#but there's a difference between that as like a narrative preference in a story

[lord-squiggletits]

Sorry for being negative, I’m just a bit disappointed that after looking through the Earthspark Optimus tags on and off on different occasions weeks apart, it seems like the only thing the fandom has to say about ES Optimus is finger snaps and dad jokes. :/ (And also a handful of people already trying to frame him as a bad person lmao)

Watch for it, when more episodes of Earthspark come out and a conflict with GHOST inevitably arises, people are going to be raging at Optimus for being “stupid” or “self-righteous” or “blind” for working with GHOST and start calling Megatron and/or the Decepticons right about everything because they spent so long focusing on “haha funny dad Optimus” that they forgot about the other parts of Optimus’ character like... idk, not wanting to colonize planets? Not wanting to start wars with entire species that didn’t want to be involved in the war in the first place? Being willing to make compromises even at risk to himself and his own because he wants to treat everyone fairly?

Idk I guess I’m just a bit salty because it genuinely seems like all this fandom wants is “funny dad Optimus” and nothing else. Like you will give them funny dad Optimus who’s ALSO complex and morally gray but people will only ever talk about the former part. And then when Optimus inevitably makes a mistake and bad things happen, people are probably going to treat him as if he’s stupid or an asshole when he ends up not being the Perfect Unproblematic Fave that people seemingly want him to be.

[holdharmonysacred]

Started writing a post about unit blorbofication and story depth in FE in light of the latest round of past FEs VS 3H VS Engage discourse, someone remind me to go back to writing it later when I get my brainpower back.

[dimiclaudeblaigan]

Wrt localization, I can understand wanting to change let's say a joke if the context of the joke would be lost on people due to play on the language. But when someone changes the content of a story and characterization to the point where it's a completely different experience and then they have the audacity to say "have respect for the localizers. You support gg" or some nonsense in response to criticism, it's really disingenuous.

Not sure if you saw when I mentioned it before, but yeah. There are times when they have to make cultural changes (Pokemon did it with food to make more sense to the western audience!), change jokes that won't land in translation, etc. Those are reasonable changes that have to be made or the audience will just be confused/uninterested/disconnected.

Sometimes there are also jokes that in different cultures would be deemed inappropriate (like the sex joke aimed at Edelgard in the middle of the night - that makes sense that it was removed because western culture would've been largely uncomfortable with it). Age differences also account for this, in that what's seen as appropriate to a teen audience in JP is not necessarily considered appropriate in the west.

My viewpoint toward localization is that it should only be that. Everything else should be a faithful translation as much as is able, i.e. doesn't alter the message given in the original script. It doesn't matter if the content is from Japan, if it's a JRPG or what have you. If it was of French origin, I'd still say the same thing: that the messages and narrative of the French originating story should be handled faithfully and should be telling the same story/characterizations/etc to all audiences in any location.

Obviously in translation you can't make everything one to one or the sentences would sound off and/or broken. That's why you reword things to have the sentences structurally accurate in the translated language. Doing that, however, should not involve changing the meaning behind the sentence or trying to sell a different narrative. Doing that becomes a different story, even if only in bits and pieces. When a story nudges really fuckin' hard trying to tell you something that's wrong is right or that something right is wrong, but that narrative is only added into a loc and didn't already exist, it's a disrespect toward the writers and their original intention.

Even if, yes, the writers were very bias toward Edelgard (which they were as that was, again, confirmed in an interview), it didn't come at the cost of other characters. It didn't come at the cost of Rhea being worse, Dimitri being worse, or Claude being worse. It didn't come at the cost of her allies all being disgusted by their enemies that they were invading. They loved Edelgard when they were writing her, but they didn't make that cloud how they treated other characters (and while yes, the Nabateans get largely ignored in favor of focusing on Edelgard and such, it's not at the cost of their characterization or to make them seem worse).

Even if the loc heaps praise upon praise toward Edelgard and that doesn't harm the original intent, it's what they do to other characters that disrespects the original content. It would be like if they took FE10/RD and had Ike (who was actually just and a good person) spouting nonsense about Micaiah that just wasn't true, hyping up his allies to kill her because she Must Die.

Personally, I'm no Micaiah fan. She was one of my most hated characters in the franchise until Edelgard (and Berandetta) showed up. I still am not fond of Micaiah and she's still pretty low on the rung for me. That said, I would not enjoy a narrative where Ike wrongfully labeled her and her allies and provided his people (and the Laguz Alliance by extension) a false narrative about her. If those things about her were true I wouldn't care, but they wouldn't be. Why does that not work for Ike? Because it's not who he is as a character to say those things, and thus if he did, it means something is off.

The original has some ??? points about Edelgard that favor her/lift her up, but again, it's not doing harm to other characters. Yeah, we get the whole "they are the enemy" stuff from her side, but like... that's the point. If you team up with her, you're on her side and are seeing the story through her perspective, which makes her enemies, well, the enemies. They're viewed in a bad light on that one route.

But when you actually come into contact with the characters in question? It's not as bad as she makes it out to be. She, as the protagonist of her own story, makes other named characters and their ways of living sound very bad because she views them negatively, but we don't actually see what she claims if we personally come into contact with those characters.

What the loc does is have her say those things, understandably from her side, but then trash the characters' very characterization and personality to match her and her/her allies' opinions of them. The characters reflect her views with no pushback whatsoever, when it should be that the pushback is how those characters she talks about behave.

There should be a dissonance between her thoughts about them and who they truly are. It should make you question, "is this really right?". You should feel bad when you kill genuinely good people (like Sylvain. You shouldn't feel like he's some trash scumbag, but feel upset about his death and find yourself questioning why he had to die - not cheering for his death).

Point being, the loc changed that stuff because ??? I guess they wanted Edelgard to shine at her very absolute brightest, and the only way to do that was to harp on all the characters who opposed her. I don't understand why they would do that tbh (like I know the intent, i.e. making her look good, but I don't know why they went to such lengths to vilify her enemies and not just say hey, maybe she's wrong about these people but I'm still going to fight for her, if fighting for her is what you decided to do. The one idea I have is the final paragraphs of this post).

It just makes it feel a lot like purist culture, where if you've sided with her than they can't possibly let her be actually bad and do bad things. You've sided with her, so she simply cannot be a villain! It makes the loc team seem afraid of a concept of siding with the villains, feeling the need to change it because it's BaD to play a game/route where you do that. It feels like it's portraying the idea that if you do bad things in a video game, you condone those bad things irl.

