatsoever, but i don't think it's inaccurate to say that the compelling thing about the undersiders is that they are a "found family," but specifically in the sense that a lot of their dysfunctions are reminiscent of those found in typical, real-life familial bonds--people who wouldn't necessarily be getting along otherwise, or are even actively sorta bad for each other, forming very deep & intimate connections simply because they're materially forced to spend a lot of time together and have each others backs when there's no guarantee anyone else will.

for example: alec and aisha call taylor + brian 'team mom and dad' in a mocking manner not to indicate that they're kind/caring, but to indicate that they're being condescending micro-managing assholes...who aisha and alec are going to unquestionably listen to anyway, because they're a team, right? and you have to listen to your team leaders. i am onto an Observation here i think. deeply compelled by the idea of a ""found family"" where all of the similarities to an actual nuclear family are, despite being what drives the intimacy, also blatantly fucking dysfunctional

[lurkingshan]

I got busy right after The Sign aired yesterday so I wasn't going to write much about my frustrations with the backstory...but I'm still thinking about it this morning so I guess we're doing this!

I think the disconnect some of us are feeling with this show is because the production values are so high, the cast is so excellent, the character dynamics are so compelling, and yet the writing just keeps failing them. I end every episode lately feeling like I missed something, and usually spend a lot of time unpacking and going back over details with friends because I keep getting lost in the story.

Yesterday we finally got the big first life backstory reveal after waiting eight long weeks, and it was underwhelming, to say the least. First of all, given how important it is to the narrative, this should have been a whole episode, not one fraction of an episode. Second, it was surprisingly lacking in depth for a backstory that is meant to support a reincarnation narrative across lifetimes. Third, it didn't even fill in some of the crucial information needed to make sense of the present day plot.

I think my main issue with this flashback is that they didn't actually show us the love story, and they didn't let the characters make any real mistakes that would justify them being cursed and having to fight their bad karma in the present life. The story was shockingly simple: they met, they vibed, they fell in love (OFFSCREEN), the evil snake got jealous and killed them. Where was the drama? Where were the difficult choices and significant mistakes? Where were the lies and betrayal? Where was the struggle between them that would make the tragedy of their end feel more significant? And why would any of these events result in them being cursed in their next life? If anything, according to standard reincarnation tropes, they should be rewarded in the next life for the undeserved and premature deaths.

I know we've been making a lot of jokes about needing tons of fanfic to fill in the love story here, but we shouldn't need fanfic for that, the show needs to do its own work. And the lack of depth in this lore drop also makes some of the show's previous stumbles with writing the present timeline romance even worse, because we now haven't seen a properly developed love story for them in either timeline. Our investment in this pair is hingeing entirely on the strength of the actors' performances and chemistry and the writing keeps letting them down.