#but then again she’s a minor character with little to no canon characterisation so I can do what I want w her

[mayday505]

i would be pumping out so much Kunikidazai if i could work out how to characterise Kunikida properly like MY MAN I LOVE U but GODDAMN like. i find it so hard to write him for no reason even tho he's literally me fr. I think BECAUSE I like him/relate to him so much but in a way that I don't fully understand about myself yet i find it hard to articulate his character in words. Like yk how when u have the characterisation in ur head and then when it comes to putting it on paper u come up empty? yeah thats me w autism man Kunikida.

ONE DAY!!!! ONE DAY I WILL WRITE THE MOST HEARTWRENCHING KUNIKIDA FIC AND MAKE EVERYONE CRY. But today is NOT that day so sorry xxx

[arcanemadman]

The Castlevania franchise feels like it's getting more and more divided since Netflixvania started and it's getting really bloody frustrating to the point that while watching Nocturne I've felt disquieted, and I think I've realised why that is.

It's the fucking DmC:Devil May Cry white hair fiasco all over again.

For those that don't know, when the DmC reboot was revealed people had a lot of criticism, including turning Dante from a cool but likeable hero into a foul mouthed smoker, the dumbing down of the gameplay, the antagonism towards the fanbase, and turning his iconic white hair black. Of all these criticism, only the hair colour change was given any attention, painting the fan base in a very negative light and side stepping the real issues people had by only focusing on the cherry rather than the whole sundae.

All this attention directed towards something that in the grand scheme of things is very minor but it gets all the attention while the bigger stuff is ignore.

Yes, there are people mad about the show for racist reasons and they shouldn't be listened to, but there are genuine complaints that are being swept up with that.

The character changes have a sort of domino effect on everything. Maria being a serious revolutionary is interesting, but I saw someone put it best that what made her special was the fact that she was a little girl in a world of classic horror that believed she was in a fairy tale and had the power to force that reality on everyone else. Netflix Maria is good, but lacks the charm of Maria.

The second example is Juste. When I saw him I was very excited, but that was mainly because it was acknowledgement of the original canon than anything else. His magical prowess, the thing that makes him stand out among the Belmont linage, is mentioned and then brushed aside, and the worst ending of his game is what is taken as canon. And once Richter gets his magic back, Juste is gone. He feels like a plot point rather than the character. I sympathise with people who's favourite game was Harmony of Dissonance.

Annette was a compelling character with a well developed story, but anyone that says her original characterisation would never work are being disingenuous because they literally did that, except that did so with Tera. The connections to Richter and Maria, the damsel elements, the fact she gets turned into a vampire, all from Annette. Swapping them around wouldn't work for multiple reasons and I'm not going to say I can do better than people you get paid to write when I don't, but I feel I can say that if they had wanted to they could have done something closer to the original while still touching on the themes and narratives they wanted to.

Olrox... honestly the only criticism I can really think of is the removal of any reference to Count Orlock.

There's an elitism with both sides of the fanbase here. On the Netflix side, there's the feeling that since theirs is more popular that any criticism is because people are just nostalgic, and game fans feel that since theirs is the original foundation that anyone that doesn't agree with them is just a new fair-weather fan. And honestly, I'm more sympathetic to the game fans.

I've seen Netflixvania fans look at people complaining that the character have changed and go "yeah well the version you like sucks so you should just grow up" As if that's going to make everything better. And all the people complaining about the race changes or posting "WOKE?!?!?!" have poisoned the well for any actual discussion about this, not helped by the social media accounts deliberately stoking the flames in the mistaken belief that all publicity is good publicity, which raised the ire of nexflixvania creators. Unfortunately marketing can often be removed from the intentions of the creators.

Yes, Netflixvania is a great show, with beautiful animation and great storytelling, but it's not perfect and as an adaptation is leaves a lot to be desired. And that's the crux of it! The show is good, really good! But it doesn't feel like an adaptation of Castlevania. It's just a bunch of little details that pile up to make it less of what the game fans liked about the series. It's more grimdark horror than classic horror. It's more crude than it is philosophical. It's more hopeless than it is hopeful. And regardless of what you individually think, that's what people have liked about Castlevania for almost 40 years.

Ultimately I just have to ask, why do people seem to assume that you can't make a faithful adaptation while also making it interesting? They're not mutually exclusive.

[epickiya722]

Hey, I hope you’re doing well. Ik we fic writers always complain about the lack of discussion surrounding our work so I thought I’d start asking questions to my peers.

Here we go:

I have a few questions about the Jin x Kenjaku fic you wrote:

1- How did you get the idea?

2- Did Jin’s characterisation cause you any problems since we don’t know much about him? How do you usually handle characters we don’t have much information about?

3- Can you detail your writing process a little bit for that one? Did you write it easily? Did it take a few days or more?

My last question is about writing in general. What do you like about writing Mirko?

Thank you in advance 💕

For anyone curious, this is the fic -> Blissfully Clueless

1 - Since I've been more "active" with JJK, I remember doing a reread and getting to chapter 143 and going "Oh, new fic idea" when I read the flashback scene. Wanted to try out an interpretation of how Jin's relationship with Kenjaku could have been like, you know? Simply was just writing it to be writing it! Honestly, I'm surprised I even wrote that fic because I didn't think would! Most of my fics are more comedic, but lately, I've been dipping into trying more styles.

2 - Ooh, so this plays into what I'll say later! It wasn't easy coming up with some kind of characterization for Jin, but at the same it was kind of easy. What made it difficult was that, yeah, we don't know much about Jin like that. Writing the fic, I questioned myself "how can I write this particular character without making feel too OOC, how to make a possible personality fit for this character"? Now what made it easy is that Jin doesn't have a lot to him in canon. Whenever I write characters who have little to nothing to them in canon, I think of them as empty or unfinished canvas. I have room to add colors to them, details that can bring them to life. Instead of a paintbrush, I'm using words. With characters like that, I'm able to let my imagination roam free because there are no limitations. If Jin had a lot more to him in canon, then it feel as if I have to take that and work with that. It's like "Well, he's like this in canon, so I can't mess up". I won't lie, sometimes I feel pressured to write a character aligned with canon personality because I feel like if I step just a little over the line, someone is going to get fussy about it. I mean, I understand that some people tend to write characters completely different just to bash that character in their fics or twist them in ways they see fit because they feel they have some authority over that character even though it's not theirs. But other times, there are those who do it as a creative choice, they're doing it to fit into an idea they have for a story. And it doesn't mean they really think of the character that way.

3 - That fic actually took a good twenty minutes or so! I needed a distraction that day and thus, that fic was born! Like a lot of my fics, I didn't plan that one. The idea came to me and I just wrote. As I wrote, that's when I question how I could possibly frame Jin's character. A challenge it was, but it was a fun one!

**

Oooh, to choose what I like writing when it comes to Miruko is giving her more depth. Okay, she has a personality in canon, but I just feel like she isn't just this "aggressive, angry rabbit woman" that some of the fandom sees her as. Now, unlike Jin, Miruko does have more backstory and screentime. In Vigilantes (BNHA Spin-off manga, it's great), she even has a whole flashback arc. So I have a little more to work with when it comes to her.

However, she is still just a minor character, so there is still not too much for her in canon. Even so, again, she's a canvas to me.

I actually have a lot of posts analyzing her character just from little information and her dialogue. I don't know how I do it, but I believe it comes from more how much I enjoy Miruko.

When writing her in fics, I don't want her to feel one-dimensional. Some of the fandom already do from canon which sucks. I'm about to sound salty, but it's just crazy to me that some fans will complain about aspects of female characters they find annoying and displeasing, but makes excuses for the male characters and admire them some those same aspects.

Some people will say the female characters barely got personality, but come on. Some of the male characters are bland as hell or has been done a thousand times before. It's not just the female characters, folks.

Anyways! I want readers to see that Miruko is capable of being sad, happy, tired... that she is capable of feeling, too. So I often think back to my posts about her and incorporate them in my fics. Or even vice versa. Sometimes, my fics inspire a post.

Sometimes, it can be a challenge, but not one I'll give up on because it's fun taking a line of dialogue and deciphering what it could mean for Miruko. I get enjoyment from looking at a scene and writing a post about it.

Gets the creativity flowing!

That's all I really can say for now. 💜

[essayofthoughts]

So I know you study the PCs of C1 with great intent and care - but how do you handle the NPCs, which get far less screentime and are all filtered through Matt? With, say, Cass there are easy shortcuts - looking at Percy and finding what they might share - but less to use with Syldor, for instance (who the twins likely tried hard not to emulate).

I mean, even with Syldor I feel like it's kind of possible to reverse engineer him in how the twins behave? Like they refuse to act like him, but his shittery still impacted them and their behaviour. Vax's defensive attitude and protectiveness of Vex, how he hurls himself into harm's way. Vex's quiet observance, the way that she can fold into herself when made to feel uncomfortable, ashamed or guilty.

It suggests Syldor used shame to police them and that's why Vax refuses to feel ashamed at all - he knows Syldor's full of shit and aggressively refuses yo abide - but it worked on Vex and that's why she reacts so badly to that and why Vax can get so overtly protective and defensive then. It also seems very likely that Syldor tried to play them against each other to some degree - Vex's desire to fit in versus Vax's indifference - and while that might have caused some disputes I think ultimatelynit only pulled them closer together.

But. Well. Syldor alone isn't what you're asking about.

For minor characters - ones which appear only the once or only fleetingly - I don't worry too much. I go off general vibe and make use of what is seen in canon. For more significant characters like Gilmore, Allura, Kima, even Clarota or Victor who are there several times but aren't so significant I think about what we do see of them and what facts we know!

Clarota was exiled by his people - so he's lonely - but he's also a mindflayer and so believes in his own superiority. Even in his weakened position we see him take an aggressive stance at a few points and he very kuch isn't there to make friends. Why would he be? Some companionship is better than none but it isn't at all like the elder brain or his own people and again - they are beneath him.

Allura was once an adventurer. For all her status she's much more understanding of and patient with VM than they necessarily deserve - because she's been there too.

Gilmore is a theatre kid. I'm pretty sure Matt has mentioned that Gilmore is based a little on someone he knew - queer and in theatre iirc - and so I use that same vibe of like... gregarious charm and utter self-assurance.

As I've said already you can also do a lot with dialogue to figure things out. There's a great Star Wars post circulating that has a wonderful point of like... don't ask what kind of person willingly dates trashfire murderer Anakin Skywalker. Just acknowledge that Padme is that kind of person and go from there. See her characterisation and find a way to slot that in. She has blindspots or perhaps isn't so perfect in her beliefs or perhaps she's makinf excuses or has a case of the I Can Fix Hims. Regardless - if the character does the thing, use that to inform the characterisation.

So... yeah. I use what we see and use that to capture the... idk, general shape and idea of the character, and then I try to replicate enough of the quirks or accents Matt gives them to keep them recogniseable.

After all, how many fics feature Victor and, one way or another, keep him recogniseable just by maintaining his abrupt, bonkersness?

Ask me about my fic ideas!

[angelofthequeers]

How is Zoe's comic racist? (sorry don't mean to question you, genuinely curious) Also, I admit I was also sucked into the salt fic whirlpool, but quickly left after I realized how toxic it was being. Could you also elaborate on GalahadWilder, if it isn't too uncomfortable for you? I'm sorry, I don't mean to be rude, or ask uncomfortable questions.

I can’t point out everything off the top of my head but the racism (along with everything else but that’s not the focus) is a large part of what made me throw my hands up and write this. And I won’t be answering any more asks about any of this because I just want to get it out there so people know (because of how many people genuinely don’t see it) and then go back to trying to forget that this shit ever existed, rather than dragging out some new fandom drama. Also keep in mind that while I’m West Asian/Arab, I’m also white-passing so if I get anything wrong, I appreciate call-outs. (Also I finally got my laptop charger today so I can snip my posts again 😭)

Her treatment of Max in ‘Gamer’.

It’s not unique to her; it’s a very common salter thing to utterly tear into Max for being a “sexist jerk” and daring to underestimate princess Marinette because she’s a girl. Never mind that they canonically aren’t close friends because of Chloé’s bullying, so Max probably had no idea that Marinette’s liked video games all this time, where Adrien is the new boy so it’s just one more thing to learn about him.

It’s especially heinous compared to how the other classmates are treated far more leniently for their own mistakes - they still get salted on but Max, aka the Black boy, always seems to get singled out and held to higher standards. Just look at ‘Chameleon’ and how the other classmates are mildly to moderately attacked by salters but Max gets utterly ripped to shreds because he “should know better”. (Never mind that just because he’s smart doesn’t mean he’s good at human interaction. They just want to attack him).

It also angers me because people like Nathaniel and Ivan are absolved of what they do as akumas (like kidnapping others and literally forcing someone to go on a date with them) because they couldn’t help it, yet Max is literally held responsible for what he did when akumatised (because he dared to go after Princess Marinette) and even for daring to get akumatised in the first place. Both these things just make him a sore loser, apparently.

So SL ‘Gamer’ was the final straw for me, especially with how she characterised Max as a smug arsehole, and it made me so angry that I just exploded to my friends, but I didn’t know how to directly call it out without looking like a petty bitch.

Here’s a post I made about salters and ‘Gamer’ if you’re interested in a more coherent and in-depth thing about it.

Alya’s treatment throughout the whole thing.

In canon, she’s an enthusiastic and passionate girl who sometimes gets carried away and goes too far and who idolises Ladybug because Ladybug stands against evil. Here? She’s treated as the butt of the joke for being so starry-eyed over superheroes that she idolises Scarlet Lady while Marinette mocks her behind her back. Never mind her iconic line of “all that is needed for the triumph of evil is that good people do nothing” and this is why she loves Majestia in the first place. Never mind that she loves Ladybug because Ladybug is kind and passionate and strong and creative. Canon Alya wouldn’t want a bar of Scarlet Lady, who just sits around complaining, and yet SL!Alya worships her because...why? Running joke? The only Black girl in the series is treated as a gag to be made fun of by someone who’s supposed to be her best friend, just for the audience’s amusement. Marinette’s probably meant to look funny and relatable here, but she just looks like a major bitch to her new friend. Alya’s flaws are basically blown up and exaggerated for comedic effect, while Marinette in contrast is airbrushed to perfection, with no flaws and no anxiety that was only alleviated in canon by - guess what - being Ladybug.

It’s like Zoe wants to stick to canon while adding her own little “fun” twists for humour, like making Marinette snarky and perfect (which just makes her look like an utter bitch) and in the case of Alya, it does her so dirty that even Lila is more sympathetic. LILA. After SL humiliates Lila, Alya looks doubtful but buys some bullshit excuse so that she can continue to be the Scar-worshipping idiot. And then in the aftermath, her concern isn’t for Lila, the girl who was humiliated and bullied by a literal superhero and then ended up sick. No, she’s angry because...Lila lied on her blog. The blog that doesn’t have nearly as much recognition as in canon because SL would never validate her, unlike Ladybug. So her passion for her blog is exaggerated to imply that she’d say that a girl deserves to be bullied and sick because she told a few lies (since at this point, Alya doesn’t know about any possible malice on Lila’s part, just as in canon. All that’s known is the lying for attention).