Whether that was their thought process or not, that's exactly what it comes off as, and that since they loved Edelgard they couldn't portray her poorly unless there was no other option. In the times they do finally portray her poorly via other characters, there's always pushback in some form, like someone defending her, giving her the benefit of the doubt after everything she'd already done and still intended to do, or being sad about fighting/killing her. In the original that was still there, but the loc just added to it - just by doing a whole lot of damage to other characters in the process.

Meanwhile with Rhea, there's always negative pushback. If she does something good, there's a negative thought following her good actions. Obviously there isn't space for that to happen literally every single time, but when possible it's there. Again, this is another thing the loc amped up, and I can only guess it's because she's the head of the Church (and churches are viewed as the enemy in most JPRGs) and the main person Edelgard opposes (with no acknowledgement from the loc team, about why that is, being a bad thing).

It's like, the one time there's a game where the Church isn't actually the enemy, they... made it so that the loc reflected that the Church is still actually the enemy. Churches being the enemy are so common that it was intentionally used in the original script as a red herring. You think they're gonna be the big bads because they always are in JRPGs.

The point of that was meant to fulfill itself as a red herring, making you focus on them and scrutinize everything they said and did even heavier than you would anyone else. It makes everything Edelgard does get swept under the rug and causes the player not to notice until it's fastballed at you. That's why you end up fighting her and not the Church except if you're specifically on her route.

That was lost in loc, of course, and it got so overwhelmingly popular in the west (which I do believe is a reason they did it to begin with, i.e. made the Church the baddies by western viewpoint because the west apparently eats that shit right up) that Hopes catered most strongly toward the western audience, making the Church the big bads (who... don't even do anything wrong whatsoever in this game and hardly even exist to do so, but I can only guess they got largely ignored because they were so hated, and less positive interaction with them meant less worry of killing innocent people/more not caring about them as the enemy) of two routes out of three; not because that was the original script's intent, but because they just went with what was popular even if it went against their home game's intention. I was pretty unsurprised to find out this went over very badly with JP players.

In other words the loc was so widely understood as the true canon/intent of the story (despite its vast and drastic changes) that Hopes was crafted around the loc more than it was the original script. The loc of Houses altered so much that it changed the perception of the audience consuming it, so whether the JP writers are aware that that's why the game was consumed the way it was or not, they just knew a chunk of the western audience loved Edelgard and hated Rhea.

When I play a game I want the same story and experience that everyone has playing it. I don't want to understand it differently than it's meant to be understood and was understood in the region it was created in. If it's a dark and mature themed game, it should stay that way. It western audiences can't handle that, then the game shouldn't be played by them whether it comes out in the west or not.

If you can't handle the content of a video game, you shouldn't play it, plain and simple. No amount of "oh but I like this portion of it!" changes the overall narrative that you can't handle and/or don't like (and you wouldn't know you like a part of it if you didn't play it at all, which you did play it despite knowing it's largely not for you. If you didn't know but play it and find out, you put it down and move on). The game's messages should not be altered to fit purists or baby the players. If it needs to be edited that strongly to work in the west, my feeling on it is that it should not be released in the west.

If it is released, the story should not be altered to baby its audience. If people do play it despite that and can't handle it, it's their responsibility to stop playing it and not bitch at the people who released it (in any region) or bitch at the loc team for not changing anything (i.e. bitching that the loc team didn't change creative aspects of the story to fulfill another region's agenda).

Why does that happen though? Capitalism, quite frankly. Companies prefer the money added to their coffers than to keep the originality of a creative piece of art. They'll follow any political agenda that's popular, any social media agenda that's popular, etc, even if it means changing creativity.

They want the most people possible to purchase it, so if more people will buy the product, even if it means sullying the creative work of the original writers, they'll do it. That may not be true worldwide, but it absolutely is with many western companies. If the narrative of a game doesn't fit what western culture agrees with, they'll change it to make it so that western culture agrees with it (re: the Church).

Localization shouldn't exist to change a work of art/to change any media form for the sake of just releasing it in another region for the profit, but it does happen; hence why I prefer translation to loc. Over the years I've grown to hate western localization more and more.

If localizers have to work that badly to change what already exists (including changing the intent of the creator(s)), I have zero respect for their "efforts" for trying to alter a story and possibly even pursue a particular agenda (because we play games to have fun and enjoy something, not to have irl agendas thrown back in our faces).

Translators who go through loops upon loops to make sure the story stays as intact as possible with only changes of necessity are the ones I respect. Translating things to keep the meaning of a story is a lot more difficult and trying than just going "well how about we just completely change this and then we don't even have to think about how to work it out".

Also, there's a difference between pursuing an agenda or writing something to fix a glaring issue like racism. If there are aspects of a media that got changed in the west to eliminate racism (which is often, especially in Japan from my understanding based on other media I consume, done because of ignorance and not genuinely harmful intent), that's understandable.

That alone shouldn't alter a whole story though, and if it has to because the racism or whatever it is is that bad, then the work should simply not be released in the west! Simple as that! If it's that bad, why support those things by changing them to sound nicer/better and let the original product still generate revenue?

Now, is all localization this bad? No. Is Houses' localization bad enough that it changed an entire region's perception on the contents of the game? Yes. That's a no no for me.

I respect localization that does its best to keep the same story and change what won't work in another region (including what may be deemed unacceptable in said region or really toes a line of general regional discomfort).

I do not respect localization that sticks in the team's own biases or tries to push any kind of agenda to appeal to certain people. If a piece of creative media is created without the intention to push any kind of agenda, it should remain that way and not suddenly have things added to it for that purpose.

I respect creative media. I don't respect capitalism and changing content to cater to a specific subset of an audience, including the staff's own.

