#author of The Wonderful Wizard of Oz

[markredfield]

The first of our OZ audio books out in May for L. Frank Baum’s birthday! Narrated by Mark Redfield with Olivia McMahon as Dorothy. Music & sound by Jennifer Rouse.

[writers-potion]

Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[greenthena]

Metatron is the Murder Hornet

Hear me out. The Metatron is a bitch no matter what. Way back before the bookshop burned, he was a manipulative twat to Aziraphale, but we only ever saw him as a Wizard of Oz style giant floating head. So when we meet The Metatron's corporation is S2 E6, we assume that this is the man behind the curtain, yes? This is the "heavenly" authority who stands between God and the rest of the angels. Are you with me so far? So tell me, why is he wearing Hell's color palette? Black topcoat over a black (or at least very dark gray) sport jacket. Even his shirt has black stripes. His tie is black with his signature sapphire blue sigil design. You know why? Because The Metatron is a demon. Now that I've probably pissed off about half of the fandom, let's dive in.

I'm going to accept that the corporeal form of The Metatron that we meet in S2 E6 is the man behind the curtain. But I'm wondering if, in the same way that the Wizard of Oz floating head spectacle is just a projection the actual wizard (a two-penny magician from Kansas), the Floating Head Monstrosity (FHM) is a projection The Metatron has rigged up rather than The Metatron himself. Essentially, the FHM is the projected "essence" of the asshat with whom Aziraphale spoke before the bookshop fire, the same one who wanted to discipline Gabriel and strip him of his memories. And if it is merely a projection, like the Wizard of Oz floating head, the man behind the curtain is likely in a different physical space.

If The Metatron can control the FHM remotely that suggests that he (the corporeal form or spiritual essence of the Metatron) isn't necessarily stationed in Heaven. Perhaps he can't even get into Heaven, but has managed to project his presence there to manipulate the Heavenly Host throughout the course of history.

Sidestep along with me while I take a quick detour. I promise it's relevant and necessary to understand the implications of The Metatron's arrival in Soho. (But I'm a demon. I might be lying.) Good Omens relies heavily on mirroring* as a narrative technique. One of the most obvious places we see this structure is in character sets: Crowley and Aziraphale, Newt and Anathema, Shadwell and Tracy, Nina and Maggie, Gabriel and Beelzebub. The character sets function as mirrors of one another (angel and demon, witch and witchfinder), while simultaneously reflecting other character sets in the story (Nina and Maggie reflect Crowley and Aziraphale, etc.) But we also see it repeatedly through plot structure--the pair of 1941 flashbacks in S1 and S2; the way S2 begins with Azirphale moving toward Crowley and ends with him pulling away. My personal favorite reflected imagery in the whole damn show is when Aziraphale shields Crowley from the first rain in Eden and Crowley shields Aziraphale from the celestial hailstorm Before the Beginning.

Alright, let's re-route back to Soho, to The Metatron's introduction in S2 E6 and how it embodies mirrored structure. The first shot we get of The Metatron in Soho in S2 E6 is when he's buying a cup of coffee from Nina. He's not actually identified as The Metatron in this scene, and Nina just views him as a regular customer. Next, we see him enter the bookshop and approach the Archangels, none of whom seem to know who he is. In fact Michael just assumes he's a human, tries to shoo him away, and even asks him, "And who are you?" The Metatron never gives his name; instead he presses the angels, "You don't know me?" He then addresses Crowley, "What about you, demon? Do you know me?" It's at this juncture that Crowley identifies him as the big giant floating head, and Aziraphale, in a rush of comprehension shouts, "Oh, The Metatron!"

This scene's other half is the introduction of Bildad the Shuhite in the Job flashback sequence. Crowley presents himself to Job and Sitis, who do not recognize him. When questioned about who he is, he says to Sitis, "You tell me." Sitis proceeds to identify as him Bildad the Shuhite. Crowley shrugs and agrees to the suggestion. This mirroring of dialog shows us that in both scenarios, there's deception in the presented identity. Just as we can't trust that Bildad the Shuhite is who is says he is, we similarly can't trust The Metatron's identity at face value.

When it comes right down to it, The Metatron is a pretty sketchy character. During his S1 interaction with Aziraphale, our angel doesn't even know who he is. The Metatron has to introduce himself as the Voice of God, a go-between, if you will, whom Aziraphale, in all his ageless time in the universe, has never even met or heard of. Dodgy? You betcha. When we see him in the Gabriel trial sequence during S2, he's just one of the several floating heads overseeing the progress of Armageddon Round Two. We're able to gloss over the fact that he's presented as a floating head fairy, because all the angels appear as floating heads in this sequence. However, unlike Uriel, Michael, Saraquel, and Gabriel, we never see The Metatron interact with the other angels in anything resembling a corporeal form.

So with this evidence, let's return to mirroring structure as a narrative device: a Clue to point us to the crux of the deception that The Metatron is performing. But to get there, we'll need to look at the reflected plot beat for context.

At the end of S2 E5, Crowley needs to get into Heaven to access information about Gabriel. Problem is, since he's a demon, he can't just waltz into the Heaven-Hell-evator and go to the up. He needs an angel to escort him, so he tricks our beloved Inspector Constable Muriel into arresting him: "I'm a demon with knowledge of a crime against Heaven. I demand that you arrest me!" Crowley uses the art of deception to sneak his way into the Heavenly hive.

Once in Heaven, when Muriel starts to fret that she's been tricked and will get in trouble for bringing a demon into Heaven, Crowley tells her, "Angels are like bees, fiercely protective of their hive if you're trying to get inside. Once you're in....I mean....is it even faintly possible that an unauthorized demon might be just wandering around in Heaven unescorted? Bees." Muriel then worries over Crowley's outfit, telling him he looks like a murder hornet, so Crowley changes into his most wonderful and excellent angel disguise.

Still with me? Have a gold star to match Crowley's nail polish.

Crowley's gambit to get into Heaven is a clever tactic, no doubt, and necessary for the final beats of the narrative. But I believe it's also there as the first half of a mirrored plot point that we will see play out in S3. Ya see, Crowley's not a murder hornet. He doesn't infiltrate Heaven to plunder their proverbial food stores or to destroy the hive. He does his quick bit of reconnaissance and is on his way. I think Crowley's ploy ultimately functions as foreshadowing for the real murder hornet: The Metatron.

To get his full essence into Heaven, his spiritual body and not just his projection, The Metatron needs an angelic escort. That's why he's so insistent that Aziraphale joins him on his journey up to Heaven. He needs an angel--one he perceives as an easy target--to break him into the hive. And Aziraphale fits the bill. He's vulnerable, having been implicated in the business with Gabriel, which could earn both him and Crowley extreme sanctions, being struck from the Book of Life. So The Metatron coaxes and manipulates Aziraphale to accompany him to Heaven, implicitly reflecting the way in which Crowley manipulated Muriel into arresting him and accompanying him as his Heavenly escort.

Do I still believe that The Metatron manipulates Aziraphale in order to divide the angel and the demon who, when working together, can produce miracles of un-paralleled power. Oh, hell yes! But that's not something only Heaven would want to mitigate. The sheer miracle force Crowley and Aziraphale manifest when working together is a threat to any oppressive structure that wants to consolidate power, and that certainly includes Hell. The fact that The Metatron realizes he can separate the angel and the demon in the same stroke as infiltrating Heaven is icing on the cake.

So there ya go. That's all I've got for today. Is The Metatron a Demon? Honestly, I don't know. But it's too interesting a theory for me to leave it alone.

*Please note, I'm intentionally using the term mirroring rather than chiastic structure to make this analysis. I deliberated for a while, but decided that it'd be a little loosey-goosey in this situation. So, yes, I am aware of chiastic structure and it's use in Good Omens, I just don't think this quite matches up.**

[reality-detective]

"Follow the yellow brick road" basically means follow the money, which I've been trying to tell you for years..♥️

Pay no attention to the man behind the curtain...

The wonderful wizard of oz🤔.

"The Wizard of Oz = Ounces of Gold. The Yellow Brick Road = Bricks or Gold Ingot.

The Straw Man represents that fictional ALL CAPS legal fiction — PERSON. The Straw Man wanted a Brain but got a Certificate — the Birth Certificate for a new legal creation & he was proud of his new legal status, plus all these other legalisms he was granted.

The Tin Man — (TIN) Taxpayer Identification Number, a robotic avatar, who worked tirelessly until his body literally froze up & stopped functioning. The heartless & emotionless robot creature who worked himself to death because he had no heart or soul. He wanted a HEART.

The Cowardly Lion was a bully, but was a true coward when someone stood up to him. He lacks true courage. That was what he wanted — Courage. At the end, the Wizard gave him an Official Recognition Award — Authority & Status.

The Wizard of Oz — uses magic, smoke, flames & holograms, but all of it were tricks & illusions to push fear & compliance into doing what he commanded. — The TRUTH is the Wizard have NO real power & only uses illusions to create FALSE power & authority.

The Wicked Witch — pushed fear through intimidation. She was after Toto. She controlled the flying monkey police — the policy enforcers— the mischievous demons, which also represents the BAR Association attorneys who attack & control all the little people for the Great Crown Wizard, the crooked Bankers of Oz - Gold.

In the field of poppies, they were not REAL humans, so drugs had no effect on them, but Dorothy was drugged. The Wizard of Oz was written at the time when the Rockefeller & pharmaceutical begin to take over the medicine & education — the DRUGGING of America. The Crown was the largest drug dealers & after their take-over of drug distribution in China, they began to expand all around the world.

Toto the Dog — was what the Wicked Witch was after. Toto in Latin means ‘in total, all TOGETHER’. Toto was the One who exposed the Wizard of Oz. Toto had no fear & was very small compared to the Great Wizard so no one noticed him. Toto pulled the curtain on the Wizard & his magical scams. ‘Curtain’ also means the End of an Act or scene — The End. He pulled the curtain & started barking until others paid attention & Red Pill the others.

The curtain ‘VEIL’ that hides the corporate legal fiction & its false courts is exposed. The jig is up. No matter how small your bark is — it can be heard. 🗣🗣🗣

THE REAL MEANING OF THE WIZARD OF OZ

I Am.

You Are.

We Are... Oneness.

Universal Consciousness... 🤔

[princessconsuela120]

✰ CROSSOVER PT2 ✰

—✰

summary: getting home was harder than the gang had expected.

Warnings: light cursing

Author's note: ive added @the-ozzie 's Millie to the funky bunch! I had so much fun writing this you have no idea. You and @choccy-milky both have made amazing characters who have brightened my dark times. Enjoy guys!

—✰

“I can’t believe this is it but, click the heels of your shoes together while throwing the floo flame, and say ‘home’ as your destination.” Constance explained, scoffing at the wizard of oz esque way of leaving. They had been planning this escape for days and after much research, this seemed like the best way out. “Sebastian from my universe will then produce the vanishing charm and I will use ancient magic to try and wield the energy to bring you back. Are we ready?” Connie asked, looking around at the group who smiled at her in response. Who knows, maybe if this world she could visit one day.

“Ready as we'll ever be.” Seb chimed in, nodding at Constance who nodded back.

“And…now!”

“Evanesco!” Sebastian shouted, as Constance let out a gust of ancient magic beside her. The magic began swirling together, sending flashes across the room as a portal began to dorm.

“What’s happening?” Clora called, holding her hair back as the wind from the portal grew.

“We aren’t going anywhere!” Sebastian yelled back, looking around to see him and Clora were still standing, but the portal was forming larger.

“We’ve seemed to make some sort of portal..maybe if you step in well…”

“Woah.” A low voice interrupted, stepping through the portal with another Sebastian following behind her. Constance facepalmed with disappointment, frustrated at her failure to get Clora and Seb back home.

“What the butt?!” Constance yelled, making the girl who just entered shrug in response.

“Sorry, when you see a floating portal you always have to go through to the other side.” She had beautiful strawberry blonde hair, and wonderful freckles that sprinkled across most of her face. She had deep hazel eyes, and fair skin which all came together with her Slytherin tie. After seeing the blonde haired beauty, Clora, Constance was starting to believe a lot more in magic. Not that she didn't already, but the more realistic magic, like other dimensions. Clora’s deep blue eyes, like oceans and ponds that swam inside them, brought a sense of hope to Constance's heart.

“We were supposed to subtract Sebastian’s, not add more.” Constance sighed, shaking her head as Clora couldn't help but chuckle.

“Hey, what’s wrong with more of me?”Seb asked cheekily, smirking at Constance who raised an eyebrow at him.

“You really want me to answer that question?”

He gulped, shaking his head as he pressed his lips together awkwardly.

“I’ll keep quiet, yeah?” He asked, nodding at her as she nodded to him in response.

“Clora?” The girl asked softly, smiling happily as the blue eyed blonde smiled as well.

“Millie, hi!”

“You two know each other?” Constance asked, making Clora nod happily.

“Let’s just say this isn’t the first dimension we’ve stopped in.” Sebastian said with a laugh, making Seb and Connie share a look.

“Oh, great! So you’ll know how to get them out of here?”

“To hell if I know, I just kinda woke up from a nap one day and they were gone.” Millie explained, plopping down on the couch in the hufflepuff common room as she leant back in the couch, Sebastian soon joining her as Constance sighed.

“That’s, so helpful thank you.” She sighed, making Millie send her a thumbs up.

“You’re very welcome blondie.”

“It’s Constance.” Connie corrected, not thinking much mind to it as Millie nodded.

“I’m gonna stick to blondie.” Constance rolled her eyes, sitting on the couch across from them as seb sat beside her, grabbing her hand to calm her nerves.