It’s horrible hypocrisy, where Alya is held to higher standards than the other (white) characters and when she fails to meet those standards, she’s torn into. She’s not afforded any sympathy for being hurt that Lila lied to her; in fact, she’s demonised for feeling hurt, especially because of the running joke that her blog is focused on someone so horrible and she doesn’t see that. Lila is presented as the sympathetic one here. LILA. Just because Alya dared to believe her in canon.

Also, how she’s constantly trying to either tease Marinette for having a crush or insist that Marinette’s only doing what she does because of a crush...even though according to this ‘verse’s canon, Marinette is too good to make mistakes and do obsessive stuff over a crush, which is why canon Alya thinks this about her in the first place. That didn’t just come out of nowhere in the show purely for “woe is Marinette, her best friend doubts her”.

Like in the first part of ‘Gamer’, where she’s accusing Marinette of only entering the tournament to flirt with Adrien while Marinette so “coolly and calmly” rebuts her...why? By the ‘verse’s own logic, Marinette isn’t a flustered mess around Adrien. The only purpose of this scene is to glorify Marinette and her amazing calmness while making Alya look like a nosy idiot who dares to doubt her best friend. The logic of the ‘verse and of canon clash really jarringly in moments like this, and it becomes clear that the only purpose of these moments is to make Marinette look better at the expense of others. Most often her best friend, who’s an utter idiot for not seeing Scarlet Lady’s true nature and just can’t keep her nose out of Marinette’s business and so comes to wrong conclusions. Why are Marinette and Alya even friends in this ‘verse? SL!Marinette’s been nothing but condescending towards Alya most of the time.

Uh, and also the way she occasionally whitewashes Alya. Just look at the SL headers. She literally made Alya, aka a Black girl who’s one of the good guys, lighter than Lila, aka a white girl who’s one of the bad guys and not even that tanned in canon. Why do people make one of the villains darker and often whitewash one of the heroes? It’s not that hard to figure out.

(Also the way she really played into the aggressive Black girl stereotype in ‘Horrificator’ over a minor argument, even physically threatening Nino. Why? Literally why did she have to go full-on aggressive instead of just looking angry and scolding him or something?)

This all might not be conscious on Zoe’s part but the way Alya is treated is still disgusting, especially if you’re operating on internalised salt from other aspects of the salty fandom. I’ve seen her claims that she’s trying to help Alya improve and she’s not being salty but...even if she’s not being consciously salty, her salt is definitely still leaking over it and part of that salt includes racism. I also don’t see how making Alya a joke and exaggerating her flaws is helping her to improve when there was plenty to go off in canon but, well, that might just be me.

Even Marinette, who’s pretty much treated as white for 99% of it.

Marinette, aka the girl who’s only made visibly “Asian/Other” in SL ‘Reflekta’ with her Chinese-inspired Black Cat suit and name which is a one-off, while her permanent Bee outfit is just the bland tight suit that salters criticise Ladybug for having and her name is just Marigold. It comes across as using “Asianness” as a costume and it really didn’t sit right with me at first, but it took me a while to tease out why exactly this made me feel ick.

There’s nothing wrong with touching more on Marinette’s heritage and expanding on it in ways that the show doesn’t, especially because this is a big sticking point for salters, but again...it’s only a one-off. A costume. There aren’t casual hints sprinkled throughout the comic that just normally establish Marinette as half-Chinese, aside from like a page or two in ‘Timebreaker’ showing Sabine’s outfit. It’s another ‘Kung Food’ where it’s slammed into one episode and shoved into our faces that Marinette Is Chinese and it’s really jarring and unpleasant.

It just comes across as fetishising, is all. I don’t think it’s something most people would pick up on unless they’re used to being able to see this kind of thing.

Master Fu. Oh, Master Fu.

From an old man who made mistakes but tried as best as he could with the limited knowledge he had, he’s now a bumbling idiot who...put the earrings in Marinette’s bag instead of her room for some reason? To kickstart the plot? Especially because the ring was still in Adrien’s room. It’s very, very contrived.

And then in one of the most recent updates, Zoe has Adrien - a white boy - physically threaten Fu, aka an elderly Asian man. It’s disgusting. I was gobsmacked when I first saw it. And that’s the thing with salters: they tear into Adrien for being a white boy so they can look Enlightened when he hasn’t actually done anything racist, yet they then turn around and perpetuate actual racism in trying to “fix” him

There’s probably more but those are the examples that jump out at me of the racism in SL. There are plenty more problems but...whatever. I’ll be here all day if I try and cover those.

As for the Galahad thing...it’s personal. That original post was as much as I was comfortable revealing.

[mrs-nate-humphrey]

you’ve talked a little bit about this wrt dan, but i’m curious: what are your favorite seasons/arcs for the main gg characters? (serena, blair, dan, nate, jenny, vanessa) cause everyone’s personalities tended to uh, shift a bit from season to season and storyline to storyline, and i’m wondering which eras of those characters were your favorite?

oh, so i sat on this question for a very long time, and spent a ton of time thinking over it. here we go! 

i loved the way serena was written in s1 and s2. she was so full of joy despite all the difficult things she’d endured, so bubbly and warm and... lively is ALWAYS the adjective that comes to mind for serena, despite how it’s a terrible pun. but yeah! she had an energy to her that was very childlike & genuine, and i loved that about her - despite the things she’d endured, she was so full of light (?? how do i describe this.) i know that serena’s arc gets notably more tragic s3 onwards, but i feel like the way she was written lost a bit of depth s3 onwards as well. she had a sharp wit, and a good sense of humour, she was playful and... most notably, she had this little giggle? that she literally NEVER does in the later seasons, which makes me sad?? she stopped laughing like a child at the age of, what, 19?? idk. in s1 & s2 serena had so many layers, and i feel like as the seasons went on they tried to, uh. keep only the surface layers? they didn’t really do justice to the character they started out with.

my answer for vanessa is actually the exact same, with slight modifications. vanessa’s energy in s1 and s2 was unparalleled. literally the best. i loved her and the way she was critical of everything and YET so ready to learn. compared to all these rich, privileged, white people... her presence was just SO good and so important to me, because the way she was so critical of the uber rich was something nobody else really was, and i think that perspective WAS valuable and should’ve remained, haha. idk what it was about s3, but i feel like they didn’t keep the crux of who vanessa was? it wasn’t a BAD vanessa season as much as an incomplete one. i felt they could’ve done so much more with a character like vanessa.... she’s so vibrant and full of life! and the way s3 was for her was very surface. and then in s4 they just demolished her character entirely. i’ve said it before, i’ll say it again: what jenny, juliet and vanessa did in 4x09 was TOTALLY out of character for vanessa. she would never, ever do that. and by the time s4 came around... someone else said this, i don’t remember who. but they said that vanessa was basically being used as a plot device more than as a character. notice how she’s always in the right place at the right time to overhear the right thing? it’s a travesty, because vanessa was just..... so significant to me. like her being there added so much value & even changed the tone of the show imo.

my blair feelings are very complicated. i think she’s fascinating, and i love leighton & her performance. i love book blair so much more than show blair, and idk why or how to explain it. i mentioned this in that post where i ranked the characters, but while watching blair in high school specifically i can’t EVER forget that she would probably hatecrime me, and even when she’s out of school she is still supremely racist at times. i actually liked blair best in s5 - and i know she was going thru ~tragic~ stuff (i think they dialled the tragedy too high actually, like, blair had TOO MUCH on her plate and from a storytelling point of view it was... ambitious, to say the least, to hope to bring all out of that out on tv) but like, keeping her tragedy aside. her capacity for kindness and care really shone thru while she was with dan, and i liked how the d/b relationship took her out of her comfort zone and her “but im a Waldorf!” bubble and let her, idk, be a person. i liked her in s4, too. i feel like blair is a really good, nuanced, fleshed out character as blair, and the way she clung to being a waldorf combined with her rich-white-girl privilege got kind of boring after a while because like. she’s not like louis? her character has so much depth. her character doesn’t need to be reduced to a title, because she’s SO much more than that.

i feel like i need to do a lot more rewatching when it comes to dan because i CANNOT be objective about him. he reminds me far too much of myself!!! down to his flaws and his mistakes and his issues –  i was a precocious little shit in high school at times in very similar ways to dan, i like to think i’ve grown out of that (& am perpetually making an effort TO grow out of falling into those patterns) & that’s what i want for dan, too. dan’s arc feels real to me, because a lot of it is my arc, too. feeling lonely, out of place & unaccepted in high school --> being a popular kid in college… that hits really close to home. s1 & s2 are important seasons to me because i’m extremely protective of awkward, trying-his-best high school dan (he can be awful at times, but he can be earnest and sincere, too!) i feel like s4 is actually the best dan season – took me a while to get here, but halfway thru my s2 rewatch that’s how i’m leaning. but dan’s arc was very interesting to me, and i wish they’d kept his heart. trying to retcon him as evil fell absolutely flat to me, like. who are you convincing! one of my friends and i were joking about how georgie blackmailed dan into pretending to be gossip girl (she obviously has dirt on him that nobody else does.) anyway. dan’s arc felt pretty true until the end of s4. i wasn’t a big fan of how he was written in s5, i felt like something had been taken away from his character, but i don’t know how to say it better. you’re right though, i have gone over this a lot! so i’m not going to break my head over it, ‘cause we’re already a thousand words in and i still have nate and jenny to go.

speaking of jenny, though: i think dan’s storylines REALLY needed more of a big brother arc. the way he was characterised, especially in s1, was very “i would kill a man for my baby sister” and i have NO idea where that went or why they got rid of it. (actually, i do have some idea. fucking chip wiskers apologism & elevation of chair over literally anything else. sigh)

okay, now speaking of jenny in terms of jenny. i liked her s1 arc, like, her trying to make friends with these people & trying to keep her morals and realising she can’t do both was interesting. i think that should’ve been that with her clashes with girls in constance, though. and afterwards, either nothing happens, or she transfers out of constance, etc. jenny’s s2 arc makes me sad – she was exploited and treated like dirt in so many ways :( the jenny/agnes was interesting in s2, though, and there’s no way to interpret it that ISN’T lesbian. i’ve always felt like jenny’s feelings for nate in s2 are very comphet. jenny’s s3 arc made me even sadder than her s2 arc- she was alienating all her friends one by one, making everyone hate her, and just…… spiralling. she really needed a better support system. her s4 arc made no sense. like. why did she come back in the city to fuck with serena like that? it didn’t feel right.

yeah, all that said… i feel like there are many super intriguing elements of jenny’s storylines and arcs, like, even within canon events if things had been executed differently, it could’ve been actually good/empowering. but the writers hated jenny. and this show was never a feminist show.

ah, so… nate. he started out as a flake in s1 & s2. that’s his whole thing. he doesn’t know who he wants to be / how to get what he wants / how to get where he wants. he takes people for granted. he isn’t dependable or reliable, he lets people down (most notably, blair & vanessa.) and he means well, sure! but his life is like amber and he’s trapped in it. he doesn’t follow his heart, he’s too busy trying to please the wrong people, etc etc. in s3 he’s suddenly so ready for commitment, which always breaks my heart because vanessa!!! but anyway. s3 has a shift in his character, possibly him getting dumped at prom and realising that high school is over and one thing that tethered him to his family (being a kid, being a high schooler, being a minor, whatever) –  one big thing that held him there is gone. so it makes sense that he starts trying to be his own person. i like s3 nate, and s4 nate. we see nate sort of gradually try and be a moral compass, and it’s interesting to me. when i write d/n fic something i really focus on is dan finding nate dependable, and i think that’s a value that builds in nate over time. nate of season 1 is not dependable, nope, no way. but nate of s4 seems like a decent friend to have. in s5 and s6 they more or less threw his entire arc to the wind and gave him so many shitty storylines (sage spence, wtf? nate would not do this. he’s been on the opposite end of this before, he would not carry the pattern forward, ffs.)

idk. this almost hit 1.7k, LMAO. i hope it made some amount of sense!

[askservais]

Hi this mun here.

🔫

Y'all are gonna listen to me go off about Dadvais or else you get the water gun because I have an exam tommorow but brain is going brrr Dadvais and this fandom does not give me enough dadvais content.

Like everything else I have to do it my goddam self 🔫

Why am I weirdly aggressive about this?

*aggressive shrugging*

Anyway Dadvais.

(Warning. Intense rambling. Very intense rambling. I have thoughts and this is Dadvais propoganda. Also like. Brief implication of abuse near the end.)

(Also its like 1am aaa)

Anyway Gamers.

Right we commonly accepted that Servais is cat dad.

Which is good. Good content.

I am also just saying, Servais is the kinda of person who adopts 50 kids and denies they're his kids. He's tsundere dad.

But he's also really fucking soft. He really likes kids. They adore his magic tricks and the man loves magic, absolutely try me the best way to instantly bond with Servais is talk magic.

This is not to say he is a competent dad. He's more of 'I'm trying oh god I left Tracy at the market' dad.

Y'all have seen his diary this man has one braincell for magic only. Also professor of literature. Servais. Servais my beloved. Why did you think this was a good idea. Servais.

He adopts like. *does the math* most of the survivors.

And his favourite is Emma. Probably.

Look the whole reason Dadvais exists is because of me developing 'Forever in the manor' (forever in the concept phase would be better name. Do plan to do the first 'canon' fic after Winters last snow-) and plot stuff happens.

In which Emma has two hands so she can have two hands. If you have a problem with this. I will fight you in the tesco's parking lot/j

I am just saying early manor days when it's just the free characters and Servais the two bond.

And maybe they garden together.

And bake a cake.

Yes I am referencing my fic 'A cake's respite' that fic is early days dad Servais. Servais stayed in that Kitchen when he wanted to drink because he wants to make Emma happy.

Also what intensified dadvais was a discord rp where I, the official magician of the server, had no braincells and just instinctively made him go dad mode.

Also minor tangent i know the fandom characterises Servais most of the time as grumpy old man, which like. He is to an extent but can I please have more chaotic Servais. Like. Y'all have seen his tome accessory right. He's a little bit of a goofball and I would love to see more of it.

Sometimes y'all kinda make him a little too mean. Which I know stems from most people disliking him but even ones who do like him just... yeah.

Then again I'm no Servais expert. I'm trying to get his personality as accurate as possible so if I'm wrong feel free to correct me. I've messed up on character before and its my policy of keeping characters as Canon accurate as possible even if I don't like them because other people do.

Speaking of Canon, time to go the opposite direction and talk about the dadvais au. Yes I have a goddam dadvais au the self indulgency never fucking stops.

It is also a work in progress because god has cursed me for my hubris but I will spit in his face and steal his wallet.

To summarise the Dadvais au.

William and Orpheus are street kids who investigate Servais for the death of his mentor John but end up adopted by him instead, beginning the start of Servais's child army.

This au gives me much serotonin aside from the Dadvais serotonin because canonically in this au Servais has no violence rights but Robbie, a toddler in this au, does.