[anchoeritic]

girl i need your thoughts on car sex with ellie

warnings: eighteen plus content, minors do not interact. sexual intercourse (obviously), oral sex, vaginal sex (fingering), overstimulation, ellie is a certified & badged munch. ellie is also a top in this i fear.

there’s two different kinds of car sex i see with ellie:

the really desperate kinda sex where your hands are all over each other, kisses are so sloppy that she’s barely catching your lips and all the two of you can do is try to peel each other’s clothes off hastily.

maybe after a party or a night out and you just couldn’t wait to get home so you take it to the car. all ellie’s doing is muttering about how desperate she is just to touch you, feel you against her own body. repeating the same phrases of; “i need you, baby” and the occasional cursing between kisses.

her goal to please you is the first thing on her mind. which probably explains why she’s always trying to unbutton your jeans when the two of you are making out. her lips aim to make you feel good, especially between your thighs. the one place you really needed her the most.

she’d dive between your thighs anytime; day and night. but when she craves you desperately, there’s never a warning. once the first layer of fabric is peeled off, it doesn’t matter if your panties are in the way. she’s not opposed to tasting you through them.

but she prefers to push them aside, says you’re especially sweeter. you wouldn’t know whether to agree or disagree until she’d pull herself back up to kiss you, making you taste yourself off of her lips. sweeter than candy, she always says.

her hair’s a mess from you tugging at it while she was tongue deep inside you, face all shiny from what came after it, and your thighs are shaking violently. but she has yet to stop.

did i mention that she aims to please you?

she wouldn’t stop until you were on the verge of passing out, practically at a loss of words for the immense amount of pleasure she’d put you through. by the time you’re done, not only are the windows foggy but the leather seats are probably sticky too.

but there’s also the type that’s soooooo gentle. ellie taking her sweet time with you, making sure you’re laid back comfortably in the backseat and kissing down your neck.

her touch is soft, holding your hips down so she can leave plenty more kisses down your stomach. when she reaches your waistband, she’d wait for you to nod before continuing.

it’s overall very intimate. ellie likes taking her time with you when she can because she loves to explore your body. she wants to know what you love, what you don’t, what you need. every aspect of you has a story to be told and she wanted to know all of the details.

even if the narrative laid beneath the lace of your panties. she’s a tease, there’s no doubt about it. like a cold thumb pressed up against your clit while her hot lips trailed your inner thighs, or cupping your core and watching as you pathetically tried to rock yourself against her hand. she was quite the tease and she loved to watch you fall for it.

“you that needy for me, baby? can already feel how wet you are,” she’d mumble against your lips, slipping two digits between your wet folds. “so pretty. look at how good you took my fingers,” your moans would be left uncovered, ellie wanting you to be as loud as you could be.

she’s such a lover. one thing about ellie williams is that she is definitely a lover. she loves you and loves giving you pleasure. oh, and she loves praising you.

constantly telling you how pretty you look when your head is thrown back or how good you take her when you’re wrapped around her fingers. she loves to make you feel good about yourself even when you don’t feel it.

and she’d never complain about reminding you. whether it’s telling you or showing you.

[felassan]

Just some info I noted down from today's video in text form, under a cut due to what some peeps may consider spoilers, and length.

This video took place well into the game, meaning the beats in it are later in the storyline.

At least part of Davrin’s personal arc involves rescuing the griffons. In an earlier part of his arc you are introduced to his nemesis, the Gloom Howler, a creature that has been hunting and stalking Wardens for quite some time. It has kidnapped a bunch of non-Assan griffons and Davrin has been trying to track it down. In the quest shown in the video, he has found a lead and wants to go and track it down and get the griffons back from the Cauldron (a secret Grey Warden redoubt that was attacked). Davrin wonders what the Wardens were hiding inside the Cauldron, as he has no idea. When the party reaches the Cauldron, they find that something large tore down the gate. The party needs to find a way inside and help Davrin investigate.

Davrin prefers a Direct approach in dialogue. Tough dialogue choices can gain approval from him

The bond between a griffon and a Warden moving as one and having unity between them is called “turlum”. Davrin and Assan don’t yet have this

Grey Wardens: Lancit, Remi, Landon, Quincy, Miriel, Fisher, Greta, Beckett, Flynn (an apprentice physician, whose mentor is called Oskar). I think Flynn’s pronouns are they/them. We will do quests with Flynn including A Cabin in the Blight. They were treating patients and became low on medical supplies. Their mentor Oskar has some and lives in a cabin outside the village. Flynn asks Rook to tell Oskar they could use his help if Rook sees him when they are out there. Flynn is local to Lavendel and saw the Blight surge through their home.

A Grey Warden merchant / quartermaster is called Holden. The little girl seen with Davrin in the release date trailer is called Mila.

If you do content in an area it helps you discover more shortcuts, giving you more flexibility in how you navigate between different remaining missions and quests

Each exploration space has its own story to tell. The quests and sidequests there are narratively relevant and also contribute to a meta story/meta narrative about that space. In Hossberg / Lavendel the aim is to get to the center of the Blighty stuff that has been going on there

Another Warden sidequest called Lives Spared seems to involve some missing Wardens who haven’t checked in in a while

Rook inherits the Lighthouse willingly or unwillingly from Solas. It’s located in the Fade and is where Solas was able to start planning his rebellion against the elven gods millennia ago

The Lighthouse shapes itself around your personality. Companions’ rooms there shape themselves around the companions as they live there and go through their arcs. A glowing light above the entrance to a companion’s room indicates that they are ready to talk to us

Hossberg is a later game area. Hossberg Wetlands are dark swamps and the area has almost completely been consumed by the Blight, making it a lot more dangerous than before. As a zone it’s quite contiguous and has lots of branching paths and different areas to explore. The Grey Wardens set up shop in an outpost/fortress (this is only one of their bases) there called Grey Hold in the small town of Lavendel, which used to be a beautiful place full of life and flowers. The Blight has had a serious effect on Lavendel, but the residents are still there and trying to make the most of it. There are plenty of opportunities to help the residents.

The Wardens have noticed that something strange is going on; the Blight is not behaving as it should or as they would expect, or like it has done historically. A codex entry pops up called “An Improved Blight”. (basically we are getting Blight dialled up to eleven) Rook is there to work with the Wardens, help them out, and help them find the answer to their question about the Blight. In their outpost the Wardens have built up a small fighting force to hold off the darkspawn. They understand the stakes of the gods being released and want to help you but they have other priorities, so increasing their power allows them to contribute more meaningfully to your fight against the elven gods. The Blight has changed. It’s become a lot more organic, a lot more alive. Once a slow-moving wall, it now has almost-sentience and almost-thought behind it. This has something to do with the released Blighted elven gods.

Something bad happened to a place called D’Meta’s Crossing, it’s no longer standing.

It sounds like Weisshaupt has fallen.

Merchant shops can be upgraded, doing so unlocks new items.

The Crossroads is a location in the Fade that contains a number of eluvians, allowing you to travel across Thedas in a matter of minutes. At the point the video takes place, the Crossroads are under assault by the elven gods. It’s now a dangerous place.