(When they’re enemies to lovers😏)

“So where exactly are we?” Millie asked, squinting her eyes as she scanned the room, wondering why she was even in the hufflepuff common room.

“It seems like another universe.” Her Sebastian replied, making her scoff.

“No shit Sherlock.”

“Hey!” Clora yelled, a slight furrow to her brows as Millie sighed.

“Sorry Clora, force of habit.”

“Don’t disrespect Sherlock in this house.” Clora explained, making millie nod.

“I’m sorry it won’t happen again.”

“We best get some rest, it’s getting late.” And so they did. Somehow, Constance and Sebastian managed to sneak the four into the room of requirement without anyone noticing. And once the Sebastians had passed out on their side of the room, the girls' side was having some trouble.

“Do you have a vivarium?” Clora asked softly, waking up both girls in the process as Clora searched the room for her usual vivarium. “I have one back home it’s just, not being home is starting to stop me from sleeping.” She explained, making Constance sigh. She nodded with a smile, grabbing both girls' hands and leading them to the coastal vivarium. Even though she's seen it hundreds of times, the creatures never failed to put Connie in awe.

“Of course, yeah come on. This one’s my favorite.” Connie explained, leading the girls in the room as Clora jumped up and down in her pj’s, cheering at the sight in front of her.

“High wing!” She called with excitement, petting the hippogriff as she bowed her head to Clora. Millie joined in beside her.

“You two know each other?”

“Well, I have my own. She’s just as breathtaking.” Clora explained, now using a brush to gently groom High wing, who tutted happily. Millie smirked from her spot, finding a seat on the floor as she turned to both girls with goblets full of wine.

“So, ladies, is anyone up for a late night game of truth or dare?” She asked, wiggling her eyebrows as the two smiled.

“I’m so in.” Constance said, going to sit beside Millie as Clora joined.

“Me as well.”

“So Blondie.”

Constance scoffed.

“Connie.” She corrected, earning a glare from millie.

“Blondie…truth or dare.”

Constance rolled her eyes again as Clora giggled, making Constance take in deep breaths she thought.

“Dare.”

“Okay, I dare you to kiss Sebastian. Your Sebastian.” She said with a smirk, making Cponstances jaw drop slightly.

“Oooo yes!”

“No, absolutely not, we’re friends.” Constance defended, making Millie groan loudly.

“Are you kidding me right now?” She teased, nudging Connie as she blushed.

“Just look at how he looks at you Connie, that boy’s in love!” Clora explained, making Connie shake her head in defense.

“Look, I know you’re both lucky with your Sebastian’s but me and him, we got this friend thing and I don’t wanna ruin that.”

“Oh you are so modest.” Millie teased, making Connie fein hurt.

“Excuse me, I am not. I’m just, I like him alot.” She explained, causing Millie and Clora to share a look.

“You like him.” They sang at once, making Connie throw a pebble in the direction of the two as they all laughed.

“Shut it. I change to truth.” Constance said, making the girls smirk at each other.

“Alright fine, do you like Sebastian?”

“Yes.” She threw her hands over her mouth with shock. “What!? I mean, n-n-yes! Hey! You spiked my drink didn’t you!” She yelled, her face growing red with anger and embarrassment. I guess it took smoke truth serum to admit to her feelings. The two girls broke into fits of goggles, rolling around on the bed as Constance pouted, her cheeks a bright red tint.

“Well, now that you’ve spoiled my evening, I’d like to go back to my room.” She teased, making millie groan as she got up, grabbing Connie's arm to stop her from leaving.

“Oh come on Connie, we already knew you liked him just by the way you talk about him.”

“You used my name?” Constance asked, making millie smile at her softly.

“Of course I did, I know your name Connie, I like you very much.”

Constance smiled, pulling Millie into a hug before Clora joined in, the girls joined in a tight group hug full of warmth and joy.

“Thank you.” Constance mumbled into Millie's shoulder, making the girl smile harder.

“Of course.” She pulled away from the hug, conjuring a bottle of fire whiskey with a smirk. “Now, shall we break out the fire whiskey?”

“Yes we shall!”

—

“I still don’t know how you pulled us out of our dimension.” Millie said, rubbing her eyes tiredly. Even the hangover jinx’s aren't working to fix the headache that the girls had gained over the night. They ended the night in firewhiskey and games, and lots of laughing. Laughing that ended up making the next morning a headache.

“Did we do that dimension travel jinx again?” Sebastian asked, making Constance freeze at the words.

“You produced a dimension traveling jinx!?”

“Of course I have, you haven’t?”

“No!”

“Yes!”

Seb and Constance called at the same time, causing Connie to look at Seb with wide eyes.

“Oh, so that wasn’t what I always supposed to say, good to know.” Sebastian said, shaking his head as he looked at Connie’s angry expression.

“You knew a dimension travel charm this whole time and you didn’t think to say anything?” She asked angrily, making him shrug.

“I’m sorry, I love you?” He said softly, cringing back as Sebastian nodded.

“Smart man right there.” He whispered to millie, earning a light eye roll in response.

“I don’t have the patience right now. Sebastian’s, since you all love to break the rules and learn dangerous spells, you all will perform the incantation at once, and hopefully this will send everyone back.”

“I just wanted to say, I’m glad we met Connie. I’ll always remember you.” Clora said softly, making Connie smile.

“I’ll miss you all.”

“Stay gold blondie, stay gold.” Millie said, making Connie chuckle before they all cast the spell. Magic filled the room until all of the sudden, everything fell to the ground, and with one swift swoop, they were gone. Connie couldn't help but feel a certain sadness at the thought of her friends leaving, but she knew they'd soon return.

“What an odd mix of people.” Seb said, making Connie nod with a sigh.

“Right?”

“That Sebastian guy was pretty handsome though.” He tested, making Constance shove him playfully as he laughed.

“Oh shut it you.”

[mask131]

So you want to know about Oz! (5)

Now that we looked at the MGM-continuity of movie and cartoons adaptation, I propose you in those post some adaptations that are either more in line with the original novels or... just not following either the novels or the MGM movie, and just doing their own thing. Since there is a lot of Oz adaptations, for this movie I will stay by American productions, post-1939.

First my three faves, and the rest will be under the cut.

2005's The Muppets' Wizard of Oz

This movie did quite poorly upon its release - and of all the Muppets movies, it is not considered to the best in any way. There is notable use of some old CGI that aged very poorly when it comes to the Wizard's scenes... But, not only does it have one of the most hilarious depiction of the Witches of Oz ever (what do you expect when they are played by Miss Piggy?) and some cool songs - this movie has the honor of being the most book-accurate, book-faithful adaptation of The Wizard of Oz there ever was. (Well outside of Japanese animes I'll talk about later). Yep... this Muppets parody is the closest you can get to experiencing the original novel as a movie. Crazy, right?

2011's The Witches of Oz

Originally it was released as a mini-series in two parts ; and in 2012 it was recut and edited as a single movie known as "Dorothy and the Witches of Oz" (but the single-movie version deleted a lot of scenes and segments from the complete mini-series). It tells a sort-of sequel to the Oz books (yes ALL of the Oz books), while mixing it with urban fantasy - as young real-life Dorothy, all grown-up in 2000s Oz, is depicted as the current author of Oz books, only for her to discover the fictional adventures in Oz that were written about her are real, and Oz is coming to New-York to get her...

Now... this mini-series aged VERY badly. The special effects are so cheap, most of the characters are insufferable, the plot is very weak... BUT! BUT this mini-series deserves to get some attention and to be known due to specific elements, such as, the most badass depiction of Langwidere ever ; Christopher Lloyd delightfully playing the Wizard of Oz... And the Wicked Witch of the West! This incarnation of the Witch is without a doubt one of my favorit reimaginings of the character, striking the perfect balance between the character of the original novel and the MGM Wicked Witch. Just in design she is the coolest Wicked Witch of the West there ever was. Too bad the rest of the mini-series is... quite cringe.

2017's Emerald City

Yet another proof of the "Oz curse" that plagues most of Oz adaptations - because the series got cancelled after its first season, leaving the show unfinished.

What is Emerald City? It was an Oz television series from the era of "post-Game of Thrones". Since the success of GoT, every channel and network tried to create its own dark and gritty big-budgeted high fantasy series... And "Emerald City" is what happened when Oz got caught in the trend.

People were very divided on the show (hence why it ended up cancelled) - some people adored its beginning and got tired of it by the end, others hated the first episodes but by the final ones were eagerly awaiting for the next season. On one side, most people agree that it is too much and that the show handled itself in a strange way, everything being a bit crammed-in. This TV show is actually adapting simultaneously THREE different Oz novels (The Wonderful Wizard of Oz, The Marvelous Land of Oz, Ozma of Oz), all mixed together in a new, dark, adult iteration of Oz, so yes, that's a LOT.

However the show does work out several very cool and interesting concepts, playing around with both the MGM and the novel heritages. And while the story can get a bit convoluted due to the so-many plots and subplots mixing each other in a complicated way and not giving each other enough time to breath, the visuals are 10/10. There was a real visual effort on this show that makes it entirely worth the watch, if just as an eye-candy. They literaly used GAUDI ARCHITECTURE for the Emerald City, come on, how cool is that?

And also it is one of these shows were several actually working languages were created by experts, so that's always cool. I always stand by fictional linguistics.

Now I'll go a bit quicker for these ones because else it's going to be one LONG post:

In the 1960s, there was one animated show that dominated the Ozian landscape. 1961's Tales of the Wizard of Oz.

One of the early creations of the future Rankin/Bass studios, it is a cartoon that reuses the settng and characters of "The Wonderful Wizard of Oz"... But not the plot X) Basically Dorothy and Toto end up entering Oz by... by a hole, as if she was Alice. And there she meets her companions and each episode is about them trying to have a wish granted by the Wizard of Oz, or trying to avoid the schemes of the Wicked Witch. So... it is quite a VERY loose adaptation, and the modern cartoon "Dorothy and the Wizard of Oz" is kind of a modern heir to this old cartoon.

After 114 episodes, there was an animated special created to conclude the show. Called "Return to Oz", it IS actually an adaptation of the plot and events of "The Wonderful Wizard of Oz"... But happening after all of the events of the cartoon, and thus taking a different direction in terms of set-up.

1969's The Wonderful Land of Oz

This low-budget movie was an adaptation of the second Oz book, "The Marvelous Land of Oz". There's quite a lot of interesting stories surrounding this production - from Judy Garland supposedly having been intended as the narrator, to the background actresses having appeared in nude films created by the movie's director... However the movie tend to be ignored or forgotten compared to the other 60s Land of Oz adaptation...

1960's "The Land of Oz". First episode of the second season of Shirley Temple's Storybook

This was a much more famous adaptation of "The Marvelous Land of Oz", if only because of Shriley Temple's name. Retrospectively, I should have added it in my previous Oz post because this mini-movie takes a lot of visual cues from the MGM's Wizard of Oz, such as the Scarecrow and the Tin Woodman being designed after their MGM incarnation, or Glinda's outfit calling for the MGM Glinda's design.

1980's "Thanksgiving in the Land of Oz"

An animated special for Thanksgiving of the year 1980, which is - as the title says - about Dorothy going to celebrate Thanksgiving in Oz. In 1981 it was re-cut to become "Dorothy in the Land of Oz" (with most Thanksgiving references being removed so the animated short could be aired at any time of the year - which is quite a challenge since the special is ALL about Thanksgiving... Dorothy is literaly brought to Oz by a "giant green turkey ballooon", come on!)

1987's Dorothy meets Ozma of Oz

This animated middle-sized movie is an adaptation of the novel "Ozma of Oz", and remained for quite a long time the only adaptation of Ozma of Oz alongside Disney's Return to Oz.

1997's The Oz Kids

A direct-to-video cartoon series that is just what it says. We follow the adventures of the children of the various protagonists of the Oz novels. Dot and Neddie, Dorothy's children ; Bela and Boris the children of the Cowardly Lion ; Tin Boy and Scarecrow Junior ; the son of the Nome King, and more...

2007's Tin Man

Ah, Tin Man! A cult-classic a lot of people remember fondly - especially on Tumblr. This mini-series was part of the long suite of SyFy "dark sci-fi" fantasy reimaginings (2011's Neverland ; 2009's Alice, etc).

Described as an "adult steampunk reimagining" of the Wizard of Oz, it depicts the adventures of DG, a waitress of Kansas, as she gets taken by an interdimensional storm to the otherwordly "Outer Zone", and there befriends a telepathic leonine humanoid, a man who lost half of his brain, and a former cowboy-like law enforcer of the dictature a wicked witch-queen set upon the Outer Zone...

Speaking of steampunk, the last two Oz adaptations I want to talk about are...

2015's Lost in Oz

This animated show was part of Amazon Prime Video early days at producing its own content. Originally it was just a pilot episode released in 2015. Since the pilot episode proved good, it became a three-episodes mini-series in 2016. Since THIS mini-series proved good, it became a full season in 2017. And since this first season proved good, a second season was released in 2018. And then they stopped.

At first it seems that this show is just an "updated" version of The Wizard of Oz: Dorothy and her dog Toto gets transported to the Land of Oz, and must find a way to get back home while making friends and all together fighting through the many plots and scehmes dividing the land... Except that this Oz is a more modern and updated Oz filled with magi-tech, and Dorothy's companions are not exactly your traditional band... Turns out Dorothy has to team up with Ojo, here depicted as a "giant Munchkin", and a teenage witch by the name of... West. Yes, she is the (not so) wicked witch "of the west".

And thus starts a quite unique retelling of Oz where the three teenagers must face various threats taken from later Oz books: Langwidere, here West's evil aunt ; the mysterious Crooked Magician ; and Roquat, the Nome King.