I feel like this is an appropriate moment to inform everyone that unfortunately your mun is a chaotic goblin. I am so sorry.

Anyway, I am going to focus on one section of the dadvais au because I need to not make this a ten page essay.

So we're going to focus upon the point Servais decides to adopt Murro. Also canon ages do not apply in this au because by the time I had discovered Kevin's canon age I had an idea and got too attached so *yeets canon ages out window*.

So Au. Murro is 15-16. Servais is in his 20's. Orpheus and William are around..12. Still working on ages. At this point Naib has been adopted and is around 14. I think. I need to do thing called 'keep track of my characters ages.'

Anyway!

So onto what happens. I feel it is very important to establish the fact that Naib steals Murro from the Circus (its explained why in au) with a little help from Mike (~10) and Joker (16-17).

Unfortunately Sergi tries to stop them and Naib and him fight. Which Naib totally would have won but he didn't. Rip. So he gets caught by Sergi who takes him to Bernard.

Murro heads to Servais' place on Naib's advice and sneaks in with Orpheus' and William's help. The two try to hide him and his boar but fail miserably.

Servais quickly discovers him, recognises him from the circus and questions why he's here, and where is Naib.

And ever quickly discovers what Naib had done.

Which very much terrifies our Magician dad because well, Naib is in some very hot water that Servais is doing his best to keep him safe despite it. So him being trapped at Hullabaloo is.... extra bad.

In a panic he almost tries to force Murro to come with him back to the circus, before he realised he can't.

He can't let Murro go back.

On one level its on the basic moral level. Bernard is a dick and no child deserves to be in a cage and treated like that.

On another. Its because of John. His mentor.

Servais has a guilty conscience.

His actions put blood on his hands.

He can't do it again.

Naib returns, having managed to escape with the secret help of Natalie. He may or may not threaten Servais to keep Murro, which is unnecessary, as Servais has already decided.

He tells the kids to stay home or else. Then leaves.

Going straight to talk to Bernard.

Bernard is pissed, and Servais apologises for Naib's actions, then makes an offer.

He will buy Murro from Bernard.

Murro was just an act to Bernard after all. And he puts down a very generous sum. Reminding Bernard Murro's act was losing popularity. Better to cash in now then lose cash on a dying act.

Bernard is hesitant.

Servais raises his price.

Bernard wants that price. But that price for Murro only. The boar has to be paid separately.

Servais clenches his jaw.

Fine.

He leaves the tent at the dead of night. He exchanges a glance with a Mike hiding amongst the equipment.

He leaves and heads home.

Where the kids are anxiously waiting. Murro unsure of whats going to happen to him. Naib prepared to fight Servais to keep Murro. William prepared to play back up with Orpheus trying to reason with them and find a different solution.

When Servais comes home the kids are waiting for him. They wait for him to speak. Or try to. Before Servais can say anything everyone except Murro immediately start yelling/pleading for Servais to keep Murro.

Which Servais tells them to stop. Reassuring them Murro won't have to leave.

He's sorted everything out. Murro doesn't have to go back.

He rubs his temples and sighs. Telling Naib, Orpheus and William to set up the guest bed for Murro.

They'll sort this all out in the morning.

Servais waits from them to leave before leaning against the wall. He covers his eyes with his hand.

He needs a drink.

[lumoshyperion]

14, 19, 20, and 30!

14. If you were stuck on a desert island with only two characters, which would you pick?

Probably Albus and Astoria? Which is such a predictable answer 😂 But I'd love to pick Astoria's brain, I'm sure she has all sorts of stories to tell. And Albus is so resourceful that he'd probably have us off the island in no time at all.

19. Who is the easiest/hardest character for you to write about? Why?

Easiest is Albus, hardest is probably Astoria or Scorpius? Albus comes so naturally that I don't even have to think about about what I need him to say or do. Astoria isn't necessarily difficult to write - but I feel a lot more pressure when I'm trying to write her? She's a character with little to no canon content, and the fanon on her is so mixed and inconsistent from writer to writer that there's just no... guidelines or inspiration for her.

Anything I write has to come directly from me and it's just something I find hard to pull from? Because I don't want her to feel like a self insert and I don't want to fall into the kind of Mary Sue tropes that can befall characters like her. She needs to be her own independent person, outside of her relationship with Draco and her motherhood of Scorpius. Whenever I write her, I'm just really anxious about doing her justice - if that makes sense?

And in terms of Scorpius - again, it's not that I find him difficult. I can write him just fine and I don't feel any of the pressure I feel with Astoria. But our Scorpius for a year was Will and it was difficult to love the character the way everyone else does. And he doesn't... have the same depth as Albus? We get to know Albus intimately well, but Scorpius is so much more simple as a character, which I think is what people find so appealing? He’s easier for the audience and fans to project themselves onto.

Scorpius does have an arc around his sense of bravery and self worth outside of his family name and his friendship with Albus. And I think Nyx plays that exceptionally well. But it's still... not a challenge to me? I just don't feel excited about scenes from Scorpius' POV. He's a fantastic audience surrogate and I love finding ways to thread his characterisation back to his mum, but that's all there is for me. And sometimes it's just? boring? Characters like Scorpius are so common and vastly popular in fandoms and I totally understand the appeal - and I have learned to love the character since Will left - but I still feel the same way whenever I sit down and try to write him.

20.  What’s your favorite minor character you’ve written?

Probably Teddy or Neville? Teddy appeared in “if it’s time to go, why do you want to stay” and he was in an early draft of the Kiki fic. He’s such a gorgeous character and I loved writing scenes between him and Albus. Ditto with Neville - Albus calls him “Uncle Neville” in all my fics and I just think they’d get on so well. I love the idea of Neville introducing Albus to gardening. Albus would find so much peace in it, which is exactly why Neville wanted to share it with him.

30. Tell us an idea for a longfic you want to write in the future.

The Kiki AU (”a town with an ocean view”) and the Spiritfarer AU (”the soul in the cloud dances quietly”) will both be at least more than three chapters! They just keep getting longer and longer oops 😂 "a town with an ocean view is based on Kiki's Delivery Service - with Albus as Kiki and Scorpius as Tombo. "the soul in the cloud dances quietly" is based on the video game Spiritfarer, with Albus as Stella (the spiritfarer) and Scorpius as a spirit he finds, lost and without any memories of who he is. They sail together and try to recover Scorpius' memories.

a fun fanfic writing ask game! send me a number ❤️

[littlehollyleaf]

(I had a really long, detailed version of this....... but Tumblr ate it D’: so this is... heavily abridged, sorry!)

Tagged by the ever lovely @castiel-saved-me-from-myself​ <3

pick 10 ships without reading the questions

Interesting... ok!

1. Dean/Cas (obviously)

2. Aziraphale/Crowley

3. Nygmobblepot

4. Foxma

5. Babitha

6. Amy/Rory

7. Nomi/Amanita

8. Eve/Flynn

9. Catradora

10. Cosima/Delphine

1. Do you remember the episode/scene/chapter that you first started shipping 6?

I think I started shipping Amy/Rory during the Venice fish monster ep - cos that was when I felt Amy really did love him back and they had a future together. Before I suspected that her running away with the Doctor was a sign she and Rory weren’t right for each other.

2. Have you ever read a FanFiction about 2?

Only read a handful of Ineffable fic. Overall I’m perfectly happy with the canon alone.

3. Has a picture of 4 ever been your screen saver/profile picture/tumblr?

Yes I’ve had Foxma themed phone backgrounds and a tumblr header :)

4. If 7 were to suddenly break-up today, what would your reaction be?

Disbelief and disapproval. Nomi and Amanita were one of the great constants of Sense8 for me. I think a break up would be out of character for them tbh. Plus it would be denying the black and trans characters a rare example of a happy ending, which would suck.

5. Why is 1 so important?

I wrote such a detailed thing about how DeanCas is not only important to me personally but also how I feel it’s been important for TV/media in general... ugh, tumblr!

In a nutshell - this ship helped me better myself in various ways. It introduced me to fandom,  which boosted my confidence and independence via increased socialisation; it encouraged me to write more, which improved my writing skills; meta discussions educated me on lots of issues, inc. but not limited to abuse, sexuality, gender identit, autism and racism.

I also genuinely believe that the loud and open fandom support of the ship has been a significant help in the ongoing battle for more and better queer rep in media.

6. Is 9 a funny ship or a serious ship?

Serious! Catra and Adora’s relationship is a core part of the whole show, relating to lots of the wider themes of abuse, toxic behaviour, growth and forgiveness. Plus the significance of a same sex romance involving the lead character in a CHILDREN’S CARTOON really cannot be overstated.

(but it is also cute and funny sometimes :p)

7. Out of all of the ships listed, which ship has the most chemistry?

I’ve spoken before about having issues with the concept of ‘chemistry.’ If I ship characters it’s usually because I find the combination of their characterisation and story arcs interesting/compelling. I often don’t notice (or I guess care about?) chemistry.

So I think I’m not qualified to answer this one.

8. Out of all of your ships listed, which ship has the strongest bond?

Agreeing with @castiel-saved-me-from-myself​ here - you can’t really beat the Ineffables millenia long romance :)

9. How many times have you read/watched 8’s fandom?

I’ve rewatched The Librarians 2 or 3 times now. It’s DAFT. But it’s fun. And Eve and Flynn make me feel warm and fuzzy.

10. Which ship has lasted the longest?

Again, as @castiel-saved-me-from-myself​ said - it’s gotta be the Ineffables, both within AND outside of the story, since Good Omens was originally published over 30 years ago and the Zira/Crowley shippers have been going strong all that time. Otherwise it’s DeanCas.

(though idk if Catradora was a ship back when the original She Ra cartoon was airing, or when the original cartoon was made, so it’s possible that is also a contender!)

11. How many times, if ever, has 2 broken up?

Lol at @castiel-saved-me-from-myself​ for getting Nygmob for this one, as their relationship is, like, 90% break up :P

For the Ineffables though it’s basically just the once - when Zira chooses Heaven over Crowley. Not made such a Big Deal in the book IIRC, but in the show it’s the infamous Bandstand Break Up scene.

All other separations are only minor, temporary squabbles imo. Which is what makes the Bandstand scene so PAINFULLY, BEAUTIFULLY, ANGSTY AND EMOTIONAL and why I love it so! 

12. If the world was suddenly thrust into a zombie apocalypse, which ship would make it out alive, 2 or 8?

I figure angels and demons probably can’t be killed by zombies, so the Ineffables are the most likely.

But Eve and Flynn did actually face off against zombie-ghost things in an alt universe during a whole Loom of Fate plot and survived, so I think they’d probably also make it.

13. Did 5 ever have to hide their relationship for any reason?

No, Babs and Tabs were always open about being together, even when Tabs was also in a relationship with Butch.

I might argue they hid the depth of their feelings for each other though, even from themselves, and instead made out what they had together was just a casual ‘friends with benefits’ type thing.

Though Tabs did hide things a little when she sent assassins after Jim cos she blamed him for putting Babs in a coma. She clearly knew her brother would disappprove, which is why she didn’t tell him what she was doing. I guess that kinda counts as hiding her relationship with Babs? She was trying to conceal how much Babs mattered to her?

14. Is 4 still together?

Lol, Foxma were never together (ALAS!). But the show did end with their lingering fondness for each other intact I think.

15. Is 3 canon?

Is Nygmobblepot canon? Rather a touchy question for the fandom tbh.

If we are talking EXPLICIT canon - then no. 

They never got a kiss or a MUTUAL love declaration (and they had a controversial ‘we’re brothers’ exchange in the penultimate episode) - ergo there is not enough, imo, to say they ended the show officially romantically involved.

However, Ozzie DID EXPLICITLY DECLARE HIS ROMANTIC LOVE for Ed, and that was never rescinded. There is also LOTS OF SUBTEXT floating around Ed to imply he reciprocates. Plus they did end the show together as clear Partners in Crime.

So is Nygmob subtextual canon?

I would say yes.

But explicit, CANON canon?

A frustrating no that fandom remains, understandably, critical about.

16. If all 10 ships were put into a couple’s Hunger Games, which couple would win?

I think a toss up between Nygmob and Babitha - because everyone else has too many morals that would hold them back from killing :p

(and since Ed and Oz have both bested Babs and Tabs in the past I lean towards them... but it would depend on when in Gotham canon the games were happening!)

17. Has anybody ever tried to sabotage 10’s ship?

Breaking up Cosima and Delphine was a LITERAL PLOT POINT of Orphan Black at one point, so very much yes! I forget the details (the show got very twisty, with lots of different organisations working on different agendas in the shadows), but I’m pretty sure Delphine was shot because she was protecting Cosima. I remember it BROKE MY HEART and I thought it was a casebook example of Bury Your Gays. But, spoiler: it wasn’t ;)

18. Which ship would you defend to the death and beyond?

Going with DeanCas, because I think that, historically, it’s the one that’s been in most need of defending.

19. Do you spend hours a day going through 1’s tumblr page?

Not anymore I’m afraid. Though 3 or so years ago I used to spend most of my free time on DeanCas and spn meta. Ah, nostalgia.

20. If an evil witch descended from the sky and told you that you had to pick one of the ten ships to break up forever or else she´d break them all forever, which ship would you sink?

Foxma. Because while I adore the idea of a messy, confused ~something between them, in my heart I know that Foxy deserves better :P

I was too tired to bother with tagging the first time I completed this - DEF not gonna bother now!

Play if you want - it’s fun :D

[helisol]

ye s, well

it basically came to me like a prophet receiving a vision from an angry god. you know. like brian david gilberts video ideas but with more slow burn.

no really i wrote all this down in my phone’s note app because some nearly coherent things popped up in my head every time i was on the train or bus these last few days.