The big eluvian in the Lighthouse is called the Vir Revas. (that could translate as Way/Path of Freedom). It’s the central focus point of the Lighthouse and it takes you to Solas’ pocket area of the Crossroads, which looks different to what we’ve seen in Trespasser. “A path has emerged from the mists of the Fade that leads to a gathering point where all eluvians meet – the Crossroads”. We will spend a lot of time travelling through the Crossroads as we go from area to area. At one point, it was also a space that served as Solas’ main base of operations and training ground for his rebellion against the elven gods. As we go through it we will find fragments of the past, things that Solas did previously that will give us insight into him as a character, and also into the elven gods and their motivations. If you go exploring in the Crossroads there are opportunities to relive some of the memories Solas had during his rebellion. We will actually get to take part in this ancient rebellion.

The Crossroads as a realm reflects the waking world. It’s a mix/ amalgamation of all the real world spaces that are tied to it, in this case for example Hossberg and other mountainous regions that exist in the game. The architecture around the eluvians here very clearly reflects where they lead. The first time you go to any of the new regions in the world you traverse the Crossroads to get there. After that you can fast travel if you want. But exploring the Crossroads is recommended because some of the deepest secrets lie within

There is a mysterious spirit in the Crossroads called The Caretaker who was there before Solas was. They started to help Solas with his rebellion and also to turn the area into a safe haven for spirits, as Solas loves spirits. In the video we see them piloting a boat through the air to transport Rook somewhere. Because the gods are assaulting the Crossroads, it’s no longer the safe haven it once was. Rook works with the Caretaker through a lot of ancillary content to rebuild it into a safe home for spirits.

There is an area in the Crossroads called Beacon Island

The darkspawns’ different looks is very intentional. Their new look is in part because Ghilan’nain, described here as "the god of monsters", has always been focused on using the Blight essentially as a crafting material, a way to alter life itself. she’s been enhancing and changing the darkspawn as part of her army. She uses Blight like a medium to sculpt and warp the darkspawn to do her bidding and suit her purposes. The idea is that the Blight and the darkspawn are an organic weapon. Instead of making swords and armor, the darkspawn use the Blight to augment themselves, effectively defeat you and give the gods the world that they desire. The darkspawn aren’t just coming out of nowhere. They emerge from Blight pools, like the Blight is spawning them. Part of Ghil’s attempts to turn this into an army for the gods is to use them for overwhelming force. Hurlock Blighters have disgusting growths on their backs that they throw, making them function like grenadiers as they rip off these pieces of themselves and throw them at you - these then explode as Blight – this kind of enemy design for the darkspawn is supposed to lean into the idea that the Blight is organic and disgusting. In places there are Blight boils throughout the area, and if Rook doesn’t destroy them during combat ghouls will continue to emerge from them.

It sounds like in terms of ‘factions of enemies’ and their designs, we have the darkspawn which use overwhelming force tactics, the Venatori which focus on magical power, and the Antaam which focus on physical strength

Zipline traversal is in

Each mage’s (Neve, Bellara, Emmrich) healing ability is thematically appropriate to them

I think Davrin’s special exploration ability, or one of them, is called Blight Hunter. (one of the ones Rook can channel through the dagger when that companion isn’t there). This summons Assan from above to destroy Blight Abscesses. He seems to have another as well that Rook can also use via the dagger called Griffon Strike. In the video Rook uses this one to destroy a mechanism that was keeping a load of wood suspended in the air from a beam.

We see Rook also using the dagger to "charge beam" and destroy what looked like a thick tendril of organic Blight across the ground, and to destroy a ‘wall’ of blight abscesses that was blocking the way. At one point in the video Rook comments that the dagger is vibrating, "like a song in a wine glass"

When companions go ahead to meet you at quests they’re invested in, they won’t complete them without you, but they do get things ready. If you start doing those quests and don’t have them in your party, they will move ahead of you and wait for you at the next point.

[secondhandsorrows]

Some Vital Scenes to Include in a Romantic Subplot, pt. 1

I’ve been in the plotting stages of a novel I’ve been working on for some time now. It’s not a romance novel, per se, but the romantic aspect is very prevalent… dare I say important. Anyway, so as I was working on my scenes and character arcs, I began to realize that I didn’t have enough fleshed-out about romantic arc, nor deepened the protagonist’s love interest or their connection, for that matter. This led me to devise up some scenes that I felt were crucial to the story if I wanted to keep this romantic angle to it, and now that I’ve most of them arranged, I find now that I’m way more excited about my characters’ love story. 

These tips will be unnumbered because, obviously, the sequence of these events and how they will fall into your storyline will probably be different. Also, you don’t have to use only one scene for every suggestion that will be mentioned, as you can have multiple scenes of flirtations or deep conversations, for example. They usually blend all together into the narrative at this point. Just remember that there should be some relevance to the plot at hand in some of these scenes as to not derail completely from the main narrative or other conflicts.

I was going to post this all at once, but decided it was too long and wanted to split it into two parts to go more in-depth and for easy reading. /-\ Enjoy ~

- The meet-cute, or the meet-ugly:

Ah, yes, the first encounter. Or, as we sometimes like to call it: the meet-cute, or the meet-ugly if you’re feeling a little unconventional or perhaps mischievous. Though we may enjoy setting up our star-crossed characters in a whole range of moments from awkward to swoon-worthy, the initial meeting is what’s important (if your characters haven't already met before the beginning of the story, ofc, but this is useful to have in mind). Let us quickly define the two:

Meet-Cute: A charming and serendipitous first encounter between the characters in question that sets a positive, memorable, and oftentimes romantic tone.

Meet-Ugly: An unconventional, awkward, or disastrous initial meeting that adds a unique twist to the start of the romantic connection, often leading to unexpected chemistry and an added intrigue on whether or not they’ll get together.

You don’t have to nail your characters’ first encounter into a label or bubble such as these two examples, but I like bringing these up for a general idea. 

- Bouts of flirting and/or banter:

Just as the title suggests, these are scenes containing the flirtaious communication between the two characters. These kinds of interactions will, of course, develop over time and deepen the bond or relationship. Playful interactions, gazes, and witty exchanges between the characters can create a lighthearted and flirtatious atmosphere that hints at their growing attraction.

The way they might flirt or tease can reveal their personalities. For example, one character might be more sarcastic, while the other responds with quick wit, or quiet bashfulness. There’s an element of subtlety, as flirting lets the characters express their romantic interest without explicitly stating it (unless one of your characters lacks subtlety in general and prefers to shout their undying love from the rooftops, which would make for an interesting dynamic, but I’m only spit-balling). 

Banter, teasing, and romantic tension underscoring heated debates or loathsome gazes suit just as nicely, especially if you’re writing with enemies-to-lovers or rivalry tropes in mind. But be careful! A little goes a long way: too much all at once can repel any growth for the characters or narrative.