And a last steampunk Oz for the road: 2018's "The Steam Engines of Oz". This Canadian animated movie is actually an adaptation of an Oz graphic novel of the same name, by Erik Hendrix and about a modernized Oz set after the events of "The Wonderful Wizard". A young mechanician of the Emerald City, Victoria, is chosen by the Good Witch of the North to help fight the ever-growing expansion and industrialization of the Emerald City, pushed by a Tin Man who became a cruel dictator of Oz...

[thelastrenaissance]

The Wonderful Wizard of Oz is a children's novel written by author L. Frank Baum. The novel was published on May 17, 1900.

“There is no place like home.”

L. Frank Baum, The Wonderful Wizard of Oz

[isfjmel-phleg]

Jeopardy-style trivia questions about children's literature. All answers to be given in the form of a question (e.g. What is X? or Who is Y?). Are they answerable? EDIT: You can answer the questions too!

This Oregon-born author is best known as the creator of the characters Ramona Quimby, Henry Huggins, and Ralph S. Mouse.

This Canadian province is the setting of L. M. Montgomery's Anne of Green Gables.

Mathematician Charles Lutwidge Dodgson is better known by this pseudonym, under which he wrote fantastical fiction.

This book was a result of a bet that Dr. Seuss couldn’t write a story with only 50 unique words.

This J. M. Barrie novel opens with the line “All children, except one, grow up.”

The second half of Louisa May Alcott's novel Little Women was originally published under this title.

In L. Frank Baum's novel The Wonderful Wizard of Oz, Dorothy travels to the Emerald City wearing shoes made out of this precious material.

Although not the first published of C. S. Lewis's Chronicles of Narnia, this novel comes first chronologically within the stories' timeline.

This Mark Twain novel was the first book ever written using a typewriter. Just found out that the answer I had for this was incorrect. Here is an alternate question: In E. B. White's novel Charlotte's Web, Charlotte greets Wilbur with this "fancy way of saying hello or good morning."

Roald Dahl's heroine Matilda Wormwood declares this Frances Hodgson Burnett novel to be her favorite book in the children's section of the library.

[uwmspeccoll]

Milestone Monday

On this day, May 15 in 1856, the American fantasy writer L. Frank Baum, author of the beloved Oz stories, was born in Chittenango, New York. Baum was remarkably prolific, not only penning about twenty Oz novels, but also scores of short stories, other separate novels, and several series of novels, some under his own name and others under at least seven different pseudonyms. We don’t hold the original edition of The Wonderful Wizard of Oz (1900), but we do hold a few early editions of other titles, including this little 1932 booklet, Ozma and the Little Wizard, published in Chicago by Baum’s main publisher Reilly & Lee Co.

Ozma and the Little Wizard was originally one of the short stories in the Little Wizard Stories of Oz, six tales that were first issued as separate, small "Oz books in miniature" in 1913, and then in a collected edition in 1914 with illustrations by John R. Neill. All were published by Reilly & Lee predecessor Reilly & Britton. In the tale, Princess Ozma discovers in a tour of her kingdom with the Wizard that her subjects have been troubled by the pranks and harassment of a trio of imps. The Wizard tries turning them into other living things, which only results in a series of slapstick misadventures. He finally solves the problem by turning them into three inanimate buttons that he wears on his coat. Our later edition appears to have been published with the support of Jell-O and holds several ads and recipes illustrated with Oz characters.

It should not go without mentioning that despite writing wondrous tales that have been beloved by generations, L. Frank Baum also held racist beliefs and genocidal thoughts towards Indigenous Americans, and wrote that in order to preserve the progress of white people, indigenous peoples needed to be exterminated. In 2006, two descendants of Baum apologized to the Sioux nation for any hurt that their ancestor had caused. A sad note to end on, especially for someone who has delighted both children and adults with his stories for over 100 years.

View posts on other books by L. Frank Baum.

View other Milestone Monday posts.

[ariel-seagull-wings]

@themousefromfantasyland @piterelizabethdevries @thealmightyemprex @the-blue-fairie @professorlehnsherr-almashy @stickypersonaearthquake

Do you know the conflict between Autheur Theory vs Art as Collaboration?

Basically, Autheur Theory began between French critics and filmmakers, as a way of analyzing the film industry: originally films were clearly a collaboration, and it was common to have more than one director on the same project until the final edit of the film was reached (Gone with the Wind and The Wizard of Oz being famous examples).

But the Autheur Theory presented and popularized the idea that, to have the same prestige as, for example, a classic novel, it is necessary to have a figure defined as "the Author of the film", and the chosen figure was the director.

And this vision became dominant from the 60s onwards, when a wave of directors grew up who exercised strong control over films, and whose names became the brand that attracted people to watch. Before, you went to watch a film expecting to be entertained by the fiction, and to see the actors and characters who were the Stars. You would go by Judy Garland, Gary Cooper, Vivien Leigh, Humphrey Bogart, Ingrid Bergman, etc. From the 60s onwards, you will see films by director Alfred Hitchcock, Stanley Kubrick, Ingmar Bergman, Federico Fellini, Martin Scorsese, Francis Ford Copolla, etc.

And there was the simplified idea that "the director is a visionary genius who is a champion against the oppression of producers and studios who care only about money." But decades passed, and after some box office failures of films made using the Autheur model (Heaven's Gate directed Michael Cimino being the most famous), the cult of Autheur began to be questioned, as it denied the fact the role of all the team collaborating to make a film, often this personality cult of the director encourages abuse practices in the name of the "vision of genius", the fact that just because the director has a style and trademarks common to his films, it does not This means that it is automatically good, just that it repeats themes and subjects, the study of the history of cinema showing that Autheur itself is also a brand to be sold, and that it is not the "great champion against the studios", but in fact, he becomes prominent because when he makes a film that is successful and the studios see that it makes a profit, the studio will support him to do what he wants in the hope of always replicating that success, and the prestige of his name is it works as marketing in the same way that the face of the Actor who is a Star works.

I bring up this discussion because I think a similar conflict applies to the American comics industry: American society is obsessed with the idea of ​​the Great Man, the Visionary Genius. Originally, artists drew the character, and then he became part of the publishing house (Detective Comics, Fox, Timely, etc.).

Those who originally created them continued drawing for a while, then went to work on other titles, and then another artist would take care of drawing the Phantom, Mandrake, Flash Gordon, Batman, Superman, Wonder Woman, The Society of Justice of America, the Blue Beetle, Namor the Sub-Mariner, Captain America. Another artist could expand the universe and increase the lore and create a new villain, but he did not compete to erase what the previous artist had built and only establish what their idea was as "the true version".

It was the old collaboration model in which the name of the artist didn't matter, what mattered was telling a good story about those characters. Not everything was rosy, obviously: with the publisher being the owner of the character, the artists were often screwed and left in the cold. poverty. Siegel and Shuster suffered from poverty after creating Superman, and it was the fact that other cartoonists came together to demand decent pay that helped them in their old age.

But narratively, there was a focus on cohesion and collaboration.

But in the 60s, as in the film industry, things changed: the idea of ​​control and authorship grew.

And now you had Marvel (former Timely) selling the image of Stan Lee as the creator of his entire Universe, Steve Ditko defending the view that the Artist should be considered the author of the work, names like Alan Moore, Frank Miller and John Byrne becoming stars, and it all comes back to the idea that the Author should have all the control.

And when a name and work become popular and make money, remember what companies do: they let you do whatever you want:

You are the Autheur.

And readers bought into that idea: His redesign and rewrite of Daredevil and graphic novels The Dark Knight Returns and Year One made people for decades venerate Frank Miller to the point of denying everything that came before as the "version wrong" of the characters and that Miller "fixed" them, no one heard of Swamp Thing and Miracle Man until Alan Moore's name was on the cover, no one remembers that one day Sandman was a masked guy with a sleeping gas gun before being portrayed as the embodiment of the concept of Dreams in the graphic novels of a certain accused of sexual abuse Neil Gaiman.

Now, imagine you are an artist or writer who becomes known as a star in the comic book industry, whose name becomes prestigious and helps sell the magazine, and then you are given the job of drawing an existing character.

Everyone worships you, your word is considered law, you are a genius who can do no wrong, and then you think:

"Why do I have to follow rules, because I have to think about what has already been established as a characteristic of that character, when I can use it to represent what is MY artistic VISION of what a hero SHOULD be?"

And as a result. ..comic crossover events where a bunch of characters die horribly or turn evil for no reason, weddings you've followed developing for decades erased from continuity, characters committing horrible acts without any idea on how to examine the consequences.

We, as the public, created the cult of the genius, the comics industry responded to this by thinking it was a viable economic model in which to profit, and art suffered in the process.

Recognizing the importance of collaboration is the solution to dealing with this problem.

And there are other comic industries outside the US where collaboration, rather than competition between "visions of genius", is encouraged:

In France, more people came to draw Asterix and Obelix after the passing of Gossiny and Uderzo, building the stories based on the work they established.

In Brazil, Maurício de Souza's publishing house produces both Classica Mônica and Friends and Monica's Teen Manga series magazines with several artists and scriptwriters working together as graphics novels in which individual artists reinterpret characters, but without wanting to impose their interpretation as the only correct one.

And the Japanese manga industry has the model of one or two artists working on a story with a beginning, middle and end, which allows other artists, often fans, to develop sequels or spin offs that expand or complement the previous title, without ever trying to erase what was done before.

[olderthannetfic]

There are these really heavy hardbooks of old classics; Alice in Wonderland, Little Women, 1001 Nights, Wizard of OZ, etc etc. They're honestly quite beautiful with metallic accents and also very expensive, and I'll be honest and say I'm an uncultured swine (lol) with no interest in owning these books, but yeah- Those hard covers are just such a joy to look at and even within themselves they have a "mini-maximalism" look to them. Very elaborate, but also simple and to the point? In the same shop, right next to them is a section with very boring minimalist book covers. You just have to imagine, these very elaborate heavy looking bookcovers that could comfortably fit into your local friends gothic library, and next to them in the store are extreme minimalis hardcover books with eg a cover that's half red on top, sky blue bottom, with name of the author and book in bright yellow and orange. I could barely read the title it was so unpleasant. Though to be fair, another section further there are some East Asian novels with really nice character art of the actual relevant characters on the cover with lovely detail, and another section over you have some pretty looking books by smaller authors. I wonder if those bitterly bright looking minimalist books are more in fashion with a certain crowd. Or I could imagine that maybe more elaborate covers are present for certain smaller publishers and translations, while those that churn out books might prefer a minimalist palette since it's cheaper. Though I have no idea. Eitherway I'm definitely a person who reads with the eye, haha, and half the battle as to winning those eyes are some lovely covers I can swoon over, and don't give me eye strain.

--

I think that sometimes, for big, big names, they like to just highlight the author name and not spend much cover real estate on other things.

[cainluvr69]

Main Story 2 Chapter 21 - Dyed by the World (First Half)

Previous Chapter

1 - The Sage's Lattice

City of Fortune Citizen: The new Queen's carriage is here! Praise her Majesty, Queen Liliana!

City of Fortune Citizen: She's so young and beautiful… It's like she was pulled from the pages of a fairytale!

City of Fortune Citizen: And she's not intimidated by this crowd in the slightest… She's someone we can be proud of having for a ruler. Things have been looking bad for our country for a while, but I hope this is the first page to a much happier story for us all!

City of Fortune Citizen: It'll be just fine! She's got Master Akira with her.

City of Fortune Citizen: Master Akira?

City of Fortune Citizen: You haven't heard about them? Haven't you been paying attention to the news? I can't believe there's anyone in the City of Fortune who doesn't know their name yet!

City of Fortune Citizen: O-of course I know who they are. I've heard about them before, I just…forgot…

City of Fortune Citizen: Fufufu. Then let me fill you in. Master Akira is the Sage that was summoned here from another world to save ours. They lead the twenty-one Sage's wizards.

City of Fortune Citizen: Oh, I remember now! They were the one who gave her Majesty her crown and scepter at the coronation…

City of Fortune Citizen: Yeah, that's them! Ah…speak of the devil…! Master Akira!

City of Fortune Citizen: Sage Akira! They're holding a little kitty! I wonder if they like cats?

City of Fortune Citizen: There's a bird riding on their shoulder, too! I bet they like birds, too!

City of Fortune Citizen: They must be a kind person, if animals like them so much! Praise her Majesty, Queen Liliana! Praise Sage Akira! I wonder if the Sage will wave in our direction… Master Akira… Master Akira! Kyaa…! They did! They waved at me!

City of Fortune Citizen: Nice…! Just looking at their smile has me feeling pumped up!

City of Fortune Citizen: Same here! Her Majesty and the Sage are both so young and adorable! The Sage is so lovely. I'd love to be able to work under them…

City of Fortune Citizen: But the Sage leads a bunch of wizards, y'know? Would you be fine with being around wizards?

City of Fortune Citizen: I'm honestly not sure. But I'm sure that the wizards fighting for our world are all good wizards. I mean, they all attended her Majesty's coronation!

City of Fortune Citizen: That's true! Hey, check it out! They're selling portraits of the Sage's wizards! And of the Sage themself, too! Let's go take a look at them!

Drummond & Cock Robin: ……

Cock Robin: They're so popular… Both the Sage and the Sage's wizards…

Drummond: Hrnngh… They're even selling unsanctioned portraits like that… We of Central Country commissioned portraits of them first, I'll have you know!

Cock Robin: They all have much brighter expressions in these ones than in the ones painted by Central's court artist, though. Western Country's representations might be a bit…nicer to have around…

Drummond: Don't be stupid! The Western artist just arbitrarily decided to make them all smile!