(after-actually-writing-this disclaimer/note: this is 2000 words of slightly edited rambling about Bagginshield in the Afterlife. i had to put it in a read more.)

so the gist of it

the botfa goes just as in the movie with minor details altered. like bilbo kissing thorin just before he dies which inadvertently causes a ripple in time and space that makes the valar curious of them both. you know. minor stuff.

so bilbo goes back to the shire, the war of the ring goes down, and the hobbit/elf gang sails to valinor at the end. classic stuff, not much alternating of universes here.

but here’s where things turn into the “my city now” meme because DUDE DO I HAVE A LOT OF THOUGHTS ABOUT VALINOR AND HOW THE AFTERLIFE WORKS

like, I’m sorry mister jolkien rolkien tolkien, but just putting people into a hall to await being judged like a hospital waiting room? snooze, that’s boring!

so first of all, and you can fight me on this, Yavanna Made The Hobbits And You Can’t Change My Mind.

it just makes sense for her to have been very saddened by the destruction of literally all her work on arda through melkor’s poison, so she made living, growing things that could protect themselves from harm. as opposed to the ents, by the way, which were made by Eru to protect all the other living, growing things. it was a nice gesture of Eru to make those, but not quite what Yavanna wanted or had in mind, i imagine.

as with the dwarves, Eru wasn’t all happy about the existence of another race he didn’t make but you know, whatever, ‘I’ll just let this married couple have their own kids aside from mine, it’s okay’.

so he hands both the dwarves and the hobbits independent thought and free will, but under the condition (and here is where the afterlife stuff comes into play) that Aule and Yavanna be responsible for their mortal creations after their death. meaning that both races have seperate afterlives from the halls of mandos, MEANING THAT ITS COMPLETELY FINE FOR AULE AND YAVANNA TO BE LIKE “oh look honey, these two are so very in love and remind me of us, shan’t we do something about that?”

so. they do something about that. more precisely, they rearrange their afterlife-realms so they’re next to each other and someone with enough willpower could cross through the barrier. because listen, they’re valar, they can do whatever they want just for kicks.

okay so after that tangent lets get back to the meat of the matter: gay dwarves. I know not everyone has read Sansukh, a 500k word mammoth of a fic, and I don’t really intend to copy any of det’s canon, but their version of The Halls of Mahal really inspired me. basically the dwarven afterlife is one big hunk of a mountain/underground city where they’re free to live their days until dagor dagorath doing what they do best in the company of their families and friends; like smithing, crafting, building and other JustDwarrowThings.

meanwhile the hobbit afterlife is Basically The Shire and instead of being given the materials to build things, all the hobbits who go there get to grow plants and do their gardening. they don’t have to- just like none of the dwarves have to craft stuff- since there’s always enough food for everyone, but they are just allowed to do what they do best if they so desire.

now when Bilbo arrived in the undying lands he was still Old As Hell and im sorry to put it this way, he definitely kicked the can after like, a week of living there. not really so undying, them lands, huh. anyway Bilbo bites the dust and LOOK AT THAT he’s suddenly young again, and another LOOK AT THAT he’s standing in a very comfy, but Not Quite Bag End hobbit hole that has a note hung up on the front door. you wouldn’t think gods could have handwriting but hey, again, they’re gods they can do whatever. the note just tells him that yavannah made this place special and just for Bilbo but that there’s another home waiting for him. very cryptic there, lady. he doesn’t leave at first because hey, his family is here. there’s a lot of reunions and celebrating and food because its the fucking hobbit afterlife, what else would you expect

it takes him a few days of Regular Hobbit Life in his new home to realise ‘holy shit, this is so boring’ so what does a Fool of a Took do when things get boring and there’s a note urging him to do something?

HE’S GOING ON AN ADVENTURE

so Bilbo runs through the whole not-shire, meeting all sorts of people he outlived on the way (looking at you, Lobelia), as well as some elves. because elves can definitely just waltz through all the afterlives. they can walk on top of snow, you think they wouldn’t walk around wherever they please in valinor? rip to mankind, but they’re different.

he gets to the furthest reaches of it eventually, and lo and behold, what awaits him but the view of a tall mountain, an invisible barrier and a very flustered Thorin who is at his wits end as to how Bilbo even got here.

now for thorin’s part of the story we’ll have to start after the botfa again. he basically woke up in the darkness like an episode of naked and afraid, and started talking to Aule. his maker, who loves him to bits by the way since he made thorin, just tells him he’s free to go wherever his heart takes him. again with the cryptic messages from the gods.

so thorin, still very self-loathing and bitter because of his actions right before his death, sees this as Mahal’s way of saying ‘please don’t step foot in my halls u disgusting litle creacher’, when really he just meant ‘please do some well deserved self reflecting and then come inside to be with your family, they all miss you terribly’.

after his chat with the maker thorin just spawns in right at the front gate of the mountain and he has a choice to make. go inside or stay outside. and we all know Thorin’s proclivity for drama so he basically spends LITERAL YEARS just living in self imposed solitary confinement.

oh also tiny hc here, thorin was said to have taken “any work offered to him in the towns of men”, and they showed him in a smithy, but personally I believe they meant it when they said “any kind of work”. so basically thorin is a jack of all trades, master of some. he definitely has master-level skills in certain areas though, enough to build a vaguely hobbit-hole shaped house. why is it hobbit hole shaped?

oh right, the part where Thorin is absolutely enamoured with Bilbo.

"Go back to your books and your armchair, plant your trees, watch them grow. If more of us valued food and cheer and song above hoarded gold, it would be a merrier world.”- HELLO? GAY POLICE? I’D LIKE TO REPORT A CASE OF ‘DWARF KING REALISING THAT THE HOBBIT WAY OF LIVING IS A REALLY GREAT ONE IN CONCEPT / WISHING HE COULD HAVE HAD THAT KIND OF LIFE WITH BILBO’

anyway it’s a long 80 years until Thorin does get to meet Bilbo again, and in the meantime we have one of my favorite additions to any Hobbit fanfic ever: Frerin

For the uninitiated, Frerin is Thorin’s brother. They also have a sister, Dís, but Tolkien never specified when she died and she was a bit younger than Thorin and Frerin so I reckon she’d still be alive as an old dwarf lady somewhere?

Anyway, Frerin. Oh boy. Sansukh, again, does an excellent job at turning Frerin into a character with a level of authenticity that gets real fucking close to Genuine Tolkien™, so most of my own characterisation of Frerin is based on that in Sansukh. With the important omission of the dwarves not being able to see the present/their still alive loved ones in middle earth through a magic mirror pool.

so Frerin takes it upon himself to leave the mountain in search of his brother because he really does want him back. but also because Mahal has had it with Thorin’s antics and suggests Frerin fetch him so he can finally reunite with his family. Mahal doesn’t talk to the dwarves a lot because he’s like an awkward and distant dad, but he does actually speak to them.

so Thorin is supposed to go see his family, which he does, but not immediately. it takes like, a solid year of just brotherly (and sister-sonly) companionship for him to open up about all his anxieties and regrets and THEN he goes into the mountain to cry in his mother’s lap. as you do.

however Thorin still feels like he doesn’t 100% belong with the other dwarves in there, so he frequently spends long stretches of time outside, building away at his house, thinking about Bilbo. the company goes out to visit him sometimes.

more details on the house tho, cuz it’s Important; it’s built halfway into a hill near the mountain, like a proper hobbit hole would be, but the lower levels are built into stone. look, he’s had 80 years to work on constructing this. it’s near perfect in every way for both hobbit and dwarf standards and could definitely fit the entire company and more inside.

now about the barrier. elves can pass through without a second thought because they’re shiny little bastards who just get to do all the cool stuff, but the other races can’t just hop between realms like that; they really have to muster up the willpower. which usually means they can’t do it because a drawback for both dwarves and hobbits is that they favor isolation from other races even in death, and as such don’t want to mingle with each other.

unless you’re Bilbo Badass Baggins though, who simply runs through the barrier to yell at Thorin for leaving him sad and alone for 80 years. he is that bitch.

there’s gonna be some legolas and gimli shenanigans if i can fit them in (cuz i dont know when exactly they sailed west together), possibly a mention of tauriel because bruh peter jackson did us dirty by not giving her any closure besides ‘lol i guess she’s banished from mirkwood??’ and Mairon. because. I also have some thoughts about him.

also Fili and Kili as pseudo matchmakers because every fic needs that

and did I mention there’s gonna be hozier lyrics for chapter titles

i said this was the gist of it but i somehow ended up at ~1900 words. well, more power to me.

[everyone-needs-a-hoopoe]

What was it that you didn't like about Amnesty?

oh thank you for asking!!! i was Musing late last night so i will share all my thoughts with you... i’ll start with the Big Nasty, move onto story criticism and finish with the stuff i really loved end up tying criticism and praise together because everything i liked came with a “but” regrettably. though its overall quality really suffered for its flaws, i’d still recommend amnesty even though i think i prefer balance.

(spoilers, duh!)

so... i don’t know what made justin drop all his brain cells and decide duck should date his teacher, who was already centuries old when she met him on the day of his eighteenth birthday. like, she met him when he was a teenager and she was at the very least already a middle-aged woman. she literally watched him grow up. even if that weren’t the case, you can’t just suddenly decide you’re on equal terms with someone who’s been your teacher for over half your life. it was seriously, deeply disturbing and it’s all the more disturbing that such a large chunk of the fandom thinks it’s “haha one of the only m/f ships i respect” and the same as magnus and julia’s relationship. 

that plus the treatment of cops in amnesty was a real “the mcelroys are four straight white men” reality check. i can kind of tolerate the cops thing just because a couple of years ago i wouldn’t have found anything wrong with it either, but ducknerva was just genuinely disgusting. they all should’ve known better.

as a much more minor gripe, i am pretty frustrated that griffin still can’t wrap his head around having more than one single nonbinary character per story. i do love hollis though and i think they’re cute with keith. a little iffy on his only nonbinary character being a gang leader, but i think they’re so reasonable and ultimately heroic that it’s not as big of a problem as it could’ve been.

onto narrative criticism: minerva’s ending made me pretty sad for her, too. she’s been alone for centuries, only able to talk to one or two people, and now she follows duck to a place where it’s effectively the same. it’s good for duck to be there, but for minerva that was an awful choice, and it did her a serious disservice.

speaking of disservices to characters, ned’s death would’ve worked better narratively if they hadn’t tried to replace him with thacker. if the pine guard was down to two you would really feel his absence, and the others would’ve had so much more opportunity to work through their feelings about him and dwell on what he meant to them. obviously, on top of meaning clint would have to sign off for the rest of the show which wouldn’t have been any fun for him, the mcelroys have a lot of trauma around death which would’ve made it no fun for any of them to do that. 

it would’ve been better not to kill ned at all. it didn’t make any sense that aubrey didn’t try to revive him when it’d already been established she could do that, but it also didn’t make any sense that a mixed success killed him in the first place. it was just very contrived and while the death scene was very well done it just didn’t work for the story.

and god, poor thacker. his relationship with mama was fucking delightful, his concept was awesome, they really did put in the effort to characterise him, and it didn’t work at all. there’s a reason it’s very firm writing advice to not introduce new characters more than a third of the way through the story; poor thacker embodies it. he was so good and i feel absolutely nothing for him. you did your best clint i salute you

the gulf between amnesty’s concepts and its characters is one of my biggest criticisms of it. the quell and sylvain, reconciliation, the horror elements, they were all fantastically done, and they feel a bit like they’re just concepts hovering in a void. hell, i think i like the pine guard as characters better than tres horny boys, but ironically the focus on storytelling over gameplay in amnesty made the world feel so much less unified than the world of balance. (doubly ironic considering the theme of bonds in balance??) 

i don’t feel like the pine guard had enough relationship with each other, and i don’t feel like they had relationships with the world around them. i want to love danaubrey with the passion of a thousand burning suns but, despite travis deliberately seeking out scenes with dani... i just didn’t really feel it and that sucks. again, the concepts of dani’s arc were really cool, but her execution as a character just didn’t happen. 

as my final note of criticism, a more fandom-oriented gripe: sternclay kind of annoys me. just from my quick sift through the tag yesterday i found it’s far far far more popular than danaubrey when stern’s character is nil and their chemistry nonexistent. like, it’s fine to have preferences and all, but m/m ships with minimal chemistry or presence in the story being infinitely more popular than canon f/f ships is a pattern i’ve seen repeated across countless fandoms and it’s exhausting. also fuck the fbi, stern’s cop ass does not have rights

anyway, to finish off with some things i liked that don’t have a “but” tacked on!  

i’m soooo deeply in love with the motifs of terrifying technology, the beauty of uncorrupted nature, and the horror of nature corrupted. griffin really nailed those. the imagery of all that in amnesty is something i like about it more than balance. 

sylvain and the quell are also one of my favourite things ever. entropy and creation portrayed not as enemies but as deeply in love with each other? that’s so fucking cool!!!! i’m really delighted by the quell taking the form of a sylph to reflect while its forces aren’t needed, too - it’s a really cool character concept and one that was executed well to boot.

reconciliation also was so fascinating and heartbreaking and horrifying and i loved every aspect of it. so fucking cool. i love explorations of well-intentioned evil, of calm and friendly and loving things that are just so unforgivably vile nonetheless. i love the exploration of preventative justice and how flawed and awful it is despite how it might sound good in theory. it was just so well done

i also love billy and i’m so glad he got a second chance - as heartbreaking as his death scene was, it also frustrated me that he’d never been checked in on before it, so his revival and his chance to reflect on what he’d done and try to make up for it was really, really good. 

and that’s my thoughts overall! if anyone has any good amnesty meta i’d love to read it and see other people’s thoughts too

[bellamygateoldblog]

the 100 ofc!

— this gets a little rant-y and may or may not be coherent- currently pulling an all-nighter and it’s literally 5am- that’s it. That’s my excuse.

all time favourite character

IDK man IDK…I wanna say Jasper, maybe Raven

a character I didn’t used to like but do now

I’ll stick Octavia in this one. I actually did like her at first, then i didn’t then i did then i didn’t then i

a character i used to like but now don’t

[ insert every single character here ] Clarke and Bellamy. Clarke lost me very early season 3 and Bellamy is dead to me as of season 6. I’m throwing Miller in here- when he was that delinquent that wears the beanie I could go for that, but now i’m just straight up annoyed by his presence and want him to go away forever. My reluctant liking of Abby turned sour pretty fast, too. Arming a group of children and sending them out into a warzone to find your daughter, then abandoning them once she’s back is really SOMETHING. And hitting Raven while she’s acting Chancellor…i should beat your ass, Abby

a character i’m indifferent about

Wells: poor treatment of MoC and very valid anger aside, truely I don’t see the facination and borderline obsession fandom has with the character himself- he barely existed. Are you all in love with the idea of him, rather? Or the guy from the book? He was literally in this thing for three episodes, we never actually knew him, nor was he even given the chance to develop or have any sort of story. I see so so much hate about Echo and her lack of development and yet in the same breath y’all are talking about missing Wells and oh what a wonderful character he was. Spare me. He was a character full to the brim with potential and unfortunately that’s all he’ll ever be.

Anya and Lexa, too. I don’t really have opinions formed on either of them, nor do I really care to

a character who deserved better

I mean with that minor Wells rant aside and half a step into my hypocrisy boots…Wells did. Lol. I think he absolutely deserved better than to be killed off in order to push a white woman’s story forwards. I think he deserved better than to have been all about Clarke, his entire character about serving her character, even in death. This show has a history of criminally underusing/sideling/killing their most compelling characters, i think Wells would’ve been such a fun addition to the main band, i wonder how his personality would’ve expanded, what could his arcs have looked like? i think about how his dynamics would form and fair, what might he think of Clarke now?

Jasper deserved better than to have become a nihilist’s wet dream. I have mixed feelings about the whole thing, i really do. The creators, some of the fans even, chat about how it’s a gritty reality, sometimes it’s just Like That, and in some ways that’s absolutely right, but in a show of such loss to have this bleak ending for a character like this is just…a bit of an overkill? What’s wrong with hopeful endings? I mean we literally already had a similar scenario occur with Luna a mere episode(s) before. A woman who strives for nothing more than peace loses her faith in humanity and so fights for death. Why they felt the need to kick a dead horse by doing the same thing with Jasper is beyond me.