- Initial conflict or struggle:

Depending on your story’s big-picture conflict, the introduction of challenges or obstacles can create tension between the characters, adding depth to their relationship and making their eventual connection all the more satisfying. This might include cultural or class differences, opposing goals or values, history of past heartbreak, personality weaknesses such as stubbornness, or external pressures that threaten to keep the characters apart. Even a nosy family or a disapproving mother can be considered. How the characters navigate and resolve these conflicts contributes significantly to the overall emotional impact of the romance subplot, as well as allowing for some exploration of each character's strengths, weaknesses, and resilience. 

- Shared vulnerability:

This kind of scene involves the characters opening up to each other about their innermost fears, insecurities, past trauma, or personal struggles. Shared vulnerability goes beyond surface-level interactions. It involves characters revealing their authentic selves, exposing their emotional vulnerabilities, and allowing the other person to see them in an honest — and sometimes new — light.

This is a symbolic gesture of commitment we’re talking about, here… something that requires trust. As characters share their fears or past traumas, they are entrusting the other person with sensitive information, fostering a sense of trust and emotional intimacy. It might be scary, it could be out from left field, but they will end up learning something new about themselves, their situation, or about the other person, and thus deepen their connection, little by little.

[novlr]

Do you have any tips on how to write a character who’s being manipulated?

Your blog has been very helpful to me! :) thanks a lot

Quick Tips for Writing Manipulative Characters

To convincingly write a character who is being manipulated, you must first understand how to write a believable manipulator. Often hidden in plain sight, manipulators pull the strings, guiding the actions of those who are often unaware that they're dancing to someone else's tune.

Let’s look at manipulators as puppet masters, exploring how they function and how their actions echo throughout your story. By understanding the manipulator, you'll better equip yourself to create realistic characters who are unwittingly under their sway.

How do they behave?

Play the victim to garner sympathy

Charming and persuasive

Twist and distort the truth to suit their agenda

Play mind games

Are silver-tongued

Passive-aggressive when confronted

Use guilt to control others

Don’t hesitate to lie or deceive

Demonstrate a sense of entitlement.

Project their feelings onto others

How do they interact?

Play different roles with different people

Prefer indirect communication to direct confrontation

Gaslight others, making them doubt their own perceptions

Shift the blame onto others

Exploit others' vulnerabilities

Use people’s secrets against them

Make others feel obligated or in debt to them

Use flattery to get their way

Create conflict between other characters

Deliberately create confusion and chaos

Describe their body language

Maintain intense eye contact

Use touch to seem friendly and intimate

Facial expressions often don't match their words

Use large, expressive gestures to dramatise

Have a confident and exaggerated posture

Soften expression to look more trustworthy

Smile artificially or excessively

Lean in close, invading personal space

Mirror others’ behaviours to seem more likeable

Mimic emotions they may not feel

Describe their attitudes

Believe they are always right

Feel entitled and superior

Lack empathy

Highly competitive

Often impatient and intolerant

Controlling and like to be in charge

Rarely apologize sincerely

Often play the martyr, acting self-sacrificing

Can be sceptical of others’ intentions

Kindness is often an act

Positive narrative effects

Paradoxically, manipulative characters can have a positive narrative effect on those they manipulate. These characters can act as a catalyst for change, pushing others to unlock hidden potential and indirectly teaching them to be more cautious. In the face of manipulation, characters can mature and grow resilience.

Manipulative characters can also reveal people’s true natures by tricking them into revelations or by fostering unity as others band together against them. Furthermore, their actions can create dramatic plot twists, make people question their own perceptions and realities, and add intrigue.

Negative narrative effects

Manipulators can cause emotional and psychological distress, breed distrust and insecurity, and disrupt relationships and friendships. These characters often lead others to make damaging decisions, creating a toxic environment.

By exploiting and exposing others' vulnerabilities, manipulators make individuals question their self-worth. The extent of their manipulation can even cause physical harm and lead to the downfall of other characters. Their lasting legacy? Emotional scars that define their victims long after the manipulator has exited the narrative.

[snapscube]

In Dawntrail did you enjoy a different character playing the main role, or do you prefer when the player character is leading the narrative?

this is definitely a major point of contention in the fanbase rn and i can generally see valid feelings/criticism on both ends of the spectrum. i myself do fall somewhere in between the most extreme takes on this. i won't go into too much detail about actual events but ill tag this as spoilers anyway just in case. ok so my thoughts are:

firstly, i like Wuk Lamat a lot. i don't think she deserves even half of the pure unfiltered ire that she is receiving from a large subset of the community rn. the amount of people who have already turned being a wuk lamat hater into an advertised personality trait really frustrates me. i really enjoyed seeing her personal journey through the story and i was overall very satisfied by her inclusion. however, i do not think the story was perfectly paced or balanced, and i definitely do understand where people are coming from when they say that they could have used a little less of her in the forefront. honestly it did kind of ultimately disappoint me that we missed out on a lot of potential interaction/development with someone like Krile, who in spite of being promised a big breakout role in this expansion still somewhat felt like a SLIGHT (i have to stress slight) afterthought. she did get some notable moments of development and emotion, but i feel like there could have been more.

okay but, your question is about our role as a player in the narrative. i hold the opinion that for THIS EXPANSION SPECIFICALLY, the warrior of light taking somewhat of a narrative backseat actually made a ton of sense and fit the themes of the narrative as well as the promise of a somewhat breezy summer vacation for our heroes. now, i will say this: i really do not agree with the idea that the WoL should be in a mentor role indefinitely because our story is done developing and we need to give the spotlight to "the next generation" of heroes in the world. i appreciate the SENTIMENT of this, but like for me personally.... i don't want Pella's story to be done, yknow? i definitely would be disappointed if this was the DE FACTO role she played in every expansion past this. but i don't even think that is factually what's going to happen. we're currently in a setup phase! and, again, bringing it back to this narrative and the themes within, a lot of Dawntrail about the experience of entering unfamiliar places and learning about the customs and the traditions of people already within it to best help them without unwelcomely trampling on their culture in the process. i think a story like that is the PERFECT time for the WoL to take a bit of a backseat. wuk lamat is also somewhat unfamilar like us yes, but Tural is still her home and she is about to be tasked with leading it. i feel like centering our character in that equation would feel.... really disingenuous? it was kinda frustrating sometimes when it felt like hey.... there's a situation happening right now that can be solved by skilled combat and you have a literally god killer standing right here doing a frown emote, but at a certain point i could chalk it up to growing pains or necessary suspension of disbelief in the interest of the overall emotional hook of the narrative. a lot of those moments could be explained away with enough thought about the character motivations and culture at play, though sometimes it does feel like a stretch. again, far from a perfectly written MSQ. it starts slow and it's messy and it throws a LOT of stuff at you that doesn't always pay off like you expect or want. but i dunno! i think we're gonna see some really interesting stuff come to the forefront in the future, and i think especially now knowing that much of the playerbase thought we took TOO much of a backseat here CS3 will probably adjust their focus accordingly next time. so i can't be too upset really about the stuff i wasn't into. the rest of it was great imo!