Cock Robin: Ah, you might be right. That must be why even Oz and Mithra are smiling such happy smiles…

Drummond: And in the first place, what is all this?! Isn't building a Magic Manor in Western Country an affront to our authority?!

Cock Robin: We did get an official notice from Western Country's royal palace after the coronation ceremony concluded… It said that the Sage and the Sage's wizards' escorts and maids and such will all be provided by Western Country. And that they're grateful for our thoughtfulness towards them until now…

Drummond: How dare they! They've just gone and decided that the Sage's wizards belong to their country! We have been the ones minding them until now! Us, Central Country! We must make a firm objection!

Cock Robin: Yes, sir!

✦✧☾✧✦

Servant: Central Country's Minister of Magic Management, Lord Drummond. We are deeply honored to have received your opinion on the subject. For the sake of deepening the cultural exchange between our countries, we shall take your thoughts as well as Lord Vincent's into consideration…

Drummond: …!

Servant: Is there something wrong, Lord Drummond?

Drummond: …I see. I shall return to Central Country and give a report on this to Lord Vincent.

Servant: It is mostly deeply appreciated.

✦✧☾✧✦

Cock Robin: What's wrong, Lord Drummond?! Didn't you go to give them our firm objections…

Drummond: Were you unaware Lord Vincent is close with the Western royal family?! What would you do if we were to do something that brought shame to his name?!

Cock Robin: We'd get the reprimanding of a lifetime, wouldn't we. It'd be nice if that was the extent of our punishment, but…

Drummond: Lord Vincent is close with Western Country, and Prince Arthur is a Sage's wizard… A single misstep could result in a schism in Central Country, with each of them on either side of the rift. We must proceed cautiously… Let us return to Central Country at once!

Cock Robin: Yes, sir! We weren't able to meet with the Sage or the Sage's wizards even after the coronation… I hope everyone's okay…

✦✧☾✧✦

Liliana: My people. I believe, with all of who I am, that Western Country stands as the heart of this continent. With Western Country's pride and joy, the Magical Technology Corps… And the heroes of salvation, the Sage's wizards, at my side, I will make Western Country greater than ever before.

When I heard Queen Liliana make that proclamation during her coronation… I felt an astonishment and rage I still can't properly put into words. Why was she saying something like that all of a sudden? As if I knew what her goal was and supported it. I need to tell everyone that's not true. As soon as I possibly can. That's what I was thinking.

✦✧☾✧✦

And yet…

✦✧☾✧✦

Western Man: Welcome back, Master Sage.

Western Woman: Welcome back, Master Sage.

Western Boy: If you wait a bit, we'll have your meal ready for you.

Western Girl: Do you want me to get a bath ready for you?

Western Old Man: What perfume would you like to use?

Western Old Woman: What kind of tea would you like me to prepare for you?

Western Man: Would you like some sweets?

Western Woman: Would you like us to sing for you? Would you like us to dance for you?

After the coronation ceremony concluded, a huge number of people trying to be our caretakers swarmed us. There were about fifty of them; men and women of all ages with perfect smiles and perfect poise. There were both humans and wizards in their number, too. I was shocked. It wasn't like the people of Central Country had ever treated us poorly, but… This was certainly the first time I'd had this many people waiting on me, for sure.

Akira: Err, um…

Western Woman: We are here to attend to your as well as the Sage's wizards' everyday needs.

Western Man: Please don't hesitate to call on us for absolutely anything you need.

Western Old Woman: Let us know what your preferences are so we may serve you as best as we can.

Western Child: Would you rather have humans serving you, or wizards? Would you rather have elderly serving you, or children?

Western Woman: Would you like to have someone like me who can keep the conversations going with you? Or would you prefer someone more calm and quiet?

Western Boy: Being able to serve you makes me happy, Master Sage. I'm looking forward to working with you!

I was surrounded on all sides by brightly sparkling smiles. I couldn't get a single word in edgewise.

Akira: Um… Thank you all very much. But now that the coronation is over, we really need to be getting back to the manor in Central Country. We need to get back to our duties taking care of the various strange incidents happening all around the world.

Western Man: You needn't worry yourself with that. All of the reports you've received have been handed over to we of the Western manor.

Akira: They've been handed over to Western Country…?! Is Arthur aware of this?

Western Man: I don't know the precise details, but that's what we've heard, yes.

Akira: That can't be right… I'm sorry, but I really don't have any intention of staying here for that. Our injured members are doing much better now, so we really need to be returning to the manor in Central Country. I really am thankful for everything you've done for us, but…

Western Child: Wa…please wait!

When I tried to refuse them, a boy's elegant voice rang out. Worry was written plainly across his face. Not just his, but everyone else's, too.

Western Sage: Please don't leave, Master Sage. If we've done something wrong, we can fix it, so please…

I shook my head frantically. What were they so frightened of? Maybe they thought that I was going to yell at them or do something horrible to punish them.

Akira: You haven't done anything wrong. It's not like I'm unhappy here, it's just that we have things in Central Country we need to attend to…

Western Woman: Please, can't you stay? If there's anything we can do for you, we'll do it, no matter what it is!

Western Man: I'm begging you to, too! Please, please stay, Master Sage!

There was nothing I could say in the face of their desperation. At the very least, I told them I wanted to talk to whoever was in charge of them. But I didn't get a response that day, or even the next…

✦✧☾✧✦

And so I'm still here in the Western manor.

Akira: (This is a problem… I could ask Oz or Mithra to leave by force, but…) (It feels like if we leave without permission, it'll just cause more problems later down the line.)

Abandoning me to my troubles, the people who had gathered at the manor had decided on a name for themselves. The Sage's Lattice. For the fact that they surrounded and supported the Sage, I suppose. The friendly and fashionable Sage's Lattice. Just lifting my head thinking about something I needed to do had them do it faster than I could. Their smiles were peaceful, and they held themselves smartly. They ask after me like a snappier version of Rustica. Would you like something to drink? Would you like me to call someone for you? Would you like to go on an outing today? At the beginning, I was wary of their astuteness and attentiveness. I thought there was no way they could actually be paying that much attention to me. But they were so easy to talk to, always watching over me, always ready to help me with anything I needed… Slowly but surely, I stopped being so guarded. Being treated with such care made me feel comfortable and secure. They responded enthusiastically, promptly, and cleverly for everything I asked them except for my requests to leave this place.

Sage's Lattice: Is something wrong, Master Sage?

Akira: Ah… I was thinking about how I'd like more bandages and medicinal herbs for the people who are still wounded…

Sage's Lattice: The Sage's wizards… Oh, I'm so sorry for not realizing sooner. We should have been the ones to ask you if you still thought it was necessary. I will make the arrangements immediately. Could you tell me the names of the herbs you want? As soon as we have them, we will inform both you and Lord Rutile. Until then, please, take care of yourself.

2 - Western Country's Aim

Sage's Lattice: Is there anything else troubling you?

Akira: Um… No, I'm fine. Could you ask everyone else if there's anything you could do for them?

Sage's Lattice: As you wish. If there's anything else you require, I'll arrange for it immediately.

The Western citizens calling themselves the Sage's Lattice all treated me kindly. The people of Central Country had never been rude to me, but they were all very stiff and strict, and gave off a very rigid impression. The people of Western Country, on the other hand, were amiable and would joke around with me, regardless of their status as servants.

✦✧☾✧✦

Sage's Lattice: Good morning, Master Sage. I've baked some cookies for you. They're shaped like cats, birds, and small wizard hats. They're the Sage's trademarks, after all. The black lily mark is lovely as well, of course, but it seems a bit melancholy. Do you like them?

Akira: Ahaha… Thank you.

Sage's Lattice: Ah, I'm happy you do! Your smile is the greatest reward of them all. Please, enjoy your cookies.

In the midst of my confusion and anxiety, their warm hospitality was truly soothing.

✦✧☾✧✦

Sage's Lattice: Welcome back, Master Sage.

Sage's Lattice: Welcome back, Master Sage. How did the inspection you conducted with her Majesty go?

Akira: Rather than an inspection, it was more… I barely left the carriage, and I wasn't able to talk to her Majesty, either.

Sage's Lattice: I see… That's unfortunate.

Akira: How are all of the Sage's wizards?

Sage's Lattice: Some of them are in their rooms, and the rest are walking the gardens. Whom would you like me to escort you to?

Akira: Oh, no, that's not what I was asking.

Sage's Lattice: Understood. Master Sage, if you wouldn't mind terribly, could I have a bit of your time?

Akira: What is it…?

Sage's Lattice: I wanted to properly introduce myself to you. You said you wanted to know our names and our jobs, as well as any special talents we have and whatnot.

Akira: Ah… I'm sorry, I should be the one asking you for that.

I felt terribly embarrassed, and also terribly grateful. How could I have just been asking them to do this and that for me without even knowing their names?

Sage's Lattice: No, that's fine. You're a very busy person, after all. I'm just happy you agreed to make time for me. Now then, allow me to introduce myself.

Akira: Yes, please do.

Almiro: My name is Almiro. I'm the eldest of five siblings, and I'm in charge of sewing and needlework here at the manor. I'm especially good at detailed threadwork.

Akira: Threadwork…? What kind of threadwork do you mean?

His brown eyes sparkled, and he smiled at me.

Almiro: Yes. By combining brightly colored threads, I can create flowers and butterflies.

Akira: Wow…

Almiro: Ah… My apologies. That wasn't a very good explanation…

Akira: Oh, no, no! I was just thinking that I'd like to see some if I got the chance.

Almiro: Really? Well, um, if you want it, I did make you something…

Faust: Excuse me. But you need to put that away.

That was when I heard Faust's voice. His tone was much harder than it usually was. When I looked up, I saw both Faust and Figaro. There were silver wisps of cloud in the bright blue sky, shining like fish scales. I supposed Figaro must've been treating Faust just before they came here, because I could see brand new bandages catching the weak sunlight.

Akira: Figaro, Faust… How are your injuries healing?

Faust: They're fine.

Figaro: They still haven't fully healed. You really shouldn't be pushing yourself, okay?

Faust: …I know that. I'd rather not trouble you more than I already have.

Figaro: That's not what I meant, you know.

The air between them was oddly soft, if a bit awkward. I didn't see any of their usual viciousness in their interactions. I knew that Figaro had saved Faust from his horrible wounds. Maybe the scabbed-over relationship they had was starting to heal, just a little bit.

Almiro: E…excuse me.

As soon as those two had appeared, the young man named Almiro shrank away from me. I felt like I'd done something wrong, but Figaro and Faust just glanced at each other. It looked like they were asking each other if they should really tell me…something. And then two more people stepped up. It was Bradley and Nero. A humid breeze ruffled their hair. The sky beyond them was starting to be stained darker.

Bradley: Whatcha standin' around for? Y'shouldn't be holdin' back when talking to them. They're our head, y'know?

Akira: Bradley… Nero, how's your recovery?

Nero: Oh, there's nothin' more to recover from.

Figaro: That is not true. You shouldn't be pushing yourself either, got that?

Nero: Haha… Sorry, doc.

Faust: Bradley. Akira still has a heavy burden on their shoulders.

Bradley: Yeah, and the longer they carry it, the tougher they'll get.

Figaro: They're already exhausted from all the political intrigue. I'd rather not see our dear Sage turn out like me.

Akira: Wh…what are you talking about?

I glanced around at them, and Bradley shrugged.

Bradley: Y'almost got cursed just now.

Akira: Huh?!

Bradley: Yo curseworker, you do the explainin'.

Faust: Me?

Nero: Man, don't be actin' stuck up around Teach.

Bradley: I just thought it'd be better to hear it from someone who actually knows what they're talkin' about.

Faust: I understand. But before I explain anything, Bradley, there's something I need to say to you.

Bradley: Huh? What's up?

Faust: Thank you for saving Nero back in Northern Country. As the intructor of the Eastern wizards, I need to express my gratitude. Thank you.

Faust bowed his head deeply, and very, very seriously. Bradley's mouth twisted a bit. Maybe he was just surprised, because he did it again. Nero's face stiffened, looking nervous, and he raised one hand for something and then dropped it again.

Nero: It's fine, Teach! Y'don't need to bow your head about it.

Faust: But I couldn't do anything to help you…

Nero: That ain't true! This guy's a Northern wizard, so he's just got more power than he knows what to do with…

Bradley: You wanna say that again?

Faust: You were only saved because Bradley was there. I'm grateful to him from the very bottom of my heart. You are too, aren't you?

Nero: Well…

In the face of Faust's smile, Nero hung his head, looking embarrassed. For some reason, the sight reminded me of a student who had unexpectedly run into their teacher while out with their guardian. Bradley flicked a startled glance at Nero and then focused his gaze on Faust.

Bradley: Yeah, well, you're welcome an' all that.

Figaro: Haha…

Figaro covered his mouth with one hand. I was pretty sure he was hiding an expression a nicer person wouldn't have made.

Nero: Sage. I'm sorry for worryin' you, too.

Akira: No, no… I'm just glad you're both okay now.

I remembered how much I'd sobbed in front of Bradley that day. He'd said it'd be fine, that Figaro would fix them up, and he was completely right. It was only natural that seeing Nero and Faust standing together and smiling would make me smile, too. I once again sent a prayer to the heavens that I wouldn't lose this. I needed to do everything I could to ensure that.

Akira: What did Bradley mean earlier about a curse? Was that young man a wizard…?

Faust: No, he's human. But humans are just as capable of casting curses. He was… They do it more unconsciously.

Akira: What do you mean?

Faust stayed silent for a moment before he began to speak gently, as if he were worried how I'd react.

Faust: By knowing one's name and history, you grow closer and more attached to them. Bonds that should have never existed are born. That's what Western Country is currently aiming for. They want those bonds to become unseen chains trapping you.