Listen many character have demonstrated suicidal tendancies at some point or another: Clarke, Murphy, Bellamy, Octavia, Harper and so on, but Jasper is the only one that gets the actual suicide? The character who’s canon mental illness has been more on the explicit and expressed side, the first victim of the ground, the very character who we’ve watched struggle his way through four seasons with an inconsistent or otherwise absent support system, his story ended with suicide. It’s devastating and, frankly, disrespectful. As if he was too far gone to find his way back into the light.

We saw clearly Monty’s reactions to Jasper’s death, but we didn’t see him grieve- he was busy rushing to survive the end of the world. This show loves sidestepping the consiquences of big events they write- there’s always a new threat to face which means everyone gets to move on abnormally quickly. Nobody asked about Jasper in Becca’s lab, we never actually saw anyone except for Clarke find out about this, nobody in the bunker either, not Octavia, and no mentions of Jasper in season five besides Monty begging him to be wrong about humanity. This show isn’t great with handling their deceased either. They want to focus on a fresh plot and not be stuck dragging around that dead weight. Finn isn’t mentioned in relation to Raven despite his importance to her story and of the fact this specific death shook the whole show. Wells’ has been removed from memory despite Clarke being the protagonist who we should know most intimately. I feel most detached from her, honestly. We’ve had a fair amount of Lincoln, though, and a consistantly aggressive reaffirmal of Lexa’s existence. But Jasper just isn’t here. He isn’t talked about. Jasper suffered, and Monty was right there in front of him trying to hand him that peaceful life he always dreamed of, ready to lift him (literally) out of that pain, and he died. Harper got to change her mind last minute, so did Raven, but not Jasper, no, his body went up in flames with the rest of it. The way they filmed the scene was gut-wrenching because of the hopelessness and coldness of it all. And i think he deserved to be spacekru, to heal somewhat up there, and oh what fun would he have been in season five. What would he be like now? What would he think of what became of everyone else? Of Clarke and of Octavia? Again, such wasted potential.

Jasper was one of The 100 on a show named after them, his death brought that to 4, and i can’t emphasise to you enough how big a mistake it was to craft a show around a certain group of people and then abandon that idea entirely. Your show is named something that it isn’t even about!!

Lexa deserved a more respectful death.

Bellamy deserved better than to be murdered brutally by the writers during season 6.

a ship i’ve never been able to get into

Bellarke. Braven. Murven. Clexa. Wicken/Ravick(?). Octabriel. Kabby

a ship i’ve never been able to get over

Becho. Memori. Jasper and Octavia were very sweet

a cute, low-key ship

Linctavia. It was always more of a background ‘ship’ for me. And Marper!

an unpopular ship but i still enjoyed it

Becho and Murphamy

a ship that was totally wrong and never should’ve happened

Flarke

my favourite storyline/moment

favourite storyline(s): delinquents finding a way to live on the ground and mount weather!

Favourite moment: i don’t think i have one TBH

my first thoughts on the show

It was exactly what i was looking for; a post-apoc teen drama, a little corny, a little gritty. I enjoyed season 1, and then 2, but with the constantly rising stakes to absolutely obscene levels eventually, my interest dwindled. By season 4 there was an almost desolate feeling and all the potential this had was dead and buried. They could’ve gone so many ways, done so much more, but for reasons unknown they chose possibly the weirdest and least interesting route available. I really thought they’d exhausted all their story by the end of 4 and i was, of course, absolutely correct since s5 was…more of the same…a literal recycled storyline that had been done not once but twice before it. In season 1 and then again in season 2. Since joining tumblr and fandom and seeing things from a various new angles, reading of social implications and meta on how sections of the writing are flawed, i’ve crafted a more informed and complex opinion than i had as a casual viewer and now see most aspects of the show in a completely different light.

my thoughts now

I’m over it. I think it could be safe to say i hate what it became. Most of my opinions of it now are negative, or at the very least have a critical component to them. I haven’t genuienly enjoyed it since season four and it hasn’t been actually decent since season two. It has a lot of deeper issues engrained into it’s writing, and there was a before when you could criticise those choices and obvious flaws and still be able to enjoy the show as it’s own entity because it existed as one at that time. But now it feels like an empty shell void of all life. With how broken and goofy the writing has become i just can’t take it seriously anymore. Characterisation and consistency have been thrown out in favour of serving the plot many many times before, but season 6 brought this to a whole new low. Dialogue was clumsy and there was a LOT of information dumping, it focused much too heavily on new characters nobody cared about, things were swinging from one extreme to another in terms of character arcs (see: Octavia’s full redemption and transformation basically overnight, and Bellamy switching from set to commit genocide in Clarke’s honour and ‘[we let these people die because] it’s not my fault their delusional’ to ‘let’s do better for Monty i am suddenly King of morality’) and in relationships (see: Bellamy instantly forgiving Clarke and then abandoning everyone and everything to save her, meanwhile he’s demonising Octavia like he’s getting paid for it). The characters just aren’t people anymore, they’re wheels that move the plot forward (in any way that’s required regardless of whether or not it’s actually in line with canon), and let’s not even talk about the science that pushes the envelope too far and Clarke’s insane plot armour. I’ve beaten this rant to death at this point so I won’t get any more into it. But just know: what was once a genuine fondness of this show has turned poisonous since.

[hashtagartistlife]

Thoughts TM on the Live Action (hard spoilers ahead. Also, warning: it’s long.):

- Firstly, the casting. The absolute Best casting decision in this whole movie, visuals-and-acting-wise, is Isshin hands down. He LOOKS like Isshin, he ACTS like Isshin-- actually, Movie!Isshin > Manga!Isshin. They toned down the goof a tiny bit, played up his love and concern for the kids, and put him in an APRON for 90% of his screentime and made him the homemaker. (A++++ MOVE, WHY THE HELL WAS YUZU COOKING FOR EVERYBODY AT THE AGE OF NINE. BAD DECISION KUBO).

- Second best casting decision is Kuchiki Rukia. I remember when her stills first came out I wasn’t 100% on this casting because sure she was gorgeous but she looked????? SO YOUNG????? but guys, she nailed it. NAILED IT. Hana Sugisaki based goddess and if u aren’t her fan now you will be by the time the movie ends.

- Sota Fukushi as Ichigo.... hm. Given that my only criteria when drawing Ichigo is to make him as hot as humanly possible, it was 100% guaranteed that any actor they put up for the role would fall short of my visual expectations from an Ichigo. NGL there are more good looking men out there than Sota Fukushi but to quote both Ro and I from our rabb.it chat during the movie...... sota fukushi hard smash 

(- ok but a serious dilemma: are we attracted to him because he’s attractive, or because he’s playing ichigo and ichigo’s attractive????

-also, chad’s actor hard smash as well)

- SPEAKING of Chad.... he had. Minimal role in the movie but I love that they showed a bit of his bromance with Ichigo. It was always such a cute friendship and they did it justice with what little they showed! Anyway, I like his casting and Orihime’s too, visually speaking. 

- The other casts were fine. Not !!!! worthy but like not terrible casting either. Honestly I feel like Miyavi as Byakuya could have really worked if they hadn’t given him that... AWFUL hair. The hair is even more awful in the movie than it is in the still cuts. Believe it. 

- A final note on the casting... I really hated noticing this but Orihime’s actress? Erina Mano? Looks a LOT like the actress they cast for Masaki and i hate noticing it but I did. But it’s not time for the ir tea/ih salt yet that comes later

- Secondly: Characterisation. Overall decent, but you can really tell that like... they spent the most amount of care on getting the central IR dynamic right and sorta just went ‘lol that’s good enough’ for the others. It’s almost like they spent all of their characterisation budget on IR and had minimal left over to spare for minor characters (e.g: Orihime). You’ll see what I mean.

- Once again, hands down best characterisation in the whole movie is Isshin and Rukia. Isshin’s bodily comedy with Ichigo was done SO realistically, in a way that’s funny and not too over-the-top. The way they kept playing off each other as slightly overbearing father and moody teenage son was FANTASTIC. And one of the moments that had me MOST emotional in this movie was when Isshin was shown by Ichigo’s bedside, taking care of him while he’s recovering from injuries. Ichigo, upon waking from a dream of his mum, asks Isshin if he ever dreams of her. Isshin’s answer? ‘Every night’. EVERY NIGHT, MOTHERFUCKER. GOD I was never a hard isshimassa stan but this movie got me FEELING things for them 

- Hana’s interpretation of Rukia is FANTASTIC. Unbelievably spot on. The emotional unavailability, her rigid initial adherence to what she believes is the shinigami code, the adorable naivete re: human world customs, the way she steamrollers over Ichigo, the way that, no matter how hard she tries to be aloof, she can’t hide the fact that she cares. She cares so much. And honestly, if there’s one thing this movie does well, it’s how they managed to get those manga-panel comic violence situations to translate so well to reality. Isshin-on-Ichigo violence translated well, and the Rukia-on-Ichigo violence translates excellently as well. Their little bickering scenes play out EXACTLY how I, at least, imagined them to go, and I couldn’t be happier about it. Also, I honestly think her looking really young works to her advantage, because it really gives you a sense of like… how bemused Ichigo must be by this whole situation. My predominant thought every time hana is on screen is SHE’S SO CUTE AND LOVELY I CAN’T DEAL WITH IT, except this tiny girl who you can only think of as ‘cute’ is like…. Bossing you around and beating your ass with a sword and instilling fucking philosophy lessons in you. It’s so surreal? And if it’s surreal for US then just imagine how surreal it must be for Ichigo.

- Sota’s Ichigo.... once again, hmm. His ‘trying to be cool’ acting (i.e. during the fight scenes) was cringey, but I can’t tell if that’s his acting skill or just the fact that what looks ‘cool’ on manga panels inVARIABLY look cringey in real life. Probably the latter. And I think he’s a LITTLE too growly for my taste, but then again, I’m used to post-timeskip Ichigo who’s a bit more... low-key cynical rather than prickly. Initial Ichigo was pretty abrasive, so I guess that’s in-character. Also, his most-said line of dialogue in this movie is ‘HAH??’ which is hilarious and very in-character. Honestly, Hana as Rukia is straight up excellent for the whole duration of the movie but I definitely think Sota shone MOST when he was acting in combination with Isshin or Rukia. Whatever I think about his individual acting skills, he definitely had chemistry with those actors in terms of dynamics.

- Guys, the IR in this is fantastic. Brilliant. Like I said, their bickering plays out to a TEE how I imagined things to go. Literally cannot fault their bickering. Their soft heartfelt moments are SO GOOD too. And they were all shot so…. Intimately? Their softer scenes were shot with such heartbreaking tenderness and I just….. ugh. Hana Sugisaki REALLY brought her acting A-game. ALSO THE WAY LITERALLY EVERYONE THINKS THEY’RE DATING??? RENJI SHOWS UP AND IS LIKE ‘OOPS I THINK I KILLED YOUR BOYFRIEND’ TO RUKIA. RENJI SAYS THAT. BYAKUYA THINKS SHE’S TOO ‘EMOTIONALLY INVOLVED’. Not to even mention Keigo and Tatsuki and Orihime……. God. Absolutely unbelievable.

- Now, if I was being picky and HAD to talk about a few gripes…. Let’s see. It takes Ichigo more time to warm up to Rukia than in canon, and he’s more of an asshole to her in this time period too. But y’know, that’s a very minor gripe. The other teeny tiny gripe I have about the IR is like…. A gripe but also not a gripe at the same time lmfao. OK so at the end when Renji and Byakuya are trying to take Rukia away, Ichigo plants himself in front of Rukia and says ‘I’m going to protect you’ and he repeats this multiple times in the fight, which, yes, extremely shippy, I’m going to die on the pavement et al, but also… this might be a weird gripe for some, because the ir dynamic has always been them protecting and saving each other. But not in so many words? It’s always been a very equal protection dynamic, partly because Rukia won’t LET him be her protector. I subscribe to the meta that this is precisely why she’s good for Ichigo. It’s also what drives him up the wall, because WHY WON’T SHE LET HIM KEEP HER SAFE, but it’s the fact that Rukia REFUSES to be one of his ‘protected people’, the fact that Rukia DEMANDS equal footing to him, that quashes down the more destructive aspects of his will to protect. But yeah, I feel like that line – ‘I’m going to protect you/her’, repeated multiple times—sort of erases the inherent equality in their dynamic and puts Rukia in the ‘protected’ pile. But that’s just because the movie didn’t have enough time for the rest of the arc. Look honestly the ir in the movie is FINE. The only reason I’m even bringing this up is because I have the manga version to compare it to, and it’s an unfair comparison to begin with because obviously the manga has so much more to work with. Overall, if you’re worried about the IR characterisation in this movie—don’t be. They hard carried the whole thing. Sota and Hana are an absolute DELIGHT to watch playing off each other. They have GREAT chemistry supported by well-shot scenes and good dialogue. 11/10 worth watching just for these two alone.

- Yuzu and Karin. Even though they changed their designs to look identical in the movie (I’m guessing for the instant visual cue of ‘oh they’re twins!’), I’m glad they kept their personalities the same. Karin is snarky as ever, Yuzu is sweet. So +1 for that. But then they made Yuzu (Karin?) say ‘Onii-chan, I’m scared’ during the fishbone D attack, rather than the canonical ‘get away, you’ll get hurt’. Which… look, fair, she’s eleven, I think that’s more realistic, but ALSO YOU JUST???? CHANGED HER WHOLE CHARACTERISATION. CAN WE PUT SOME RESPECT ON HER NAME PLEASE

- Uryuu……hmm. They made him a LITTLE more chill than he was in the manga, but he was such a dramatic character in canon already that he still comes off pretty darn dramatic in the movie. I did really like his characterisation, but he had such little screentime that I’m finding it difficult to like… do any substantial comparisons to his manga character. I’m thinking I might need a rewatch to solidify my opinions on Uryuu. But his little scene at the very end with Ichigo after they all lose their memories of Rukia is very sweet and makes me wonder about their dynamic if they hadn’t had all this quincy-shinigami bs to sort through.

- Chad was in the movie even less than Uryuu, but I have no complaints about his characterisation. Pretty accurate to manga canon.

- Guys I LOVE Keigo in this movie. ‘He died on the spot’ Iconic roast. LET KEIGO ROAST ICHIGO 2K18

- Tatsuki was eh. She wasn’t in the movie long enough for me to really have an opinion on her characterisation, and it’s unfortunate that the only part of her character they brought from manga canon was the ‘give Orihime bad advice on how to date Ichigo’ part, but whatever. It’s not technically WRONG characterisation, just not the FULL characterisation.

- Orihime…………… god, Orihime. Look you guys know that even though I have my ‘and NONE FOR ORIHIME BYE’ days, they’re mostly in jest, and I actually do appreciate her as a character. I like her, mostly! I think she’s fascinating to write about and explore! I think she deserved good things, better things than what the ending set her up for!