[apt502-if]

DEMO (JULY. 10. 2024)| INTROS

Apartment 502 is a 18+ slice-of-life romantic drama inspired by shows like New Girl and Friends.

Content warnings include: explicit language, sexual themes, substance use, violence.

Moving from your small home to New York City was supposed to be a dream. You were supposed to start your new life with your long-distance partner and dive headfirst into full-on adulthood. Everything was supposed to be perfect. How can you not love being in your mid-twenties in the Big Apple?

That is until your put-together, white collar partner dumps you the same day you arrive.

Fun.

Essentially homeless and determined to make the life you dreamed of, you take a last-minute offer to move into the spare bedroom in Apartment 502. Now, you're twenty-five and living with three other longtime best friends with their own drama and messy interpersonal relationships. Parties, late-night pizza runs, drama, fights, heartbreak, betrayals...maybe the life you want won't be as easy as you first thought.

Will you find romance in the city that never sleeps?

**Apartment 502 is a romance, angst, and drama-centered story **

design your mc from clothing style to appearance to pronouns, gender identity, name, looks, and more.

choose 1 of 5 jobs that grant you different scenes and different people: (artist/musician, news anchor, writer, teacher, bartender )

curate your MCs personality and how they react to all the hijinks Apt. 502 has to offer, especially the drama that ensues. Style your MC's room and their aesthetic style.

navigate angsty and dark dramas that weave your roommates in a a narrative that can either save their friendship, or break them apart.

engage in a romance with 1 of 6 characters: one of your roommates, your ex, your neighbor or work rival.

Ruin relationships or mend them. Center yourself around the roommates and become part of the core group.

Follow Apartment 502 throughtout MC's first year as a roommate: from holidays, to birthdays, to everything in-between.

Atlas/Athena [f/m] - 1 of 3 roommates. A is the elusive and isolated musician who makes a living writing songs for others and doing gigs down at the local bar. A is quiet, nonchalant, and prefers their isolation. After getting their heart broken by their high school sweetheart, A has swore off love and vowed to focus solely on their career. A has no room for love, and they make it clear.

Appearance: Olive, freckled skin. Atlas has shaggy brown hair that falls in front of their eyes in a wolf-cut with bleached white dyed pieces at the bottom. Athena's brown and white hair falls down her back with black, straight-cut blunt bangs. They usually wear all black and have a variety of piercings.

Callum/Calliope [f/m] - 1 of 3 roommates. Cal is the ultra nice, slightly uptight, easily flustered college professor who is currently dating their longtime partner...that everyone seems to hate. Cal seems very in love with them and is oblivious to their best friends' irritation, but is that all a ruse?

Appearance: Cal has golden blonde hair. Cal's hair is curly fluffy while Calliope's falls down in soft ringlets around her face. Pale skin and green eyes. C dresses down, wearing basic clothes like button-downs and plain dresses.

Levi/Lani [f/m] - 1 of 3 roommates. L is boisterous, arrogant, and the comedian of the group. L makes their money as an influencer and uses their abundance of free time to pick up all kinds of people. L doesn't believe anyone can get them to settle down, especially considering they've never been in love..nor believe it exists.

Note: you can only romance L by starting a purely physical relationship first.

Appearance: Russet brown skin and long black hair that falls down their back and tied in a messy bun. L usually wears a white, billowy button down tucked into black slacks with an abundance of rings.

Garrett/Gaia [f/m] - Your neighbor. G is friendly but distant, always looking down at their phone when they see you. They seem disinterested in the happenings of Apartment 502. You can't help but wonder more about them...and their young child.

Appearance: Brown skin and curly black hair. G usually has headphones on, and Garett's hair is cut into a curly undercut while Gaia's is primed in a slick bun. They're usually dressed in a pristine black turtle neck and matching black pants.

Rainn [f/m] - your perfect, financially-stable lawyer ex. You thought what you and Rainn had was special, until they abruptly dump you the same day you were set to move in. The worst part? They live in the same building.

Oddly enough, Rainn doesn't seem to be acting like someone who should be completely moved on...

Appearance: Rain either has a severe black bob or black slicked back hair and usually seen in a pantsuit or business-casual clothes. They have tan skin and bright blue eyes.

Mason/Mona [f/m]- your old academic rival...who is now your co-worker. What are the chances you two ended up in the same place? M seems to have a lot of fun making things harder for you at your new job, especially considering you guys are competing for the affection of your boss. Tch.

Appearance: Long or short dyed white hair and tan skin with bright brown eyes. (M's outfit is dependent on job of choice.)

[smellysluna]

Could you write an Adrien x reader imagine where they’re forced to date by their parents to promote an upcoming fashion collaboration something, and then go from hating each other and being super fake to falling in love for real?

You know what? I postponed this ask waaaay to much. So what did I do? I sat down and took up your challenge. Go and enjoy the story you asked for but I never put the effort to make - until now e.e

warnings? no warnings apply :p

You always thought arranged dates were a relic of the past, something that only happened in old movies or distant cultures. Yet here you were, sitting across from Adrien Agreste, the face of the Agreste fashion empire.

Your parents have arranged this meeting to promote an upcoming collaboration between their brands, hoping the buzz around your "relationship" would skyrocket their sales.

Adrien looked perfect, as always—his blond hair artfully tousled, green eyes bright but distant. Always maintaining the perfect façade. Unlike you, painfully aware of every imperfection and every nervous gesture.

"Let's get one thing straight," Adrien said, breaking the silence. His voice was calm but firm. "We don’t have to like each other, but we do have to make this work."

You nodded, feeling a mix of relief and annoyance. "Agreed. Let's just get through this."

For the next hour, you both put on a show for the paparazzi lurking outside, sharing forced smiles and rehearsed lines. The whole encounter felt like a poorly scripted play, and you couldn't wait for it to end.

The next few weeks were a whirlwind of public appearances, photo shoots, and meticulously planned dates. Your parents had spared no expense in crafting the perfect narrative: two young heirs, brought together by fate and fashion. But behind the scenes, your interactions with Adrien were cold and apathetic.