I looked back at Almiro. He was standing not far from us, smiling cordially, but worriedly. I recalled when I'd hugged Saku-chan tightly in my arms a few days ago, and suddenly, my breath came short.

Akira: So you mean…?

Faust: You are the Sage who will save this world. But you carry a heavy obligation, and there are those who might see you as a person in power. There are many people who want to capture the hearts of those in power, given those people are key in decision-making processes.

Akira: Like…what Figaro said to me a while ago?

Figaro: Me?

Akira: You said you wanted to turn me into your puppet.

Faust: You…

Bradley: Bastard…

Nero: You're the worst…

Figaro: Wait, wait, wait, that's not true. Huh? No, well, it is true. But I'm glad I got to make for a good sample. It was artless and not likely to work, but it seems my approach was still worth something. Anyways, Faust, keep explaining.

Faust: Before that, could you explain why you wanted to try an artless and unreliable approach like that…?

Figaro: Hold it. Hold on. It's not like there's an interesting story or anything behind it.

Bradley: I can't believe you'd even go after the Sage… That's like askin' a toddler to get drunk with you.

Nero: Sage, are you okay? Did anyone else ask you to do anythin' weird?

Akira: No, I'm fine! The only other one that sticks out is Bradley asking me to be his underling…

Figaro: His underling? That's not sexy at all.

Bradley: Why would I wanna be sexy for a brat like this?

Nero: Bastard, don't go around saying you want the Sage for an underling, either.

Faust: …Anyway. Just like this, a jumble of different intentions and ulterior motives will sprout up around anyone in power.

Akira: Okay.

Figaro: And imperial courts are always ripe with intrigue. There's even a few swirling around in Central Country.

Bradley: Central Country's conspiracies are just overly serious people squarin' off against other overly serious people. It's like they're just playin' Old Maid. But we're in Western Country now. They know more about people's desires than anywhere else. It's a damn scary place to be.

Akira: …So, um, what should I be getting from this, exactly?

Faust: People are forming bonds of obligation around you intentionally. These bonds are meant to contain you and keep you from moving the way you want to. Once you learn their names and get to know them, you'll never be able to escape them. If you let them, they will consume your heart to the best of their abilities. You're a well-loved and very useful game piece, after all.

Akira: So those people are trying to trick me…?

Figaro: That's how Western Country is. They're very good at carefully crafting their plots to drag people to ruin.

Figaro shrugged carelessly. He seemed to be a bit impressed with the act they were putting on.

Figaro: Master Sage, between Shylock and Heathcliff, which do you think is better at putting on an act?

Akira: Huh?! I mean, I don't want to say either of them are, but…

Figaro: You're so honest. Indecisiveness is the path to ruin, you know.

Akira: I guess if I'm being forced to pick, I'd say Shylock… I guess it just feels like he's more accustomed to the strategies that adults need to utilize.

Figaro: Exactly. He can see through how kind and gentle you are with ease, and they've already picked up on that, too. And so they gathered up good-hearted, talented people. The Sage's Lattice. They let them get close to you…

Akira: So that I would listen to what they ask me to?

Figaro: You're being naiive.

Figaro's smile became bitter.

3 - Layer upon Layer

Figaro: If it were me, I'd tell them I'm going to kill them. If they value their lives then they should do what I say, that kind of thing.

I felt the blood drain out of my face. Figaro kept talking, his voice as gentle and smooth as it would be if he were telling me a fairy tale.

Figaro: Of course, you wouldn't publicly threaten them. You'd take their families hostage so that they'd try to butter you up and follow all your orders. If you had to leave Western Country, you should tell them that they have to take responsibility for that. Their desperation will exhaust them. You're a kind person, though, so you embrace their attachment to you. And because of that, you get drawn into the cage they've made for you. And that is what makes a curse.

I was aghast. Drops of rain began to fall from the sky. There were still bits of blue sky peeking through the clouds, but the rain fell despite that, leaving dark spots on the ground wherever the drops made contact. A single word or action of mine could rob innocent people of their lives. I tried to look back at Armilo and the rest of the Sage's Lattice, and found I couldn't. I was scared of seeing their smiling faces, even though they weren't at fault here.

Nero: …D'ya think you could phrase it maybe a little less stressfully?

Nero interjected softly, as if he were trying to protect me. I couldn't bring myself to look up at him, but I felt his hand, gentle on my back. He cast some kind of spell on me, I think. Even as the downpour continued, none of the raindrops hit me.

Nero: The Sage ain't responsible for any of this. They just don't know how to deal with this kinda situation. If this keeps up, they'll collapse.

Figaro: Of course I'm not trying to blame them. I'm just trying to make the enemy's goal easy for them to understand. I'm sorry if I scared you too much, Master Sage.

Akira: No… It's fine.

Bradley: Pretty sure they've got their sights set on more than just the Sage. What about that group that came to see you Southies earlier?

Figaro: They were a group of people who immigrated to Western Country from Southern Country. They said they wanted to convey the beauty of Southern Country to Western Country with the Sage's wizards' help.

Nero: The Southern sense of community is real strong, huh… Y'just can't ignore 'em if they say somethin' like that to you.

Bradley: Western Country's doin' great at playing on everyone's heartstrings. They're takin' advantage of the South's love for their home… How's it going on the Eastern side of things?

Faust: …A messenger from Blanchett came to see Heathcliff. The Eastern court told him to respond respectfully to the new Western queen's requests.

Bradley: Everything in the East is tied down by social obligations, huh.

Figaro: There's not much the heir to the Blanchett name can do when it's a direct demand from the Eastern throne.

Faust: Heath is to remain here for the time being. And as long as he's staying in the West, I can't return to the Central manor, either.

Nero: Same goes for Shino, and I'm going along with what these guys are doing.

Akira: How are the Northern wizards doing…?

Bradley: Northern wizards are all free. There's no way we can get trapped here, yeah? When we wanna leave, we'll leave. That's the thing, though. They didn't even have to lock the door to get you trapped in here.

Bradley was completely right. If I wanted to, I could leave right this second. Oz or Mithra's magic would make it as simple as that. But I had the feeling that if I did, something bad was going to happen.

Cain: Akira.

Shylock: Master Sage.

At Cain and Shylock's voices, I lifted my head. At some point, the rain had turned into a full-fledged downpour. Almiro bowed to Shylock as he approached, but his expression was not a happy one.

Akira: What's wrong? Has something happened with Rustica's condition…

Shylock: While Rustica is still a concern, a report about a strange incident has arrived from the Western government.

Akira: A strange incident…?

Shylock: An unknown monster has been making appearances in the red-light district responsible for Western Country's sacred wine, and attacking people by cover of night.

Akira: Isn't that near where your bar is, Shylock…?

Shylock: Yes, it is. Murr and I were asked to conduct the initial investigation, as we are familiar with the geography there.

Figaro: They named you specifically?

Bradley: And they still ain't said anything about the doll things that were goin' nuts underneath that playhouse?

Shylock: Yes, that's all correct. I thought I should consult with Master Sage about whether or not to accept. If a monster has appeared, I am certainly worried for my shop…but at the same time, I'm worried for Chloe and Rustica.

Akira: …How's Rustica doing? Is he still in that room at the top of the tower…?

Shylock: Yes…

Asking Shylock that made me remember what had happened at the coronation. Moment by moment, different parts of Rustica had dissolved into feathers… He softly, gently, delicately came apart at the seams. It was like I'd slipped into a dreamscape.

Shylock: Figaro, Oz, and Faust have all observed his current state… And have determined that it's not the result of another person's magic or even a curse.

Akira: Then…what's happened to him…?

Shylock closed his eyes and spoke gently, his voice heavy with grief.

Shylock: Rustica's magic has gotten away from him.

Akira: It's…what…?

Shylock: Magic is cast from the heart, you see. The state of one's heart and one's magic are very, very deeply intertwined. Even if one should think themself to be doing perfectly fine, if their heart has been damaged and put off-balance… They will no longer be able to control their magic.

If a wizard's heart was in disarray, they'd lose control of their magic.

Akira: (I think I did hear something similar before…) (After Oz let Arthur leave, once he was alone again, a horrible blizzard raged around the entire country…) (He hadn't done it on purpose… It was something he couldn't keep himself from doing…)

Thinking of Oz's grief and solitude again made my chest ache painfully. Was that how much pain Rustica was feeling in his heart right now? How could this happen to someone as kind and gentle as him… I couldn't forgive whatever had hurt him, so I wouldn't. Even if I couldn't even put a name to what it was. Right now, even as we spoke, a storm was raging inside of Rustica, wreaking havoc inside of him.

Shylock: …I'm not sure if something happened to Rustica. But according to Chloe, he was taken by a white-haired wizard.

Faust: …Was it Nova?

Shylock: Most likely… You said you also had an encounter with him in Eastern Country, did you not?

Faust: Yeah. He'd tied together the space of a number of places, not just Eastern Country. There was the inn in the City of Rain, the depths of Djura Forest…

Bradley: Plus an underground waterway below an abandoned theater in the West and a snowfield in Northern Country.

Nero: How's the lady we found in the waterway…?

Faust: Oz took Tanya back to her home. It's a relief that she wasn't too badly injured.

Cain: If Nova took Rustica to a tower inside the Western royal palace… I'd prefer not to mistrust a neighboring nation, but… Doesn't this mean there really is some connection between Nova and Western Country?

Figaro: Do you know anything, Shylock? Well, not that you've ever enjoyed mingling with the Western government or royal family. But Murr was close with them, wasn't he? And it certainly seems like there might be a fragment of his soul working behind the scenes here.

Shylock: Murr's only aim in getting close with the royal family was securing more funding for his research. He has never been someone interested in political manipulations. Not to mention the shattering of his soul was exactly that. The pieces shouldn't be capable of proper communication.

Bradley: But they're starting to manifest bodies of their own now.

Shylock: …

Bradley: Shylock. Your boytoy's already a pain in the ass as an ally, but you know he'd be even worse as our enemy.

Shylock: He is not my "boytoy", though I do agree with your assessment that he's a pain.

Shylock took a deep breath, and then cast his gaze up to the top of the tower. The tower that had Rustica residing in its uppermost spire.

Shylock: …It seems the person in that tower is ensuring Rustica's condition doesn't worsen. I believe Chloe said something about Rustica's room seeming similar to his mana area…

A mana area is a location that puts a wizard's heart at ease, letting their spirit recover more easily. There are those tied to a particular area, and those tied more vaguely, like to a kind of scenery. Rustica had told me what his mana area was before. A tea table for two, set by a window. I tried to picture Rustica sitting there by the window, drinking tea, but it didn't go very well. It kept changing to an image of white feathers fluttering down to the windowsill.

Faust: …If that's the case, we shouldn't remove him from there if we don't have to. I…went through something similar in the past, and pushing myself to move was so exhausting it felt like sinking into a tar pit. Until my mind and body had recovered, I couldn't move properly. Thinking back on it now, I feel as though if I'd pushed myself too much back then, "I" would have disappeared and been replaced by something else.

Akira: "You" would have disappeared…

Figaro: …How long did your recovery take?

Faust: Several decades passed before I noticed. It was close to a hundred years before I was fully recovered.

Shylock: A hundred years…

Nero: …That's a ridiculously long time… Mister Knight, how's Central Country?

Cain: The political talks are proceeding extremely carefully so that conflict doesn't end up sparking with the West. As much as I want to out and out say that the Sage's wizards and the manor don't belong to Western Country…

Bradley: They don't belong to Central, either.

Cain: Exactly. Times like this are when we'd want Eastern Country to mediate, but…

Figaro: Given Heathcliff's situation, the West has already finished their work with the East.

Faust: What work?

Figaro: Ensuring their neutrality. They're probably rubbing shoulders with Western officials.

Cain: Prince Arthur has already received approval to return home if he wishes. The new queen doesn't seem to want to strip him of his freedom, at the very least. Though there is still something worrying me… Shylock, do you know a witch named Sylves?

Shylock: Yes, she's a friend of mine. I'd also like to extend my thanks to Bradley for saving her life recently.

Nero: He did that?

Bradley: I didn't do anythin' special. So what's up with Sylves?

Cain: It's something she said when I met with her. She said if the West's Queen Liliana were to be engaged to Central's Prince Arthur, the two nations would have peace.

Faust & Figaro: What?

Nero: Hey, man… The prince ain't even twenty yet, is he?

Figaro: Does Oz know about this? How did he react?

Cain: Oz wasn't there when the conversation happened. The whole engagement talk was all Sylves's speculation, too. That said, I doubt the Western royal family hasn't given it some thought.

Akira: An engagement… But Queen Liliana already has a lover.

Cain: She does? Do you mean Gregory?

Akira: Yes.

Bradley: Y'mean that bird that keeps fluttering around you?

Akira: Yes, that's him. Right now he's with Lennox, checking out the area.

Bradley: She's got a bird for a fiance?

Shylock: He was turned into a bird with magic, dear.

Cain: Sounds like things have been rough all over, huh…

Shylock: To an excess, yes…

Everyone fell silent. We were all at a bit of a loss. There was a massive tangled up web in front of us, and none of us had the energy to try and untangle it. But then… As if trying to clear away this heavy atmosphere, we heard a clear and refreshing melody. The wind and rain carried it down from the top of the tower. Rustica was playing the piano. It was a refined yet gentle song. It was delicate, but not weak in the slightest. It was refined, but not a stranger to staunch determination. With this song at its side, it felt like the rain was washing away the heaviness of our hearts.

4 - I Want to Go Back

Akira: Rustica…

Even when his heart was fit to break from grief, from something trying to dig its claws into him, he was still… The type of person who tried to kindly offer comfort to those soaked by the rain.