- But I’d strangle movie Orihime without hesitation. Bye bitch

- OK, you know how you thought anime Orihime with her constant ‘Kurosaki-kun’s was annoying??? Movie orihime was WORSE. Movie Orihime? Straight up yandere. She literally doesn’t have a single appearance where she’s not talking about Ichigo or being weirdly jealous of Ichigo and Rukia’s friendship or worrying about Ichigo in an overbearing, over-the-top way. And I’m actually really frustrated and disappointed about this, because early Karakura Orihime was ACTUALLY A GOOD CHARACTER!!!!!! Orihime, imo, is the most egregious OOC in this movie. Which is a shame, because the rest of the characterisation was actually… ok and decent

- Renji and Byakuya….. ohhhh boy. Renji and Byakuya are characterised as straight up villains for the whole movie with no redemption. There’s no nuance of them being possibly friendly and/or having concern for Rukia at all throughout the whole movie, which could be OOC depending on how you look at it, but honestly it makes sense considering this movie only covers up to chapter 56 Broken Coda and does NONE of the SS arc. Basically, their characterisations are how we would characterise them based on the one time they came to collect Rukia. They’re cold, uncaring, think humans aren’t worth anything, and that emotions are a human weakness. RENJI STRAIGHT UP SWINGS A SWORD AT AN UNARMED CIVILIAN CLOTHED RUKIA (yes I know it happened in the manga too but. It’s a lot more shocking watching it happen real-time) and also STABBED!!!! URYUU!!!!!! IN THE BACK!!! WHILE HE WASN’T DOING ANYTHING THREATENING!!! So, uh, this movie really said ‘fuck renji rights’. God I’m imagining like… if ur introduction to Bleach was through this movie, and you decided to look up how the manga ends and it’s RENRUKI and you’re like ?????????????? THE DUDE SWUNG A SWORD AT HER????? Like FORGET IH, this movie really fucking hated rr. Which… im not mad about lmfao

- Final note on characterisation: as usual, IR fucking hard carries, but what ELSE is new for this franchise. Isshin was a surprising dark horse. Overall, characterisation FINE, not OOC with one glaring exception, but sometimes because of time constraints certain characters didn’t get their FULL RANGE of characterisation.

- THIRDLY: overall technical excellence of the movie in terms of script, camera angles, choreography, CGI, etc etc

- My one line summary for this is…. It’s an anime live action adaptation. I hope ur not expecting much from this department at all

- Like, in terms of is it a GOOD movie? Lmfao. I enjoyed the hell out of it, sure, but I don’t think someone who has no idea what bleach is would a) understand what the heck is going on OR b) find the story to be well-paced and well-told. Like, I KNEW what was coming and what was going on, and even I found the movie to be a bit disjointed, kind of like old metal machinery that needs oiling to get going.

- Honestly this movie is similar to the manga in that… technically speaking it’s not great, but its strengths lie in the character arcs and the overall poetic parallels it tries to pull. It may not have been the most artistically executed, but I could tell that they really tried to put the parallel in between IR protecting each other and Masaki dying to protect Ichigo. Like, an attempt was noted! It was appreciated! Obviously they don’t do it with as much grace as the manga did but y’know, they tried!

- The script was actually really great in this movie. Bleach is a very snarky manga and the script really showcases that. Everyone shows a lot of sass. I like that. The one exception to the script being good was whenever a hollow opened its mouth to speak. They really gave the hollows dialogue like ‘I WANT YOUR SOUL’ and ‘GIVE ME YOUR SOUL’…. Like. Someone got paid for that dialogue and they really shouldn’t have.

- I honestly don’t have an opinion on the CGI. Ro kept saying that the cgi was BAD and like I guess it was, but I’m pretty lenient about CGI in general. I already know it’s going to be CGI so unless it’s BLATANTLY fake I overlook it.

- But there is this ONE SCENE of Renji going into shikai that looks so awfully fake that even I was like ‘ok no that was BAD’ so I guess CGI bad

- The choreo in the fight scenes is messy and disjointed and very cringey. I can’t believe they managed to pull manga-style comical violence in REAL LIFE and make it look believable and funny, but couldn’t choreography a decent fight scene……. Man idk. I guess they really DID spend all their budget on making IR as excellent as possible.

- Overall: technically speaking it’s a terrible movie, but will that hinder your enjoyment of it? Probably not. Watch it just for the excellent banter.

- FINALLY: Miscellaneous yelling about various scenes through 120% Ichiruki-filtered glasses.

- Guys, this movie. This movie. They really sat down and said ‘ok give them literally every single early-karakura ichiruki fanfic trope situation ever’ and that’s it, that’s the movie

- ICHIGO KEEPS LEANING DOWN RIGHT INTO RUKIA’S FACE!!!! THEY HAVE NOOOOO CONCEPT OF PERSONAL SPACE!!!! Which I guess is canon but THEY KEEP!!!!! LEANING!!!!! INTO EACH OTHER!!!! I will DIE

- The sPARRING????????? THE SPARRING?????

- Ichigo smirks while sparring her. She’s kicking his ass and goddammit, he LIKES it

- They legit made Rukia tackle Ichigo and pin him to the ground and then they made Ichigo flip them around

- And then they made ORIHIME WALK IN ON THAT

- UN!!!! BELIEVABLE!!!!!!!

- (Sidenote: they made Orihime act so weirdly jealous of that?? Like… wtf orihime. You’re not his girlfriend like she has no rights to be acting like this…. Look the Orihime characterisation in this movie is A Mess)

- They have conversations through shut closet doors while ichigo’s lying on his bed THIS APPEARS IN EVERY. SINGLE. IR EARLY KARAKURA FIC EVER IM

- Ichigo: CAN YOU GET OUT OF MY CLOSET. NO YOU CAN’T LIVE IN MY HOUSE

- Also Ichigo, the INSTANT he can’t find Rukia in his closet: WHERE IS SHE. LET ME JUST RUN AROUND IN THE DARK OUTSIDE TO FIND HER. HEY URYUU HOW DO I GET TO THE AFTERLIFE. WHAT DO YOU MEAN I CAN’T BRING HER BACK. SO WHAT IF I DO, HUH? WHAT ARE YOU GONNA DO ABOUT IT. FIGHT ME

- Also ichigo becomes so much SOFTER towards Rukia after a certain point in this movie and…. God…… I love that you can see that switch in Sota’s acting. I’m going to CRY

- OK THIS IS A VERY SHORT SCENE BUT AT ONE POINT RUKIA LANDS ON A ROOFTOP WITH AN INJURED ICHIGO AND SHE LIT. RUBS HER HANDS ALL OVER THE BARE SKIN ON HIS CHEST BC SHE’S RUBBING MEDICINE INTO HIM!!!!!! WHAT THE FUCK!!!! WHERE’S THE M-15 RATING ON THIS MOVIE BC SHE LEGIT!!! HAD HER HANDS!!!! ALL OVER HIM!!!!! Ro and I shouted abt this so much God

- The final fight is RIDICULOUS in terms of HOW MUCH ICHIGO WON’T STAY DOWN and it’s framed SO dramatically lmfao but y’know, it’s shot in a very IR light, I’ll take it

- Ro and I literally were just like IT’S THE POWER OF LOVE BITCH bc he legit just KEPT getting up it was ridiculous

- Also rukia’s final speech to ichigo after she does her whole broken coda ‘don’t touch my brother lowly human’ spiel is…. Beautiful. Fucking excellent

- ‘you’re rude and brash and I’m sick of all humans especially you’ but like. Why is this literally kate’s ’10 things I hate about you’ speech at the end of that movie

- ICHIGO DOESN’T TAKE HIS EYES OFF RUKIA THE WHOLE TIME SHE’S ERASING HIS MEMORIES. DOESN’T EVEN BLINK. THIS IS SOME EP 342 TEAS ALL OVER AGAIN. FUCK. I’M GOING TO!!!! DIE!!!

- Ok so my opinion on how they changed the end: it was necessary to tie things all up in one movie but that doesn’t mean I don’t hate the fact that ichigo ostensibly forgot rukia when in canon HE’S THE ONLY ONE THAT REMEMBERED

- I guess the final scene where he looks at her writing on his textbook and smiles could be a sort of clue that he’s starting to remember. Man idk I think I’d just feel really cheated as a viewer who isn’t coming from a bleach manga/anime background, that everyone just conveniently ‘forgot’. It’s equivalent to an ‘it was all a dream!’ kind of ending imo. It’s a copout. But at the same time I can see why it was necessary :’/

- Also, this exchange with uryuu at the end where they exchange hellos before pulling up short and going ‘wait- do I know you?’ ‘no. but good to know you’ was SO HEARTBREAKING BUT SO GOOD I REALLY DID LOVE THAT

- Whoo ok I’m SURE I’ve forgotten some details but this is already EXCESSIVELY long so. Final FINAL thoughts:

- The quality of the movie is, obviously, not great, but if you were worried about weird chara interpretations and relationships, don’t be. Unless you’re an IH/RRstan or an Orihime fan. This will not be a fun movie for you. But then again, you managed to work through 686 chapters of a manga that clearly wasn’t fun for you and seemed to be ok with it, so maybe this movie won’t bother you either.

- The script is surprisingly solid and has genuinely good, occasionally touching, snarky, sassy dialogue. Good attempts at poeticism and various parallels and callbacks.

- Ichiruki fucking hard carries, and so does isshin. I love uryuu but that may just be my uryuu bias talking.

- Objectively, maybe a 4, 5/10. Ichiruki-wise? 8/10. Obviously this was written in a high straight after the movie and like, maybe after a few days or like a rewatch or w/e my opinions may change. But rn? God I love stanning legends, viva la ichiruki fuck you

[leta-the-strange]

A far too long, fever-induced Unpopular Opinion, likely first of many, (keeping in mind that is it an opinion and not expressed at all in mean spirit): The casting/character ages in Fantastic Beasts.

Again, this is likely a wildly unpopular opinion because I’ve never come across anyone who has even touched slightly on the subject, but it is an, admittedly minor, detail that got me thinking a little. Again, in the grand scheme of things, it doesn’t matter a great deal and I’m sure I’m still going to enjoy the series either way but it’s just a personal opinion I’ve had nonetheless.

I do understand the organic nature of film and the flexibility you need to allow. Sometimes the character will be pitched or imagined as a certain age, but it doesn’t translate into film well (think LOTR or GOT, etc) or the casting directors like an actor who is obviously much younger or older so much that it trumps the desired age bracket. And most times, it is purposely done that way especially in teen-based movies and tv shows (90210, Smallville, Gossip Girl, PLL, etc, etc) which lead to wildly inaccurate expectations of what teenagers look and act like (in my high school experience anyway). Sometimes for legal and professional reasons, its more convenient to have adult actors portray younger characters. 

Often pre-imagined characters evolve and change to fit the actor that is set to portray them whether it be gender, race, age, hair colour, eye colour, relationships, characterisation, etc. Sometimes this is celebrated, goes unnoticed or is a disappointment.

I suppose what I’m trying to say is that I understand that it comes down to a matter of priorities.

Neville, Petunia and Dudley were all blondes in the books. Did it really matter that the actors weren’t (and didn’t dye their hair for the role?) IMO, nah not really. I know a lot of people still can’t forgive the ‘you have your mothers eyes’ issue. I can. Partially. Personally, I didn’t mind Harry’s signature “green as a fresh pickled toad” eyes being blue in the film because Daniel Radcliffe couldn’t wear the contacts. Only auditioning actors with green eyes, the rarest eye colour on the planet, would exclude a lot of talented actors and potentially perfect Harry’s. I don’t believe green eyes were essential to Harry’s character (but I can’t speak for everyone), I think there were more important qualities. Geraldine Somerville, who played the older Lily Potter, also had blue eyes. But then, after making a huge deal over Harry having his mothers’ eyes, they cast young Lily, with whom they do close up, full face scenes of, with big brown eyes. I’m not saying she didn’t do an excellent job – she did wonderfully. I suppose it was just a strange decision in the eyes (pun not intended) of a lot of fans that the casting of a two or so minute role precluded what seemed to be such an integral theme that had been woven through each book and movie so frequently. This is just an example of the questionable, dare I say for lack of a better word ‘lazy’, ‘just imagine for the sake of the plot that he/she…’ attitude that I get from HP/FB at times.

Getting back on the topic of age, one thing I did have a problem with in HP was James and Lily’s age. I don’t think I’m entirely alone in this. 21 seemed old when I was a wee one reading Harry Potter for the first time. It was only when I got older that I realised how young they were and how it added quite fundamentally to the tragedy of their short life and death. It was heartbreaking either way, don’t get me wrong, but seeing (an actual 21-year-old actor portraying) a 21-year-old young mother slain in the first flashback in Philosophers Stone would have been truly shocking. It would also add to the tragic aftermaths of Sirius and Remus too. However, I did later realise that this was probably due to having to match Alan Rickman’s casting as Snape, and later, Gary Oldman and David Thewlis (which I think were all fantastic in their roles). So, they sacrificed the canonical age of James and Lily for the casting of Snape and the Marauders (possibly). Whether this was something the fans agree or not, they prioritised what was most important, in their eyes, to the film. But then, after all of that, for some reason they keep James and Lily’s age of death as 21 on their gravestone??? Therefore, casting two barely-speaking roles to a 43 and 34-year-old who they expect the film going audience to believe are 21??? I assumed that when they did the full casting and knew that Alan Rickman, Gary Oldman and David Thewlis would look far too old for their long-deceased classmate counterparts they would just make the characters older in the films but now I think they wanted to keep film Snape, Remus and Sirius in their early to mid (and eventually late, by the end of the books) thirties and didn’t want it to look painfully obvious. I think a lot of films and tv shows do this to try and pull off the age differences. A 27-year-old actor portraying a ‘high school student’ can often pull it off until you stick them next to a real life 15-year-old. I like to believe it’s that or something other than lazy writing but I can’t know for sure. 

This brings us to my current thoughts about Fantastic Beasts which has some of the most wildly strange actor vs character casting age I’ve seen in some time. As a quick refresher (or if you don’t know…) here are the actors ages vs what their characters age is (if I’m not mistaken)...

 Eddie Redmayne - 36 / Newt Scamander – 29

Zoë Kravitz – 29 / Leta Lestrange - 29 (probably given that she was in the same year as Newt)

Ezra Miller – 26 / Credence Barebone - 18 (from an interview but still unconfirmed from filmmakers)

Katherine Waterston – 38 / Porpentina Goldstein - 25

Alison Sudol – 33 / Queenie Goldstein – early 20’s/hopefully not late teens (she’s younger than her 25-year-old sister so 24 at the absolute most but I’d say younger given the dynamic). I haven’t found a confirmed age anywhere.   

Dan Fogler – 42 / Jacob Kowalski – 26

Callum Turner – 28 / Theseus Scamander – 37

 Try and keep in mind that there is no mean spirit intended in my opinion on this. My opinion on the acting ability of each of these people isn’t necessarily relevant to this particular discussion though I do commend actors who can convincingly pull off different ages though I certainly can’t fault actors who can’t as there is only so much you can do sometimes. This is purely about what is most important – character or actor – and the relevance of it.