One evening, after yet another tedious event, you found yourself walking alone in the Agreste mansion. The luxury of the place was suffocating, each room a reminder of the pressure you were under.

You wandered into the library, seeking solace among the rows of books.

"You like to read?" Adrien's voice startled you.

You turned to find him leaning against the doorway, a curious look on his face. "Yeah," you admitted. "It's one of the few ways I can escape."

He nodded, stepping into the room. "I get that. Sometimes I feel like my whole life is scripted. But I prefer watching anime to get some distraction." And patrolling as Chat Noir, though he wasn’t about to expose his best-kept secret to you.

For a moment, you saw a flicker of vulnerability in his eyes, and it struck a chord within. Maybe you weren't so different after all.

As the days passed, the cracks in your mutual disdain began to show. You still argued over trivial things and maintained a facade of disinterest, but there were moments—small, fleeting moments—when you glimpsed the real Adrien beneath his polished exterior.

One afternoon, you were both at a photoshoot for the collaboration campaign. The theme was a romantic picnic, complete with a vintage blanket and a basket of props. The director called for a break, and you and Adrien found yourselves alone in the park.

"Here," Adrien said, handing you a water bottle. "You look like you could use this."

"Thanks," you replied, surprised by the gesture. "I didn't expect you to be so… thoughtful."

He shrugged, a small smile playing on his lips. "There are a lot of things you don't know about me."

He hesitated, then said, "Like how terrible I am at cooking. I once set the kitchen on fire trying to make toast."

You laughed, picturing the usually composed Adrien in such a chaotic situation. "Seriously? Toast?"

He grinned, a little sheepishly. "Yeah, it was pretty bad. I had to call the fire department and everything. My father was not impressed."

You chuckled, the tension between you easing a bit. "Well, remind me never to let you near my kitchen."

He laughed along with you, the sound genuine and warm. "Deal. And maybe one day you can teach me how to make toast without causing a disaster."

One day, after a particularly exhausting photoshoot, Adrien and you found yourselves with a rare afternoon off. Deciding to make the most of it, you both ended up in the Agreste mansion's sprawling garden. The setting was beautiful and serene, a perfect escape from the public eye.

As you wandered through the lush greenery, admiring the flowers, you suddenly felt a cold splash of water on your neck. You turned around to see Adrien standing there, a mischievous grin on his face and a small water gun in his hand.

"Did you just...?" you began, but before you could finish, he squirted you again, laughing.

"Lighten up!" he teased. "It's just a bit of water."

You couldn't help but laugh, the unexpected prank breaking through the formality that often hung between you. "Oh, you're going to regret that!" you said, grabbing a nearby watering can and splashing him back.

What ensued was a playful water fight, with both of you dodging and splashing, laughing like carefree kids. It felt liberating to let go and just have fun, forgetting about the pressures and expectations that usually weighed you down.

Finally, drenched and out of breath, you both collapsed onto the grass, still giggling.

"Okay, I have to admit, that was pretty fun," you said, wiping water from your face.

Adrien smiled, his eyes sparkling with amusement. "See? I knew you had it in you."

"Just don't make a habit of it," you warned playfully. "Or I might have to come up with a prank of my own."

"I'd like to see you try," he challenged, his grin widening.

As you lay there, catching your breath, you realized that this was the first time you'd seen Adrien truly relax and let his guard down. It made it more obvious that he's not just a perfect, polished model, but a real person who wants to laugh and have fun.

As the collaboration launch approached, your relationship with Adrien grew deeper. You began to spend more time together, not just for the cameras, but because you genuinely enjoyed each other's company. You talked about everything—your favourite anime, your dreams, your fears, your hopes for the future.

One day, you were both at a charity event for Adrien's school, where he introduced you to his friends. Nino, Marinette, Alya—they were welcoming and kind, and you felt a pang of envy at the close-knit group they formed.

"You're lucky to have such great friends," you said to Adrien as you watched them from a distance.

"I know," he replied, a fond smile on his face. "They keep me grounded."

"Tell me more about them," you urged.

He did, and as he spoke, you saw a different side of him—one that was caring, loyal, and deeply connected to those he loved. It made you like him even more.

The night of the collaboration launch arrived, and the event was a resounding success. The venue was abuzz with excitement, filled with influential guests, dazzling lights, and the perfect blend of glamour and sophistication. Your parents were thrilled, the media couldn't get enough, and every detail had gone off without a hitch.

After a whirlwind of interviews, photos, and obligatory mingling, you and Adrien finally managed to slip away to a quiet balcony overlooking the city. The cool night air was a welcome respite from the heat and noise inside.

"We did it," you said, raising your glass to him. The city lights reflected in your eyes, adding a sparkle that matched your mood.

"Yeah, we did," he agreed, clinking his glass with yours. His smile was genuine, not just for the cameras this time. "But I want to tell you something."

You raised an eyebrow, heart beating, curiosity piqued. "Oh? What's that?"

He took a deep breath, looking out over the city before turning back to you. "I don't want this to end. This whole thing. I know it started as a publicity stunt, but somewhere along the way, it became real for me."

Your heart skipped a beat. "I...". The sincerity in his eyes was unmistakable. "I actually feel the same way," you admitted, feeling a rush of warmth on your face.

He laughed, a light, joyful sound that made your heart flutter. "Good. Because pretending to be in love with you was starting to feel way too easy."

You blushed, a mix of relief and happiness washing over you. "So, what now?"

Adrien stepped closer, cupping your face in his hands. "Let's stop pretending and see where this takes us. For real this time."

Adrien stepped closer, his hand gently brushing a strand of hair from your face. "Now," he said softly, his voice barely above a whisper, "we make this real."

Before you could respond, he leaned in, his lips capturing yours in a kiss that was both tender and passionate. The world around you faded away, leaving just the two of you in that perfect moment. You could feel the genuine emotion behind his kiss, a stark contrast to the rehearsed displays of affection you'd shown the world.

As the kiss deepened, you wrapped your arms around his neck, pulling him closer. His hands found their way to your waist, holding you as if he never wanted to let go. The kiss was intoxicating, filled with all the feelings you'd both been holding back.

When you finally pulled away, breathless and smiling, Adrien rested his forehead against yours. "I've wanted to do that for so long," he confessed, his voice full of warmth.

"Me too," you replied, feeling a flutter of joy.

The pressures of your parents and the fashion world still loomed, but they felt more manageable with Adrien by your side.

[tremendously-crazy]

Ranting about ACD Johnlock because these Victorian husbands need to be happy for me

What the hell happened between Holmes and Watson in 1902 and 1903?