Akira: (That's right… This is what Rustica taught me.) (An orchestra always has a conductor.) (With a conductor to lead them, discordant noise is turned into a single, beautiful song.) (Regardless of if it's annoying or tedious or stressful, in times of hardship, everyone needs to work together.) (And bringing everyone together is a conductor's strength…)

While I'd been thinking, everyone else had turned their eyes up to the tower as well. Instead of sunlight breaking through the ominous grey clouds, we had the shapeless form of music raining gently down on us.

Akira: …You guys remember what Rustica always said, no matter what he was up against? He'd always say, "How lovely." So I'm sure that even right now, we can find something lovely somewhere, no matter how horrible and depressing things have gotten.

Shylock: Master Sage…

Akira: Like, umm… Like how all of us gathered here to discuss things, like it was only natural.

Bradley: …

Akira: All of you could've just stayed quiet or decided to solve things on your own, but instead…

Figaro: …

Akira: But instead, you came here…where both I and your comrades were waiting for you… I think that's lovely… And it's made me very happy.

Faust: …I think you're right.

Akira: I'm sure even those of us who haven't joined us here are thinking of their comrades, too.

Cain: I think so, too. Used to be that when we were done fighting against <the Great Calamity>, Mithra and Owen would just up and vanish. Oz did, too. …But now, all of them are still here with us.

Nero: That's true… I wonder why.

Shylock: Fufu… It's a newly found and lovely, but strange, thing. Just one of many, I'm sure.

I smiled, just a bit. Just then, I heard Chloe call for me.

Chloe: Master Sage!

Murr: Hello there.

I looked over my shoulder and saw Chloe running towards us, my coat over his arm. At some point, both the gloomy rain and gentle piano playing had come to a stop. Bright sunlight had replaced dark clouds, and I saw a rainbow painted across the blue sky. A strong wind blew, catching my coat in its embrace--although Chloe still kept a tight hold on it. Chloe looked like he'd just gotten done crying, but he was smiling, his eyes meeting mine easily.

Chloe: Master Sage, I finished sewing in your new pocket. And I already put the shard of Murr's soul in, too.

It was behind an emblem that he'd embroidered on. It was a crest formed by different leaves and flowers. Chloe grinned and looked back at the shard of Murr.

Chloe: The design was at this Murr's request. He likes plants, so I thought it'd be nice if I made a pattern with some of nature's bounty.

Chloe's clever mind and kindness were clearly apparent in each and every stitch. The shard of Murr, seeming satisfied, took a bow.

Murr: This boy has an excellent sense for these kinds of things. I'm deeply grateful for his hard work in creating a pocket that will ensure I won't be easily dropped. I simply must do something to thank him for making something so lovely. Now then, Master Sage.

Murr lifted the brim of his hat, looking up at the rainbow above.

Murr: Western Country is a country of various lusts. People lose themselves in interest, curiosity, even love and excitement, as if it were a labyrinth with no exit. While for those who have already had the flames of passion lit within their hearts, this is a fun place where like-minded peers gather… For those whose hearts are empty, it takes only moments for the predators of this city to descend upon them, hands beckoning, and light their hearts on fire for them. This could be a fortuitous meeting, yes. But it could just as easily be the lighting of a false flame, steeped in anxiety and loneliness. And that would be a true tragedy. For you would be made to waltz with a flame you never wanted for in the first place as your partner. When one fire is lit, the heart turns one way, and when another is lit, it turns another way. Eventually, it simply burns itself out… And all shall turn to ash. This is the truth of the fearsome Western Country's lust. But please, do not misunderstand. Lusts, desires, and passions are all wonderful things. They enrich one's life, encouraging growth and evolution. But it's essential that you are the master of your own desires. You mustn't become a slave to them. Those in power in this country are well aware that if people are enslaved by their desires, they can bend them to their will. And why would that be? Because I instructed them on how to do so when I acted as advisor. I'm sure documents from that period still survive today.

Figaro: You've certainly been up to no good…

Murr: The Western powers that be set a trap, you see. Merely witnessing it, much less coming in contact with it, creates a desire that should have never existed in the first place. Or perhaps, they shall whisper of fear and anxiety into your ears. Preparing to drive away one's fears makes one feel safe--and is yet another desire that was never meant to exist. It replaced whatever it was you truly desired--much like a stage magician misdirecting you with sleight of hand.

The fragment of Murr narrowed his eyes, as if he were frightened. I, too, found myself somewhat anxious. Was what I wanted from the very bottom of my heart…really something that I wanted? Or was it something that someone else had planted in me? It only took a few seconds for me to become scared of that, lost in a labyrinth of my own thoughts that I couldn't find my way out of. But then, just as suddenly, Murr gave me a bright and cheerful smile.

Murr: That said, a magic trick is nothing more than just that: a trick. Deceptions will inevitably run their course and disappear. That trick is thus nothing more than a set dressing.

Akira: A set dressing?

This shard of Murr's soul smiled at me, backed by the seven-colored arc in the sky above him.

Murr: Yes. A set dressing. Isn't it a good term? You haven't been locked in a cage, and yet you still feel as though the exit has been blocked. Your problems beget further problems, and you find yourself mired in a swamp, the fronds of aquatic plants twisting about your ankles in the muck.

I nodded several times. He was right on the money.

Akira: Yes. That's exactly how I feel.

Murr snapped his fingers right in front of my face.

Murr: Like this.

Bradley: …Ain't this guy kinda…overly pretentious?

Shylock: Not as much as the real thing, no.

Murr: The right lighting can make a piece of glass look like a precious gem. A strange sound in the night can call upon one's fear of what lurks in the darkness just ahead. A set dressing draws deliberate attention to something small and insignificant, or even something nonexistent. There are, of course, also ways to turn something vastly important into something small and beneath notice. You may ask, but why are such set dressings so important? It's because the authenticity that the director desires is simply nowhere to be found.

Figaro: The authenticity isn't there…?

Murr: Precisely. The West lacks the North's tenacity, the East's craftsmanship, the South's solidarity, and Central's sincerity. In other words, dear Sage, it's exactly as you thought. You have not been locked inside a cage. Neither Western Country nor the new Queen has the power to deprive you or the Sage's wizards of their freedom. It simply appears that your freedom has been stolen. Intricately abstruse and interconnected problems have simply been layered up in front of you. They are temptations and illusions. Tricks and sleights of hand. This is what the passion and desire-loving Western Country specializes in.

The shard of Murr smiled and took my hand.

Murr: If you remove the set pieces from the stage, you'll see what her Majesty's true intentions are. Taking the offensive means showing one's cards. And thus, one's true motives. I'm sure we'll see them soon, even now. Despite making you stand out so brilliantly at the coronation ceremony, she hasn't deigned to even hold a simple conversation with you. Murr and Shylock are to leave on a mission. Rustica is locked in a tower. Oz and Mithra are being left to their own devices. There are those that they want to keep away, and those they'd prefer to keep close at hand. They aren't fearing those that perhaps they should.

Bradley: They sure aren't. If I were gonna put some kinda conspiracy in motion, I'd wanna make sure Oz and Mithra are nowhere near it.

Shylock: Would the request Murr and I have been given be for the sake of keeping us out of things, then?

Murr: That's right. Even though they requested the two of you by name, they won't make any attempt to contact you about it. Among the Western Sage's wizards, you're the one the others call their teacher. Were I the young queen, I'd certainly try to make the most of you. Should I truly want to bring Western Country prosperity alongside the Sage and their wizards, that is. Shall we reveal what the new queen is trying to hide with what she endeavors to highlight, using her little magic tricks? You have nothing to fear. After all, you have a perfect lineup of pieces who excel at court intrigue and political uprisings here.

The people who knew he meant them all reacted in their own ways. Some of them puffed their chests out proudly, while others simply stood in the winds of ignorance. Words were strange things. Just a little bit before, I'd felt like I couldn't move even a single step forward. But now, something was definitely different. Just a little bit before, my shoulders had felt heavy with fatigue, but now I felt excited, like I was watching the opening to a show. The rain had cleared the air. I took a deep breath and smiled.

Akira: Thank you, all of you… So that we can protect the world from <the Great Calamity>, we need to catch Nova… Return Rustica to his normal self… And go home to the manor in Central. I won't say I'm not enjoying my time here, but I think I'd prefer to only come here every once in a while, sort of like a vacation home…? I want to return to the place where I first met you all. I'd like you to please help me achieve these goals. If you don't mind.

Shylock: But of course, Master Sage.

Bradley: Sounds good to me. Let's fulfill every one of your selfish wishes.

Everyone smiled and nodded in agreement. I'm sure even the wizards who weren't present would've responded the same way. I was capable of thinking that now.

✦✧☾✧✦

After we parted with everyone else, Chloe came with me to my room. He wanted to talk about Rustica.

Chloe: …It's not something I want anyone else to know about, so I haven't told Shylock or Murr about it. If Rustica hadn't ended up like this, I'm sure that I'd still be going back and forth on if I should even tell you or not, Master Sage… But I think maybe we can figure out a hint towards helping Rustica together… So I wanted to talk to you about it, at the very least. About the Rustica that I heard about from Kelvin, in the Royal Botanical Gardens…

Akira: About Rustica…? Please tell me. I want to know what you heard.

It took Chloe some time to tell me everything. He talked about Rustica's birth. About Western Country's history with the Ferch family. About the twin queens, Aria and Zara. About how Zara had turned Aria into a songbird, and about how Rustica had killed Aria, his own bride.

Akira: …I can't believe it. How could someone like Rustica do something like that…

Chloe: That's how I feel, too… Like, if it's true, then I'm sure there's some kind of reason for why he did that. Since things connected to his bride and his past are so painful for him that he had no choice but to forget them all…

Chloe's grief was clear on his face, but he still forced a stiff, clumsy smile.

Chloe: Hey, Master Sage. Did you know? I always hated Rustica's forgetfulness. The way he didn't mind that he forgets things seemed so sad to me… And that's why I wanted him to remember. But now, I'm fine with it either way. If it'll bring Rustica back to normal, then it's fine… Hey, Master Sage… You saw how Rustica's all made up of feathers now, right? It's so horrible. He can't control his magic anymore because his heart's been wounded. That's what Shylock told me. But that's so horrible… If he's sad, then he should be able to cry. But turning to feathers while smiling is so…

Chloe stopped short, pressing his trembling lips together tightly, and then took a deep breath. He leaned forward, putting his hands on his knees, and then looked out the window. His expression as he gazed up at the tall tower could never be considered "weak". If anything, it was very, very angry.

Chloe: They used to say he was beloved by the sun and the moon… …That's amazing, don't you think? But… No matter how much money Rustica has, no matter how much he loves the people around him, even if it's let him live a life full of happiness… Times that are sad…should be sad. When you're sad, you should be able to cry, right? But Rustica's still smiling, even when he's crumbling to feathers… I bet no one ever taught him how to do anything else. Rustica only ever knew happiness, and never sadness or misfortune. And that's why I don't know what to do for him right now…

Chloe's features contorted weakly. His violet eyes were wet with tears, but he didn't let any of those tears fall. He straightened himself up, an attempt to feel stronger.

Chloe: …Rustica's taught me all sorts of things about happiness. So now it's my turn to teach him something. I'll teach Rustica about…sadness and misfortune.

Chloe closed his eyes. He smiled softly, a shadow of melancholy settling over his eyelashes. It was the expression of someone young and innocent, and at the same time, that of someone world-wise and weary.

Chloe: I wonder if…Rustica will hate me for teaching him these kinds of things. But I'd hate losing him even more. I'll do it little by little, so that I don't startle him…so that he can cry well… So that he can learn how to be sad. It'll be fine… Any article of clothing can suit Rustica. So I'm sure sadness and misfortune will suit him, too.

I said nothing in response to Chloe's confession. Perhaps this was the first step towards a solution, or perhaps it was the first line in a tragedy. A gentle child like Chloe teaching the person he loved what sadness was could've been either. But even if this were to be a cruel story, his eyes were still full of love. He had tightly embraced this unwavering conviction.

5 - Before My Beloved

Rustica: …

I was staring aimlessly out the window. In fact, I might have even dozed off a little bit. The window had been left slightly ajar, and I could feel a pleasant wind blowing in, dusting my skin. The sunset had dyed the entire world with its beautiful light, like honey-covered candy. Soon, this day would end. Twilight always felt somewhat melancholy, but today had still been another lovely day. I'm sure tomorrow will be just as lovely. I heard a sound, and turned my head.

Chloe: …Rustica…

Rustica: Hello.

That was how I responded to them. The reason I didn't say their name was because I couldn't quite place it. Who could this person be? While I stood there, trying and failing to recall who they were, their gaze faltered, and they glanced away, seeming upset. They smiled, but it seemed to be a terribly lonely smile.

Chloe: Um… I brought tea.

Rustica: Ah, I thought so. It smells wonderful.

Chloe: I hope you like it.

They smiled, carefully picking up the teapot. And, with careful deliberation, tilted it. A stream of amber liquid began to pour out of it, collecting neatly in one of the cups below. I could see them staring at me through the white cloud of steam. Their eyes were the color of twilight. The color of violets.

Chloe: …Ah…

Our eyes met, and my guest gasped softly. Their hand shook, just a bit, and a drop of liquid fell onto the saucer. They seemed positively heartbroken to have marred the white ceramic, even just this little bit. It was as if the world had just ended. They hung their head, ashamed.

Chloe: I'm sorry… Normally I can…do this much…better than that, at least…

I was more worried about if any of the spilled tea had gotten on them. It was quite hot, after all.

Rustica: You didn't burn yourself, did you?