Eddie Redmayne, in my opinion, seems to have features that allow him quite an amount of leeway in terms of age. He starred in the mini series based off one of my favourite books, Pillars of the Earth (definitely an underrated series I heartily recommended) where he portrays his character as a teen all the way up to a man in his forties/fifties and, in my opinion, is quite believable. I think I have more trouble believing that Eddie Redmayne is 36 than I do believing Newt Scamander is 29/30 (as his birthday is in February, I’m assuming he is 30 during Crimes of Grindelwald) and even if that weren’t the case, I think a six-year difference at those ages can be neither here nor there with some people especially with the right clothes, mannerisms, etc...

Zoë Kravitz – hold on to your hats, a 29-year-old playing a 29-year-old. I haven’t done my in-depth research on the other actors not aforementioned, but I believe this may be the only occurrence of this happening in this film series.

Ezra Miller said that Credence was 18 in an interview. This is probably true, and I would’ve guessed around that age anyway. I think I double checked it on the characters wiki and it matched. As a side note, as a general rule I don’t tend to take the actors words as gospel truth until its confirmed by the writer or director. I feel like, in this film series, there are some actors that get maybe somewhat carried away and speculate rather a lot about their character and sometimes it isn’t entirely accurate. Of course, actors are usually allowed some creative control over their characters and often get little titbits about their past/future that help with their portrayal, but I have noticed some actors’ thoughts about their character don’t add up at all to what the filmmakers have also said and I know which side wins out. A lot of actors are shocked/surprised/disappointed/elated when they find out developments about their character - not even they always know what’s around the corner and sometimes what they think isn’t necessarily true. No matter how deserving, creative or insightful they are about their character, it doesn’t solely belong to them. I think a lot of fans forget this. They go on about ‘so and so said this’ and ‘so and so literally said…’ while blatantly disregarding anything J.K or the FB filmmakers say and again, I know which ones actually run the show. This has nothing to do with Ezra, to be honest, it’s just a quick observation I’ve noticed.  I’m so off topic! Anyway, Credence I would’ve put as a late teen/20-year-old at most from his character and I think Ezra has one of those faces that, like many, can float around in the weird young adolescence stage that you can can’t quite pinpoint whether they’re late teens or mid-twenties (I’m in university and pretty much anyone between 18-27ish is indistinguishable to me). Either way he’d be carded at the uni bar. I think if I met a modern-day Credence Barebone I wouldn’t think twice if he told me he was 18.

Katherine Waterston is the one I am most anxious writing about and the one I’m sure a lot of people are cocked and ready to come after me about. She’s probably also one of my two biggest irks with the age issue. Just to get this out the way, I am not the biggest Tina fan (yet). At first, it was casual indifference. I didn’t (and don’t) hate her, I just didn’t really take to her in the first film (I already have hope that the new film may sway me). It really started as simply as that. I will write a separate post on all my thoughts revolving around this because there are many. All I will say is that if you don’t love Tina or ship Newtina based on the first film, it is a very cruel and vicious fandom to be part of. At least in my experience. But that’s a different issue. Let me say firstly that I think Katherine Waterston is very beautiful and I would be happy to look like that at 38 (obviously not the same as she is very Caucasian and I’m a nut-brown Maori, but you get my point). Obviously, I don’t know how the story will unravel and how important it is but was it absolutely necessary that Tina had to be 25? I think 30 would have been passable. Or even better, she could’ve been a little (or however much) older than Newt? Normalising relationships where the woman is older than the man is something I’m here for (my sister is two years older than her boyfriend – 19 and 21 – and it’s so controversial to people??? But I know lots of relationships in the reversal). That would’ve been my ideal scenario if they had Tina originally set for 25 but discovered they really loved Katherine Waterston and decided it would be inconsequential if they wrote Tina a bit older than originally planned. However, I do think it might be the other way around. Maybe it is important that Tina is 25. This might be one of the reasons why I haven’t yet meshed with this character or either of the Goldsteins for that matter. I do admit that I forget that they are in their early and mid-twenties. I do forget that Tina is (apparently) only 25. I honestly believe that I would have liked – or at least had a lot more understanding and sympathy – for Tina’s character had it been obvious she was so young. I will explain more thoroughly in the separate post I’ll eventually write that, had FB been a book before a movie, I would likely have really enjoyed book!Tina. Please understand this particular opinion isn’t about the actor. I’m just saying that I, personally, feel like it was easy to lose sight of the fact that this character is only 25 when the actor playing her is nearly forty years old. Please don’t twist this and interpret it to being me ‘coming after’ the actor. I don’t know why age is regarded as such an insult. It’s the most beautiful, natural thing. Katherine Waterston is 38. There’s nothing wrong with that. She’s healthy and pretty and could easily pass for younger if she so desired. But again, I think sometimes why I don’t find Tina endearing at all (yet) is because I see (not in terms of the actor, the character) a 38-year-old (or round about) woman acting like a 25-year-old. This might be even harder for me to combat in the next film as she is supposed to be quite younger than newcomers Theseus and Leta (ridiculously younger than Theseus) whose actors are both twenty-somethings joining Ezra as the babies of the cast. Don’t come at me about insulting her about her age. Carmen Ejogo is 45 and she cancelled everyone in FBWTFT. A lot of people grow more and more beautiful with age. Older doesn’t mean less beautiful so let’s put that to rest immediately.

Alison Sudol looks like a fucking earth angel and she was a great Queenie. I loved Queenie’s character. Did I love Queenie as a person? No. There is a difference – again, that ties in with what I’ll eventually write about my feelings about those two. I don’t know Queenie’s age, but she is younger than Tina so at the absolute most she would be 24 but I would wager given the big-little sister dynamic they seem to be following, there’s likely more than a year’s difference. I wouldn’t have thought Queenie was so young had I not known otherwise. There are some who find her character a little more annoying than cute, but I think if she were portrayed by someone who was in fact in their early twenties, she probably wouldn’t have come across as so naïve and a little airy. A lot of development occurs in your twenties and there is a tremendous amount of personal growth by the time you hit thirty. The same issue with Tina I suppose. You can forgive a lot of Queenie’s quirks when you remember how young she is but sometimes it’s easy to forget when physically she seems older. I will have to keep in mind how young and impressionable she is still while watching her actions in Crimes of Grindelwald because again, I think I forget sometimes.

I had no idea how old Jacob was, admittedly. I guessed anywhere between 32-40 (I assumed Jacob and Queenie had a bit of an age gap either way) but I was way off. Apparently, he’s 26. My head is in my hands at this point. I know Jacob’s been through a lot (and I’m not saying Dan Fogler isn’t a cutie!) but if some guy told me he was 26 and I arranged to meet him and Jacob Kowalski (again, based on first impressions. I love Jacob) walked in, I’m calling the fucking police. There is no way he is TWENTY-SIX. I love Jacob and Newts relationship, but I never saw Jacob as being the younger one. The fact that he is younger than Newt, Leta and Theseus (again! 11 years younger than Theseus!) when he looks like he could be their fucking uncle is unreal. I don’t really know why they made Jacob so ludicrously young when there was honestly, in this case, no need. I had to track down his age because it had zero (0) relevance to the film. Only thing I can think of is maybe to make his relationship with Queenie not come across as creepy? Who knows. 

This one really hurts me. Theseus, my poor boy. The FB team really are just gonna swing around and do THAT. Callum Turner is, in my opinion, a great Theseus from what I’ve seen so far. From interviews, it looks like he adores Zoë and he has great chemistry with Eddie. They’ve also done well to find an actor with similar physical characteristics and mannerisms as Eddie Redmayne making him a very believable casting for Newt’s brother. Though later it was revealed that Theseus is supposed to be eight years older than Newt making Theseus 37/38 which I think was completely unexpected for most people. We knew from the first film that Newt was the youngest brother and even with Callum Turner only being 28, I thought with the right clothes and such they could make him look older – or at least old enough to look like he could pass as Newt’s older brother. But nearly forty? With the kind of trauma Theseus has been through not to mention the likely constant drama of his troublesome brother and fiancée (and his brothers’ new friends and extremely messed up future brother-in-law)? Does he exfoliate with the Philosopher’s Stone? Drop that skin case routine, Theseus. Again, I don’t know what the film is going to bring. Perhaps Theseus must be significantly older than Newt for plot related reasons. Maybe for the sake of the story, he had to be old enough to not attend school with Newt, or maybe their father died early on and Theseus had to grow up quickly to fill a father figure void (that could explain the complicated nature of their relationship) or it might be for any number of reasons. My only hope is that it is specifically relevant to his character and not an inconsequential detail that could easily have been adjusted when they cast such a young actor. It can be a risk having a cast of actors in their thirties and forties playing a cast of twenty-somethings convincingly, and I’ve mentioned why, but it can be pulled off though I think it’s a strange move casting an actual twenty-something year old, one of the youngest cast members, to play a character 10+ years older than some of the oldest cast members characters. I think, like with the Goldstein’s, I will have to be constantly reminding myself when understanding the character that Theseus is that much older than Newt and Leta and even more so than Tina, Queenie and Jacob. 

Again, I’m not saying the actors haven’t done a good job with their respective roles, it’s just my 4am cough medicine powered thoughts on how they’ve made some interesting choices regarding what age they’ve kept the characters vs the actors real life ages and how it, for me at least, has affected the way I’ve interpreted the characters and would I feel any different about them had they made the characters similar ages to their actors or vice versa. I might be the only person who has thought about it and it’s not even a complaint on the cast itself (it’s a great collection of actors), it’s just an observation not at all eloquently put by a flu-riddled person. 

[wily-one24]

I hope there's not a question limit per ask lol... Paint it Black: 3, 4, 5, 11, 12, 14 and 15 (or as many of those as you feel like answering lol)

Okay, two things.

A. Of *course* there’s no ask limit. I am an attention whore and will talk all day if you encourage me. Ask away!!

B. WTF tumblr? When I reposted that, it was a paragraph basically saying “ask about my fic!”, but now there are NUMBERED QUESTIONS? What? Where was the second half of that post when I came across it in my dash? 

ANSWERS

3. What’s your favourite line of narration?

Oh geez. How the hell am I going to answer that? I have favourite lines per chapter, I have favourite lines per scene! Each part I’m reading at any given moment happens to be my favourite. Every time I reread it, I find something new... and... maybe I suck for saying this... but I think “you’re a fucking genius”, then I get all sad, because I think that was probably one of the last great things I’ll write. I’ve been going downhill ever since... but anyways, to seriously answer your question, I’ll give a few examples... 

 - That face off scene between Regina and Snow, where Snow claims her father was a good man and Regina answers “To you!”, the entire scene is charged and emotional and brings up so much shit between them that was never explored in canon. 

- The flashback of Emma’s tenth birthday (technically collectively, all of the flashbacks, really. They’re angsty as fuck, but so formative in their characterisation that sometimes I forget they’re not actually canon). I have this habit of tearing Emma down to her bare bones and then trying to build her up again. I actually do this with most of my main female characters, and I do apologise for that Buffy, Kaylee, Veronica, Emma, and Alex. You all deserve so much better than me. 

- The scene where Regina is alone in the castle and revisits the old chamber of Leopold’s. It’s hard to read but that is some weird little cathartic release right there. There is some great imagery that I don’t think many people allow Regina when it comes to her healing. Everybody tends to go the “being married to Leopold was a BAD THING” route, without ever really exploring the day to day soul destroying aspect of it. The reality of being the King’s prisoner wife. But giving her the ability and strength to revisit it, so she can finally acknowledge to herself how damaging it was, to close herself off from it both literally and figuratively, and then to be self aware enough to compare that situation to the one she has Emma in. That is empowerment. 

- The parallel scenes of Emma and Henry at the start and the end of the fic. The first being when Henry is so adamant to rescue Emma and curse everyone again just to take them back... and the last where you can see how much indoctrinated he is into the fairy tale land, how much he is drifting from “our world” being the real one, to the fairy tale land being his reality, and how his morality has shifted... but then... he also brings it back by getting vulnerable and shows his concern not just for Emma but for Regina... which also shows great advancement from the child like black/white morality of good vs evil he begins with to an acceptance of a more adult grey-area morality, his willingness to examine the facts and the truth to make up his mind. 

All the minor characters... Nancy (sweet, voiced Nancy), and Miss Edith (poor Miss Edith), Rachel, all the little characters that had such minor parts, but had such great effects in the lives of our main characters. 

Oooh, writing Rumple was fun. I got to write him as nobody really does. As that creepy reptilian imp from the first few flashbacks in S1. Before they really woobified him. The hysteric giggling, maniacal creature who smelled the air and exuded pure malice. It was really enjoyable writing him like that. 

Well, this went terribly off topic... anyway, yes, flashback scenes and confrontation scenes, be they between Snow and Regina, Emma and Regina, Regina and Maleficent, Emma and Snow, Emma and Henry... it’s in emotion that the true power of the fic lives. 

4. What’s your favourite line of dialogue?

oh, this is harder than the first. It would take me ages to reread this fic (and now I most likely am, thanks) to really go through it and cherry pick my favourites. But, if a line has happened to truly hit home and resonate with you as a reader, it most likely did the same for me. I remember quite a few times writing this fic, thinking “holy fuck!” and knowing, just knowing, that it was definitely the line to write. 

5. What part was the hardest to write?

The first two chapters. Up until the pivotal moment where Regina heals Emma, those were difficult to write and definitely difficult to read. I’ve had many readers tell me they were about to give up, bc it was too much torture porn to enjoy, but that moment specifically was a turning point for them because it built up the trust that I could and would reign Regina in beyond the point of no forgiveness or return. 

11. What do you like best about this fic?

I liked writing it. 

It took me to some pretty intense places. Fic writing, for me, has always been a form of therapy. I work through to some pretty intense fucking emotions through the angst of it all. Like, no, I have never been magically transported to a fairy tale land, collared, enslaved, and held against my will for the sake of my family and community’s lives... but if you look deeper in my life at the time, I had just been through a pretty horrific pregnancy that nearly killed me, my spouse and I separated, and I was left ill, recovering, and a single mother of a toddler and infant. I felt like I was being ripped apart from all angles, forced into a live of servitude for the betterment of everyone around me at the cost of myself. Even, though, like Emma, I didn’t blame them, it was still a period of mourning and loss.

I didn’t realise it at the time. This revelation happened years later when rereading the fic and trying to see where all the emotions had been coming from. It happens a lot with some of my more intense, dramatic, and (strangely enough) most popular fics. I don’t always see the correlation to my life at the time, but if I look back I can generally trace the rationality behind what my muse was trying to work through. 

12. What do you like least about this fic?

The polarisation. The controversy. That fucking chapter fucking four. I still cannot reread that chapter without having to take a step back and breathe. That scene has some good imagery, but even now sometimes I just skip it. It’s not worth the shakes or unease or... ugh, just thinking about it upsets me. 

I made a mistake in the tagging and I learned from it, but holy fuck was I attacked at the time and used as a sacrifical cow to the radfems. It was, honestly, surprising to me. Not only the reaction, but the harshness of it, all the accusation and personal attacks aimed at me.  

I mean, I knew the fic was always going to be confronting to some. It dealt with some pretty hard issues and subject matter. I had warned for all the violence and non/dub con. But... I didn’t expect or prepare for the backlash in including a male, even if the male used was... just used... and never actually amounted to anything more than a tool for Regina to control/bind/further entrench Emma to her own will in one scene. 

I, very naively, went into it thinking “surprise!”, and that an almost canon past pairing that was heavily explored in the actual show would not be controversial in the least. More fool me, I suppose. I definitely went back to re-tag it, I apologised. I am not sure what else I could have done, but to this day this fic is held up as an example of queer baiting and everything wrong with false lesbianism. And it is definitely used as an example by biphobic people as to why bisexual women cannot be trusted as we’re all “really straight women at heart”.

To be fair, I never explicitly labelled the fic as “lesbian”. I begin all my fics (no matter how AU or ‘out there’) from a canon stand point. Meaning, everything that happened in the show up to that point counts. Which includes every prior relationship both Emma and Regina had been in up to the Season One finale. Which, surprise, were with men!! 

14. Is there anything you wanted readers to learn from reading this fic?

I don’t know if there’s anything they should ‘learn’, but I definitely hope readers realise that this is in NO WAY AN EXAMPLE OF A HEALTHY BDSM RELATIONSHIP. It is not meant to be a guide, a ‘how to’, or a ‘goal’. This is an incredibly fucked up way for two already fucked up characters, to find some kind of semblance of existence in a world/s stacked up against them from the very start. I didn’t think I needed to state that out loud, but apparently I had to. Many times.  

If not that... then definitely I hope perhaps some of the writing made people think about the characters more in depth, or differently, that it gave the reader a new way of thinking about the show and the storylines/characters in it.  

15. What did you learn from writing this fic?

Tagging. Tagging fucking matters. Tag properly. Like, just do it. 

In all seriousness, though... I think I learned a lot about my own trauma. 

I also think my writing developed throughout the fic. There is a definite shift from the first two chapters... you can definitely see where it became less of a short one off smutty fic set up and more of an in depth angsty character exploration of the soul kinda thing. 

I learned about set up and development and bringing in stray bits of plot development later in the story to tie up loose ends.  

[alltheshadesoftruth-blog1]

Lannisters, Sex, and Power

“Everything is about sex except sex. Sex is about power.” ~ Oscar Wilde

Perhaps I’ve shown my hand a little too soon — perhaps I should have left you hanging. But sex is a key means by which Lannisters in A Song of Ice and Fire (ASOIAF) cement and legitimise power.

Tywin and Joanna

For Tywin and Joanna, this is particularly interesting. Their marriage was not so much a dynastic match (although it had a pertinent symbolic value in ensuring that the world knew that the Lannisters stood together now, and these two young, powerful nobles were its future) as a love match. While it may be tempting to characterise Joanna as someone who is gentle (another example of the “fix-it” ship, where one heals and softens the other — whilst it’s true that Tywin hardened after Joanna died, that does not mean that either of them were gentle before then, except with each other), Tywin does not respect gentleness, does not respect conventional “womanly” attributes. And, again, that is not to say that Joanna did not follow her duty as a lady to the letter (ruling Casterly Rock in her husband’s stead, providing him with counsel when appropriate, bearing perfect golden twins, a willingness to bear him more children) — simply that she should be treated as a person in her own right, and not subjugated to Tywin’s narrative and thematic needs.

Joanna, as I picture her, is very similar to Tywin in her ambition (I think she was going to be married to Lord Lefford before the match with Tywin was proposed? That may be fanfic though — in any case, as a Lannister from a lesser branch, finally making it to the Rock is a dream come true) and in her means. And then, are we really to assume that a woman who has Tywin’s ambition, pride, and commitment to the idea that the end justifies the means would consent to be the King’s mistress? The stories of the mistresses of Aegon IV would have been well-known — not only for their bastard-born children, but for the way in which they were cast aside when the King had had his fill. The idea of being the King’s mistress may have seemed like it had power (and, if your bastard grew ambitious enough, it did, although this is a negatively-coded power), but not as much as one could have as 1) Lady Paramount of the Westerlands, a position matched in prestige only by the Lady Paramount of the North and the Queen Consort, and 2) as a trusted Lady Paramount whose lord was away ruling the kingdom. For all intents and purposes at this time, Joanna would have been ruling Lady Paramount of the Westerlands, far more important than an ordinary wife.

Sex would have been, then, a way for both of them to cement their legacy. Partly because, well, Lannisters are canonically sexually desirable — in the books, Cersei is described as the most beautiful woman in the world, for all her sneers, and Jaime as her twin fares no worse. Even Tywin, aged 58 at the time of his death, is described as broad-shouldered and trim, and was described by Stannis as having been everything that the realm would expect of a King. But also for the potential power that an heir would bring them both, materially and symbolically. Materially, of course, it meant that the succession was secure, and that both Tywin and Joanna had done their marital duties (although whether they truly felt like duties is debatable). But there was a great deal of symbolic importance to this as well. In providing House Lannister with both a healthy son and a healthy daughter, Joanna not only highlighted the ideal of fertility/virility always connected to House Lannister; but also the dynastic potential — in Westeros, loathsome as it is to our modern sensibilities, a daughter is a useful carrot to be dangled in front of unruly lords (if any remained after the Reyne-Tarbeck Rebellion), and a son, especially if warded with one’s vassals, as Jaime was at Crakehall, would be a nod to tradition, to legacy, and to present prosperity. Just like now, Westerosi economic and political arenas hate uncertainty.

Tywin and Joanna’s marriage was, then, both mutually beneficial and beneficial to House Lannister in terms of present and future prestige and standing in the noble community of Westeros. And it would, therefore, be seen as the benchmark against which all other Lannister marriages were measured.

Kevan and Dorna

As one would expect, we have less canon information about Kevan and Dorna’s marriage, as they are tertiary characters at best, but their marriage represents an important union in Westerlander politics. After the War of the Ninepenny Kings, Tywin demanded hostages from any debtor who could not afford their repayments: to ensure that they would remain true and that they would remember that House Lannister would no longer tolerate insolence or refusal to conform to the responsibilities of a vassal. Indeed, Harys Swyft is said to have said, on learning of Tywin’s demands, “The lion has awoken.”

Dorna Swyft was one such hostage — we can only imagine how she would have felt, mostly because GRRM doesn’t tell us — and it was in this situation that she became betrothed to Kevan.

Kevan is obviously cut from a different cloth to Tywin — one not unlike their father, Tytos. More willing to follow than to lead, gentler (though not necessarily kinder) and more willing to appease than to demand. Whether he and Dorna grew fond of one another or whether it was simply an arrangement by Tywin to ensure that Lord Swyft stayed loyal, Kevan would have obeyed without question, no matter his personal feelings. We can glean two things from this:

1) Kevan and Dorna’s marriage is a sign of the power of House Lannister. Not dissimilar to the threat faced by women in places plagued by Dothraki warriors, the fact that House Lannister can both take the daughter of a vassal and then marry her to one of its menfolk is a clear sign of dynastic power: liege lords asserting their dominance in the feudal system. No matter how happy in marriage they may have become by the time the books begin (and let’s not forget, we only have Kevan’s reflection on that), their marriage would have continued to be a sign of Lannister dominance. But we can see something else in this example.

2) Kevan and Dorna’s marriage is a sign of Tywin Lannister’s power over the lives of others. In linking himself so closely with the fortunes of House Lannister, its dominance heightens his own. Part of it is because of the differences of character between Kevan and Tywin (Kevan would be more likely to obey anyway, regardless of who it was); however it is largely down to Tywin’s own forceful and uncompromising nature that this match was made, and it is another sign of Tywin’s dominance in every area of Lannister life. Again, however happy in marriage Kevan and Dorna may have become by the time of the books, one of the most important decisions in a feudal society was made by Tywin and they have been living by it ever since.

Genna and Emmon

Genna was betrothed to Emmon Frey at the age of 7 and wed to him as soon as she had flowered, and she has been making him pay for it ever since. We know from the text that Emmon has been overpowered by Genna and that she has never let him forget that she is his social better and that he is not worthy of her. Genna and Emmon’s marriage is another example of how potentially disastrous Tytos’ “reign” was. If marriages can be seen as yardsticks for the power of a house in a feudal society, then marrying your only daughter, your key “carrot”, to the second son of a minor and ill-respected house from another Kingdom instead of to one of your principal bannermen (such as the Reynes, which would have avoided so much bloodshed) was a major blow to House Lannister’s credibility and a major blow to Genna’s own reputation: even with Jaime’s assertion that she is “all Lannister”, and even if Emmon were to die and she could remarry, her reputation would be tarnished by the dishonour of a marriage below her station.

That said, I think Genna would have remained faithful to Emmon — the consequences of being found guilty of infidelity would have been far worse than being simply married to him, and there are other ways she can avenge herself on him. By allowing the rumour to persist, she is slowly eroding his reputation, while the fact that he is so intimidated by her means that there is little damage to her own reputation, as he does not challenge her. In doing this, she reminds him that he is not worthy by both Westerosi standards and by her own, as he cannot please her (he has never been satisfactory, and he never will be, and in such a cutthroat environment as House Frey, where we have literal child murderers running wild, looking like you can’t even control your wife is not an option).

Another point to note in this, although it’s not so much linked to sex and marriage as it is to Westerosi gender and feudal expectations: the fact that Genna is described as laughing and joking with household knights etc. mirrors strongly with Ned Stark’s much-praised style of operating, whereby he invites a member of his household to sit at the high table to talk about their business. One could argue that, in this sense, Genna is not only showing that Emmon is not satisfactory, but that even she, a woman, can be a better lord.

Tygett and Darlessa

If we only have a little bit of information about Kevan and Dorna’s marriage, we have less about Tygett and Darlessa, as at least Tygett is dead before the series begins. However, what information we do have suggests that they were not as fortunate as Kevan and Dorna in their match. Lord Marbrand, aside from being Tywin and Tygett’s uncle, is one of the most important bannermen in the Westerlands, as shown by the continued importance of Addam Marbrand in Jaime’s life — their sons are cultivated as friends and allies to the heir, their daughters seen as worthy wives. So on paper, a match between Darlessa and Tygett is only natural.

Despite the apparently beneficial nature of the match, they only had one son. Looking at the age of Tyrek (apparently about 13 at the time of Myrcella’s departure for Dorne), there are two options left to us:

1) Tygett and Darlessa married relatively late for a Westerosi noble couple. (Westeros is early compared to our own medieval average marriage ages). This in turn means that either Tywin specifically reserved Tygett for a Marbrand bride, waiting until Darlessa came of age (and Tywin’s draconian control over his life can only have grated with Tygett); or that Tygett tried to “pull a Blackfish” for as long as possible but, significantly, failed. Which could compound the seeds of resentment already present since their youth and Tywin’s conduct in the Reyne-Tarbeck Rebellion.

2) Tyrek was born very late in their marriage. This could either have been a calculated example of resistance on Tygett’s part (Tywin may have forced him to marry, but he wouldn’t be able to force him to have sex with his wife any more times than was necessary); or another example, in the Westerosi mindset, of why Tygett just didn’t quite match up to Tywin. Either way, we can see clear signs of how the relationship between Tywin and Tygett fully disintegrated (having already been partway there following Tygett’s horror at Castamere, which doesn’t seem to have been shared by any of his siblings).

Tywin creates such an unliveable goal that it would have been very difficult to live up to. This would, of course, cause further conflict, as Tygett is expected to conform to the Westerosi ideals of masculinity, and all that entails — having to occupy a dominant position in literally every aspect of his life, having to essentially roleplay as Tywin, would have been just as personally damaging as every other part of Tywin’s influence.

Tygett and Darlessa’s marriage can, therefore, tell us a lot about the more coercive nature of marital culture in Westeros. This was a marriage which had power exerted upon it from outside since the beginning, and this did not stop until Tygett’s death from a pox (interesting in itself — it’s not specified what kind, but if it were a venereal disease, Darlessa is not recorded as having had this or having died from it herself; which could suggest that he took it upon himself to relieve his unhappiness in a way designed to remind Tywin of their father…but then that failed too, and led to his death).

Gerion (featuring Joy and the Sailor’s Wife)

Gerion’s an interesting case — despite the fact that he doesn’t ostensibly fit into half of this piece’s remit, Gerion’s attitude to marriage, from what we can glean from the text, is very telling about his character and his relationship with Tywin.

For a start, Tywin is likely the only ‘Lord of the Rock’ that Gerion has ever really known — of course, Tytos was still alive when Gerion was born (indeed, Gerion’s wetnurse became his new mistress after Jeyne Marbrand died — but Gerion himself says: “My lord father would have made a splendid innkeep, but old Toad would have been a better lord”), but the main authority figure in Gerion’s life was…Tywin. This, and the age gap between the brothers, highlights some key aspects to Gerion’s relationship with authority and what this means for his attitude to sex.

1) Gerion’s the youngest of five siblings, the fourth son of Tytos Lannister. He is unlikely to ever have a keep and is therefore not that much of a dynastic catch, despite having the last name “Lannister”. So Gerion is really the only one of the five siblings who can enjoy being a Lannister, with no responsibilities or expectations. He doesn’t even have to attempt to make a name for himself from under Tywin’s shadow, he can kick back and relax. Which, in turn, means that he has a much more relaxed attitude to sex, since he has no form of dynastic responsibility

2) Joy is a key example both of the friction between Tywin and Gerion and of Gerion’s attitude to the world. We never hear of Briony except for the fact that she gave birth to Gerion’s bastard (was she provided for? Perhaps, but certainly not at the Rock, after Tytos’ own mistress — Gerion poked the sleeping dragon, he never stabbed it with a pitchfork) and she and Joy were separated. This last was probably at Tywin’s behest (‘fine, have a bastard, but she will be a Lannister bride with all the responsibilities that that entails’) but Gerion certainly, then, showed no signs of taking responsibility for her. He may not have power in any conventional sense, but he still takes his rights as a Lannister and as a man in Westerosi society.

3) The Sailor’s Wife is also interesting in terms of Gerion and his view of sex. It’s not really clear from the text why the Sailor’s Wife has to marry her clients: but it is quite telling from Gerion’s perspective. For him, because he has no dynastic responsibilities, marriage is a means to an end, and he probably didn’t even think of what would happen after he left and went on to Valyria. He drifts in a way that skips over the line from naivety into thoughtlessness.

4) Every canon piece of information we have about Gerion seems to directly clash with what we know about Tywin: Tywin, proudly connected to Casterly Rock vs Gerion, who seems to have spent as little time in the Rock as he could as soon as he was able to travel; Tywin, who desperately hid any sign that he had extra-marital sex vs Gerion who has two known bastards both bearing his look and one named for the emotion he feels his brother lacks the most; Tywin, desperately committed to legacy vs Gerion, who vanished without a trace. So we can suggest that there is something slightly Freudian, perhaps, in the way that Gerion rebels against everything that Tywin stands for: symbolic patricide.