Chloe: Huh?

Rustica: Pardon me. Could I see your hand?

I touched one of their fingers, and their violet eyes widened as they froze in place.

Chloe: …

With a touch of magic, I soothed their skin where they'd been splashed. They forgot how to breathe for a moment, and then smiled at me.

Rustica: You should be just fine now. Please remember to breathe.

Chloe: …ah…

Having been reminded to, they finally took another breath. I knew I was rather forgetful, but wasn't someone forgetting to breathe like that rather unusual?

Rustica: Thank you for making tea for me.

Chloe: Y…you're welcome.

Rustica: It's a beautiful evening, isn't it?

Chloe: It…it is.

We watched the encroach of twilight together. The setting sun began to burn red, singeing the wisps of clouds in the sky. It was a spectacle that invited music to be played alongside it. A peaceful and tranquil planet, wreathed in rose-colored flames. But when I looked at my guest next to me, they weren't looking out the window.

Chloe: …

They were looking at me instead. They were trying to hide their shaking breaths, cheeks wet with tears. I was startled, but smiled at them regardless.

Rustica: What's wrong?

They quickly covered their face, their head drooping like a wilting flower. They shook their head, staying silent. Their glasslike tears fell like raindrops. I was worried for them, and wanted to at least help dry their tears. I reached a hand towards their face.

Chloe: …ah!

Their violet eyes widened, and they found enough energy to reach towards me, too. I must have fallen backwards, though I didn't feel any pain. I saw white feathers dancing through the air.

Chloe: Rustica… Rustica…!

My guest fell to their knees and took me into their arms, as if they were trying to gather all of me up. I put my arms around them, as well. Above their back, I could see more feathers, elegant as a musician's fingers. Really, I wonder who they are? They looked like Chloe, but they weren't him.

Chloe: …Oh, Lord Rustica…

Rustica: Could you tell me who you are?

I murmured that into their ear. And once again, they forgot how to breathe. And then they vanished, taken by the evening breeze.

✦✧☾✧✦

Chloe: Haah… …haah…

Zara: …haah… … …Lord Rustica…

✦✧☾✧✦

Aria: Zara, what did you think? Did you like Lord Rustica? I want to hear your thoughts.

Zara: I think he's absolutely lovely, Aria. We had a wonderful time together.

Aria: Oh, thank goodness. That was what I was hoping, of course, but I wanted to hear what you had to say first… Your opinions have always been of the utmost importance to me, ever since we were born. Even when picking out clothes or jewels.

Zara: That's because our tastes are similar. We always like the same things as one another.

Aria: We do. I'm so glad… I do love Lord Rustica dearly, but if you had objected, Zara, I would've had to reconsider.

Zara: Of course you're nervous. After all, you're going to be his bride.

Aria: It's still so hard to believe… Even just daydreaming about it makes me so terribly happy.

Zara: Don't worry. I know you'll be the world's happiest, most beautiful bride, Aria.

Aria: Fufu… Lord Rustica said the same thing.

Zara: Did he? …Did he… Did Lord Rustica say anything about me…?

Aria: He said that you're beautiful, well suited for the gentle rays of the sun. And that he wants an outing with all three of us one day.

Zara: …

Aria: I bragged all about you! It was so much fun.

Zara: Did you… I'm so happy… Even just that much is more than enough. Be happy with him, Aria.

Aria: Thank you, Zara.

✦✧☾✧✦

Aria: …Zara, Zara…!

Zara: What's wrong, Aria?! Why are you crying?!

Aria: …L-Lord Rustica has…

Zara: Did… Did he do something to you…?!

Aria: No, that's not it! I felt him staring at me as I walked by the lake… Lord Rustica embraced me. …I thought my heart would fall to pieces… I still feel as though I'm in a dream…

Zara: … (How nice for her…) (I'm so jealous…) (Even though he should've been my husband, not hers.) (Because I'm a witch…) (No… Even though Lord Rustica is a wizard, he doesn't sneak through the shadows as I do.) (They'll allow him to do things they'd never allow me…) (They don't have to keep hiding me away. It's not too late for them to stop…) (If Father were to announce my existence here, I would become Lord Rustica's betrothed…) (…No. That will never happen. The crown can't simply announce to the people that they've been hiding things from them…) (If Mother and Father were ever going to say anything about me, then I would've never been locked up here in the first place…)

Aria: Zara. So then… Are you listening?

Zara: …I'm sorry. I'm not feeling well.

Aria: Zara?

Zara: Leave.

Aria: Zara…

Zara: Get out of here this second! … …uu…sniff…hic… …Ahh, why… Even though I worked so hard not to hate humans…

✦✧☾✧✦

Zara: …Aria…has stopped coming to this room… I don't mind what happened earlier… The next time she comes, I should apologize properly… I can't believe I yelled at her like that… But Aria was so scared, so I don't mind that it happened… …Ah… Is that Aria laughing…? …Lord Rustica and Aria are walking through the garden together… What a blissful sight… They must be blessed by everyone in the world. The perfect picture of a happy bride and groom… …How nice… Why isn't it me out there…?

✦✧☾✧✦

Aria: Zara… I--I'm really…I'm so sorry…

Zara: …

Aria: Even Francesca told me I should've been considering your feelings more… I've been so insensitive…I'm so, so sorry…

Zara: …What are you apologizing for, Aria? There's not a thing wrong with you.

Aria: But…

Zara: What does Francesca know? She's just a country girl who loves gossip. I love you, Aria.

Aria: …

Zara: What's wrong, dearest? Did you think I'd be upset?

Aria: …I was wondering if…Zara, if I can make it happen somehow, do you want to get married before me…?

Zara: … And if I did?

Aria: …

Zara: If I did, what would you do?

Aria: I… I'll persuade Father! I'll have him find you a fiance that's just as lovely.

Zara: Haha…

Aria: I'll give up my wedding date to you, too! You're the elder sister, after all. So if you want to have your wedding first, then of course…

Zara: …Oh, my kindhearted Aria… My adorable twin sister. You've always been so skilled at using that kindness of yours to make me feel absolutely wretched, haven't you?

Aria: Zara…

Zara: I'm happy to hear about how much you'd be willing to sacrifice for me. But did you think about any of it, for even a second? Did you never realize that every single privilege you enjoy should have been mine from the very start? You were the one who was given everything!

Aria: …!

Zara: Ahaha… She was scared. She thought I was scary. Even though she said she loves me. …Liar. I hate her more than anything. Well, that's fine… I'll just curse her for it. I am a witch, after all. Fufu… …ugh. I don't even know how to curse someone… I've never had a single wizard friend to teach me. I listened to them and stayed here as long as they wanted me to, and they left me with no one… …uu…hic…sniff… Lord Rustica… I'm glad I at least got one fairytale-like day with you… You said that gentle sunlight suits me… No, it doesn't matter anymore… I've always been the foolish one here. I was the one following the rules of people who never let me be one of them. From now on, I'll be the one to decide the rules… I'll decide what words will curse you. I'll decide what ritual curses you. My hand will be the one that curses you. I am no longer a queen of Western Country, no longer the pitiful girl they locked away! I am the Western witch, Zara! That is who I am! Aria, Rustica. I'm going to rip your love to pieces and steal this country away from you. Aria. You, I shall curse to be a bird. You shall be forgotten by both your lover and your family, flying far to the distant skies alone! I hope someone catches you. I hope you're forced to live in a cage just as I was. I'll give that to you! …I can imagine Rustica will search for her, though… I won't let Aria live being the only pure and unsullied one of us. She is me. I am her. I'm sure she harbors sentiments even more disgusting than my own. Should my curse on her be lifted, should she resent me, should she blame me, should she begrudge me even the slightest bit… She should become a savage monster, and begin her rampage. Right there, before her beloved's eyes.

Next Chapter

[bookcub]

Books I Read for My SFF Class Rated from Worst to Best

clearly this is the most objective list ever obviously (jk this is based on how much I got from reading the text to how useful it was in context)

also while this syllabus included movies and tv shows, I am focusing on the books cause this is a book blog

19. Islands at the End of the World by Austin Aslan- The worst of the worst. Contains racist ideology and a magic system that makes no sense. This is a book clearly written by a white outsider about Hawai'i. I am also far too old for dystopias. One upside is that there were no random romances and it was about familial love.

18. Survive the Dome by Kosoko Jackson- Despite agreeing with the ideology of this book, this was truly a horrible reading experience. Poorly written, annoying and bland characters, and very inconsistent.

17. Blazewrath Games by - You wouldn't guess that a book that's essentially The World Cup with Dragons could be boring, but you'd be wrong. Nothing significant in this text rip.

16. Peter Pan by J M Barrie- Unfortunately, this book makes sense being included in this context of children's SFF so I can’t say it shouldn't be included, but this book was agonizing to read. Beautiful writing. And yet, some of the most racist and sexist content I have ever read in my life!

15. Charlotte's Web by EB White- Pretty painless to read and interesting to discuss in the context of sff literature cause uh, not generally a book I would categorize as such. I didn’t think our discussions were particularly notable and I would have preferred another text.

14. The Marrow Thieves by Cherie Dimaline- *sighs* There are some incredibly important concepts in this text but woof. Again, I am too old for dystopias but unexpectedly I had a real problem with the way women were written in this.

13. The Wonderful Wizard of Oz by L Frank Baum- Again, this is helpful in context of a children's fantasy class and it was fun to read in context as a Wicked fan. If I didn't know it from related media, this would be super forgettable.

12. Bunnicula by Deborah Howe and James Howe- Fun, and a fantastic audio but there wasn't much to talk about here in our class but there's potential. Very funny.

11. Harry Potter and the Sorcerer’s Stone by JK Rowling- I am dreading the class on this but I am very excited for the critical readings and it was exciting to re examine the text as an adult with the knowledge I have now. I do think that we could have done a magic school section with books responding to HP instead. Again, interesting in the context of the genre.

10. The Devil's Arithmetic by Jane Yolen- One of my classmates had a lot of issues with the portrayal of Judaism in this text, so ideally this would be replaced with a text written by an author who did more research.

9. Feed by MT Anderson- I did NOT like this but incredibly relevant and scary to think this was written about 20 years ago. Good for the syllabus, not good for me!

8. The Hobbit by JRR Tolkien- I didn't mind listening to this and it was another sensible inclusion. Occasionally boring but I'm supportive.

7. Haroun and the Sea of Stories by - I liked the perspective this book provided and it was a pretty fun read. I think this would work best as a readaloud text. It was also beneficial to read a book written by an author who wasn't American or British for comparison to the other texts.

6. A Wrinkle in Time by - Another classic that makes a lot of sense in its inclusion in the syllabus. Sparked really good conversations about the definition of genre. I enjoyed resisting this text as well, incredibly nostalgic for me.

5. Labyrinth Lost by Zoraida Cordova- A lot of fun! I love portal fantasies and this had a classic adventure but didn't feel trite at all. I actually enjoyed the love triangle and will consider reading the books later in the series.

4. American Born Chinese by Gene Luan Yang- This was a difficult book to read but it was incredibly rewarding. I had to sit with it a lot to process and I think the author asks really interesting questions. I would recommend this to most people.

3. Family Lore by Elizabeth Acevedo- Shockingly, the adult novel ranks 3 on my list. .. hmmm . . this was largely both because I loved it and hated many of the other books. Absolutely stunning as a novel, engaging, and downright magical. I love books centering family and slowly finding how much I enjoy multigenerational novels. However, it is interesting considering this class is about children's lit. . . I would highly recommend this to readers who want a story that isn't afraid to challenge normal.

2. Kindred (graphic novel) by Octavia Butler- I love Kindred and if this was the novel and not the graphic, it would be #1. An amazing book that does not stray from intense topics and makes history very accessible. The only time travel book I love. I adored presenting on this book and still believe Kindred is one of the best books I have read. Such a good inclusion on this syllabus.

1. Nimona by ND Stevenson- NIMONA MY BELOVED what is there to say. This is perfect for this class. It is certainly marketed to young adults, and uses elements of scifi and fantasy masterfully. Challenges conventions of the genre, asks the age old question of who is a monster and who is human. . .beautiful found family. . .funny as hell. Perfect.

[book--brackets]

Round 1, Poll 5: The Oz Books vs The Keys to the Kingdom

Everyone knows The Wonderful Wizard of Oz, but the rest of the series has faded as time has gone on; Keys to the Kingdom is lesser known, but is backed by popular author Garth Nix!

Remember to reblog for a bigger sample size!

[lia-land]

Caraval by Stephanie Garber

4.7/5

Spoilers for the first book in the Caraval series by Stephanie Garber.

I loved this book!!!

However, the more I think about it, the lower I want to rate it. You really do have to enjoy it on the surface, so I’m not going to it pick it apart as much as I’d like to here (and yet, somehow this still ended up being super long...). Quality wise, it’s a 4 star book at best, maybe even 3.5, but I had so much fun reading it.

I’ve seen a lot of criticism for this book and admittedly, I did go into it biased and expected to DNF but I thought this was amazing. When I say ‘amazing,’ I mean I really enjoyed reading it, not that the actual story and writing were amazing. It was good from page 1 and I read 1/3 the first time I opened it. I didn’t feel like I was waiting for it to pick up, because the pacing was consistent throughout. It’s fantasy, but in its own category. It’s kind of like a combination of the Wizard of Oz, Alice in Wonderland, and a bit of Coraline. Maybe a little Now You See Me. Whatever it is, I want more.

Here’s an example of why you should take this book on the surface and not think about: while writing this, I remembered that Caraval was meant to be a competition, but the plot didn’t acknowledge that. We were constantly told that Caraval was a game AND a competition, but we barely saw how any of the other players were progressing. The other players were so irrelevant that it really would have made no difference to the story whatsoever if they weren’t there. Not sure how an editor didn’t pick up on this. I think the publishing house is either Macmillan or Hachette, so what happened here? I’ve noticed that a lot of popular fantasy books recently have poor writing/plot holes and most of the time, they’re backed by one of these big publishing houses. I want quality > quantity to come back. You could argue that because this specific run of the game was designed for Scarlett to win, she never had any competition, but the point is that Scarlett didn’t know that. As readers, we also didn’t know that. It’s lazy to write that it’s a competition and have other players at the start to make us intrigued, just to later not do anything with it. The closest we got was when everyone was in Tella's room at the start.

The plot twists were interesting. I felt like it was incredibly obvious from the start that Julian was Legend, then he was, and then he wasn’t. But we still don’t actually know who Legend is, so we’re left wondering if he could still be revealed as Legend in the next book. A very interesting tactic from Garber and perhaps even a dig at current popular fantasy books where so many times, it feels like the author is treating the reader as someone who is not intelligent. Looking at you, Jennifer L. Armentrout.

Most of the criticism that I’ve come across is about the world building and how it’s basically non-existent. I disagree, I think this was a very immersive universe and a very unique one in YA, especially for the length of the book. Of course, if we compare this to current popular fantasy books with faeries and politics, then yes, the world building does not have the same level of detail in the sense that we don’t know what’s going on on a global scale, but Caraval doesn’t need that. So much of Caraval’s story relies on interpretation and mystery. More details would have taken away from that. This book is more about the characters and the game. Knowing the history of the world in Caraval wasn’t as necessary as knowing the history of the game. We were given what we needed and there’s a lot of fantasy series now with world building that is far too convoluted to get through, so this was a nice change.

This might be an unpopular opinion (update: it’s not) but I really wanted Legend to be the main love interest, and still do. Or at least for Julian to have been Legend the whole time. The way Legend was portrayed throughout the book and all the mystery surrounding him was intriguing, and I found Julian and Scarlett a bit odd since Scarlett was under the impression that Julian had also been with Tella. None of her inner dialogue acknowledged that, though. Her main reason was always the fact that she was engaged to a stranger, and never ‘my sister has hooked up with this guy.’

I didn’t notice this until after I finished Caraval, but there’s actually only two somewhat developed characters. Everyone except Scarlett and Julian were just extras with a few lines. Dante was somewhere in between, but then he died halfway through and we didn’t see much of him. Tella’s character became prominent only towards the end, which I suspect was only for the sake of writing a sequel, as Caraval was originally meant to be a standalone. For any other series, I’d consider this a really big negative, but Caraval’s focus is the game and the idea of Legend. There’s also a big theme of unfamiliarity and having no idea who Scarlett can trust, so for this specific series, it works.

Scarlett is not very interesting, but I didn’t dislike her. I felt the same way about Poppy from the Blood and Ash series, in the way that she felt like a lens for us to see the plot unfold, rather than her own character. Writing developed characters is not something that Garber does well or at all in this book, but I still enjoyed it nonetheless. I really just cared about the plot and finding out about Caraval’s intentions and Legend. Julian was also inconsistent, but I think that was meant to come across as unpredictable and mysterious. I feel like he’s still not entirely done with lying. I’m still waiting for him to end up being Legend.

The ending was underwhelming and overwhelming at the same time. Overwhelming because too much happened very rapidly with not enough explanation, and underwhelming because what did happen didn’t really seem worthy of the nearly 400 page build up. I kept waiting for another twist that made more sense. Again, I personally enjoyed it regardless, but I can acknowledge that it didn’t fit perfectly. I don't know if it gets cleared up in book two, but it was still a rushed ending. Since Caraval was originally written to be a standalone, it makes a lot more sense. I wonder if the intention was for us to never meet Legend at all. I actually think Caraval as a standalone story would have worked well, if not better.

Also, I don’t think Scarlett ate anything for the entirety of the game. I feel like there should have been at least one scene where she would be skeptical to have anything on Caraval since we know the food and drinks can have effects.

This is a book that I would love to see as a film or TV show adaptation. I might even enjoy it just as much as through a visual medium. As pretty as all the writing makes the settings out to be, I was a tiny bit bored of continuously reading descriptions towards the end of the book. As many have said, there is a lot of purple prose and some of the sentences might make you do a double take, but it’s not unbearable. It could definitely benefit from another round of editing, especially at the start, but once you get used to it, it’s fine (it definitely improves in the sequels). Reminds me of an old joke about English teachers and how they’ll tell you that blue curtains symbolise the characters’ depression and whatnot, when the author just meant that the curtains are blue. I feel like someone should tell Garber that sometimes, it’s okay for the curtains to just be blue. On the other hand, Caraval wouldn’t be Caraval without all the weird and wonderful settings, so it’s not that I want less description, but maybe striking a balance between comparing feelings to colours and describing colourful settings would make this perfect.

Honorary shoutout to the following sentences:

-“Scarlett had an emerald-green premonition that she would make a discovery inside.”

-“It tasted like the moment before night gives birth to morning.”

-“He tasted like midnight and wind, and shades of rich brown and light blue.”

All the vivid imagery made me want to make a very 2014 tumblr vibe playlist:

Young and Beautiful - Lana Del Rey

The Poison - The All-American Rejects

Wonderland - Taylor Swift

The Greatest Show - The Greatest Showman soundtrack

Disturbia - Rihanna

The Smallest Man Who Ever Lived - Taylor Swift

The Writer - Ellie Goulding

Hotel California - Eagles

So It Goes… - Taylor Swift

House of Memories - Panic! At The Disco

The Black Dog - Taylor Swift

Starry Eyed- Ellie Goulding

I Hate It Here - Taylor Swift

Game of Survival - Ruelle

Figure 8 - Ellie Goulding

Centuries - Fall Out Boy

Mad Hatter - Melanie Martinez

[mask131]

So you want to know about Oz! (2)

In 1986, an anime was released in Japan: Ozu no Mahoutsukai (which is just "The Wonderful Wizard of Oz" in Japanese).

This animated series was an adaptation not just of "The Wonderful Wizard of Oz", the first Oz novel by Baum, but of all those that would follow! You had book 2, "The Marvelous Land of Oz", and book 3, "Ozma of Oz"... But then we jump to book 6, "The Emerald City of Oz", which forms the grand conclusion of the series. Book 4 and 5 were not adapted... completely cut out.

Why? Because these two books are, unfortunately, skippable.

Last time I left you on the enormous, ever-growing success of the original Oz trilogy. Now I want to present you... the curse that befell the creator of Oz.

L. Frank Baum wasn't just "the guy who wrote The Wizard of Oz". He was an author for children first and foremost, and he wrote a LOT of other books outside of his Oz stuff. His other most famous children work to this day, the only one able to rival his Oz creation, was his 1902's The Life and Adventures of Santa Claus, which was a work of fictional fundamental in the development of the modern image of Santa Claus:

But this was truly the only one of his other works that escaped the shadow of the Oz-mammoth... Before and in parallel to his Oz trilogy, Baum had written many other things. "Mother Goose in Prose", "American Fairy Tales", "The Enchanted Island of Yew", "Queen Zixi of Ix", "Sam Steele's Adventures on Land and Sea", "John Dough and the Cherub"... But none of these books became as successful or famous as his Oz novels. Worse: they sold really bad.

Everybody wanted Oz books. More Oz books, more Oz books! And while Baum had quite some fun working on "The Wonderful Wizard of Oz" and "The Marvelous Land of Oz"... he had never intended to serialize them. For him they were stand-alone novel, and that was done. But since his audience only asked for more Oz books, and disdained his other works, well, he had to do what paid! And so he continued the Oz novels... but with a certain "bad will" that clearly transpires in his work.

This already pops up by the third Oz book, "Ozma of Oz".

The first two Oz novels followed a specific rule: the story must happen in the Land of Oz, which is a magical land enclosed and shielded from the rest of the world. The Land of Oz is surrounded by a gigantic desert that one cannot cross unless exceptional events. Beyond this, is the human world... Yes, that's something people tend to forget: in his original vision for the Land of Oz, Baum wanted this magical land to be... somewhere on the American continent. Right in the middle of the 1900s American nations. Hence how a simple tornado can carry a little girl from Kansas to Oz... This is also explicitely told in the second book, where the characters cross the desert by accident, and discover "the world Dorothy came from".

But by Ozma of Oz, the rule was broken. Dorothy gets carried away by a storm in... a new land, the Land of Ev, who as it turns out exists outside of Oz, beyond the desert... Ozian characters cross the desert and join Dorothy in this new land, and most of the story is spent discovering this entire new setting.

While it is very pleasant and delightful to read, and brings some interesting worldbuilding, this already betrays the annoyance Baum was starting to feel towards Oz itself... He had written two novels taking place in Oz, and he was starting to run out of ideas. He had conceived two self-contained novels, two "one-shots" if you wish, and had no idea how to continue within Oz itself. So his solution was to take the characters everybody loved and wanted (he did brought back Dorothy in "Ozma of Oz" BECAUSE his audience kept asking him "Why wasn't Dorothy in the sequel?), but place them in a new "magical land" where he could have a breath of fresh air and work a new plot. This is what makes "Ozma of Oz" so interesting... But it was what would cause the start of the Oz downfall...

In 1908, Baum published "Dorothy and the Wizard of Oz", the fourth book of the Oz series. And a good part of this novel is... Dorothy, alongside the Wizard of Oz himself (who returns after his last appearance in the original novel), ending up sent into an underground realm, and exploring various magical chthonian lands as they try to make their way back to the surface... The last portion of the story does take place in Oz, mind you, but the bulk of the story is in random lands and realms Baum invented just for this book and never reuses later. Because at this point, Baum, who was stuck into doing Oz books but didn't want to continue Oz-stories, had decided to use a trick: only have the Oz protagonists but not the Oz land. Have Oz appear in the last chapters, but only after two thirds of adventures everywhere but in Oz. This was his way to still give what the audience wanted (more Oz adventures) without actually writing Oz books, but rather other fantasies that happened to connect with Oz...

This formula would be repeated with the fifth book of the series, which I'll talk about later, and unfortunately it creates a sincere drop in quality in those two novels. While very inventive, and entertaining to a certain extent (if you ignore some heavy doses of racism and old-fashioned xenophobia here and there), these novels are not as good or memorable as the original trilogy, and for one precise reason... They have no over-arching plot. They are just... travel stories. You have a set of characters, swept away into magical lands, travelling the lands, then partying in Oz and returning home. Gone is the "Quest to have our wish granted" of the first book, gone is the "national revolution mixed with a quest for a lost heir to the throne" of the second book, gone is the "let's save an imprisoned royal family" of the third book... Now it's just "Oh, looks like we randomly dropped into a fairy-land! Let's promenade a bit and then return home". An "Alice in Wonderland" type of non-plot, basically... but without the Alice in Wonderland charm.

Things are even sadder when you look at the fifth book of the series, "The Road to Oz".

At least with "Dorothy and the Wizard of Oz", there was a semblance of a mini-plot at the end, when everybody arrived in Oz. You had criminal charges and a trial, and competition-debates as to whether mundane or magical beings are better... But with "The Road to Oz"? You have literaly zero plot. The characters just get dragged from vision to vision, from land to land, and when they arrive in Oz, it is just to have a party, and then they literaly return home once it is over.

But the true desperation of Baum comes from this specific party... Because what Baum did in this novel was maybe the first "crossover event" of the history of American literature. All of the guests at the party are characters that never appeared before in any of the Oz books so far... They are characters straight out of Baum's other, non-Oz, children books! Characters from "The Magical Monarch of Mo", "Queen Zixi of Ix", "John Dough and the Cherub", and many other books you probably never heard about (and that the Oz readers at this point also never heard about!). Yet these characters were described in detail and given quite a space in the final act of the book...

This was because Baum was tired of Oz hogging all of the attention and money. He was so sad at seeing his other children works be forgotten and ignored by mass audience that he literaly decided to bring them into his Oz series in hope that it would interest his Ozian readers and encourage them to check out the other books he did. Yes you heard it right, this novel... as just an big ad for Baum's other books. That's how tired he was of Oz.

And, unfortunately for him, it did not work...

Cut to 1910. L. Frank Baum releases his sixth Oz book "The Emerald City of Oz"... that he also intends to be his final.

With "The Emerald City of Oz" we have the grand finale! Dorothy decides to leave Kansas and to settle permanently in Oz! She brings with her Aunt Em and Uncle Henry who are given a complete tour of the Land of Oz! Meanwhile the greatest and most terrible ennemies Oz ever faced gather for an invasion! And, in the final chapter, Glinda the Good Witch decides that enough is enough, Oz had enough troubles from the outside world: she casts a spell that will make Oz unreachable by anyone from the human world...

And thus, Baum with teary eyes says goodbye to his character, and encourages his audience to say farewell to Oz, as the gates of the Marvelous Land close forever...

THE END

...

Who are you kidding? No, not the end! Cursed, Baum was, CURSED! Despite him writing EVERYTHING needed for the grand, conclusive finale, despite him literaly writing "IT'S OVER GET OUT"... His other books didn't sell. His other series didn't start. And he kept being pressured by all sides to write more and more Oz books.

As such, by 1914... a seventh Oz book was made. Opening with Baum writing basically "Sigh... So you know how I told you no other Oz story could be made, because there's this magical barrier and I will never know what happens behind it anymore? Well... sigh... turns out they have radio, somehow? And so... double-sigh. And so I have broadcast in Oz, which means... you'll get more Oz books."

Next post: How we got a HELL LOT of more Oz books