Context: 3GAR is described as happening in July 1902, and ILLU happened in 1902. CREE and BLAN happened in 1903.

In 1902, Holmes and Watson were inseparable.

I don't even need to elaborate when I mention 3GAR. "It was worth a wound" should be enough to remind you of why. I was so touched when I read Holmes seeing his Watson injured and rushing to his side. He is terrified at the thought of losing his friend. It was amazing to read this seemingly cold, distant, and unemotional man threatening to murder the man who almost killed his best friend. There was loyalty, there was love, and it was beautiful.

According to ILLU, in 1902, they're also frequenting Turkish baths together. (which, I might add, was a common place for homosexual men to gather, do with that knowledge what you may) They're lying side by side on two couches with nothing but a blanket on either of them as they dry off. Watson hears Holmes is injured and nearly passes out, and he rushes to Baker Street to see him as soon as possible. He is terrified at the thought of losing his friend. He gingerly sits at his bedside to ensure that Holmes is okay. These are all very intimate things to do between friends. Indeed, this even suggests the possibility of the two being lovers.

IMAGINE that. These two are inseparable. Clearly, these two stories help to build on the idea that they love each other (platonically or romantically. To me, they seem romantically involved, but even as friends, they do love each other. It's all up to personal preference.) Their relationship is so strong, more than anything we have seen before. These stories showcase their love for each other and how passionate they are for each other.

Now, flash forward to 1903, when CREE and BLAN take place, and we are given an entirely different narrative. Watson describes himself as one of Holmes's "habits" in CREE, saying he felt as though he was an accessory to Holmes. Their relationship is "peculiar," and he is only called over to Baker Street as some kind of tool Holmes can talk to or use on a case. Holmes can rely on Watson, and he is, in a way, taking advantage of his reliability. Throughout the entire story, we can feel the tension between these two (remember how Watson had to stress over his practice in order to join Holmes on the case, and Holmes seemingly did not care at all). It seems partially resolved by the end, but there is still a feeling of bitterness that was fully apparent to me while I was reading it. It seemed like their interactions were angsty and passive-aggressive.

In BLAN, Watson does not even live with Holmes anymore, around a year after 3GAR and ILLU. Holmes explains he has "deserted" him for a wife, which he described as "the most selfish action I can recall in our years of association." Holmes was alone. In the story, Holmes cannot stop talking about how much he misses "his" Watson.

These four stories have such a sharp contrast. They have been absolutely terrorizing my brain a lot as of late. I feel like them being so close in ILLU, and *the* moment in 3GAR are some of their strongest moments together. They are both so terrified to lose each other. How is it that a year later, according to the canon, they are barely on speaking terms? My question is, if we are to trust the canon dates, what happened during those months that caused them to drift apart so terribly? How could Watson leave his Holmes for a wife so recently after these frightening events?

Another point about this supposed second wife. I don't think she even existed. (I do think Mary was really Watson's wife, and I might've reblogged a post about it somewhere) But about the second wife. As far as I'm aware, she's mentioned one (1) time in one (1) story by Holmes, and it was likely just a ploy by ACD to separate them (oh well, I'll just give him a wife. That'll separate them good enough.) It's easily enough ignored for that reason. Watson was, in fact, away from Baker Stret, but the idea of a wife was, in all probability, just made up by Holmes as an excuse for his absence.

I'd like to add my personal headcanon because the continuity in Sherlock Holmes is actually so messed up. John is called James in one story (TWIS, if you want to see for yourself.) October 9, 1890, is called a Saturday when it was really a Thursday (REDH) There's a story set in 1892, when Holmes was supposedly dead... etc, etc. Given the known unreliability of dates in these stories, would it be so unreasonable to suggest that the dates of the four I have talked about were swapped? That, in fact, CREE and BLAN were a falling out in their relationship and that ILLU and 3GAR was their healing? That the former were set in 1902 and the latter, in 1903? I can understand that after knowing someone and living with them for so many years, you may start to take them for granted. But after you narrowly lose them, you would not do such a thing again. (Especially not only a year after such a traumatic experience!!) Therefore, I believe CREE and BLAN were examples of how their relationship was beginning to fail and were actually set in 1902 (or some other date in the latter days of their relationship), and ILLU and 3GAR were reminders of how much they meant to each other, and they happened in 1903 (or, more simply, a year after CREE and BLAN).

Thank you for coming to my Ted talk. I know this is completely incorrigible and nobody's gonna read it but I just wanted to get it out there.

TL;DR: Late Sherlock Holmes canon sucks. No way that they had both near death experiences in 3GAR and ILLU, and less than a year latery they can barely stand each other in CREE and BLAN. My personal headcanon says CREE and BLAN were moments of stress in their relationship and that 3GAR and ILLU happened afterward to remind them of how much they appreciated each other and help reconcile them.

[lemonhemlock]

honestly it’s a bit annoying how people are bending themselves into a pretzel to justify this writing but are claiming that they’re somehow smarter for getting it like dude you can’t flipflop like if you think Alicent should be allowed to resent her child and get him beheaded cuz he was the result of marital rapr but somehow when it’s brought up of Alicent not the narrative acknowledges viserys being somebody that did that then it’s that oh Alicent is a character of that time so obviously she has buried that resentment deep inside but it’s the resentment conveniently reaches the surface when it’s time to press forward the rhaenicent ship.

I’m trying to be understanding but honestly what I’ve personally observed is that the only people that seem to love this are rhaenicent shippers and that’s it cuz how come oh all of this war was pointless and that’s the point all along but it’s like dude come on a character not acknowledging their grandchild was beheaded in their sleep is not an example of how well it shows the war is pointless cuz how is the mother of that beheaded child helping the man that got him murdered. How come the narrative doesn’t acknowledge that daemon did that and rhaenyra is still allowing that man back into her team like yeah let her do that but let the narrative acknowledge that she’s selfish for it and that she doesn’t truly care about what happened and what happened to helaena either.

I was willing to think people just have different interpretations and leave it at that before but the writing has become so blatantly biased that when people don’t even acknowledge that I genuinely feel like I’m being gaslit here like excuse me what

no, i totally get it and it is SO frustrating. bending themselves into a pretzel is such a good way of saying it. people love the IP and the asoiaf universe so much that they are willing to gaslit themselves that it's not bad.

but what's the point? it's bad execution after bad execution, a whole continuous string of them. you can't fundamentally change characters like that without making huge adjustments to the plot and to their fate as well - they won't naturally hit the same story beats! a character with show!alicent's personality would never do the things book!alicent did! a character with show!rhaenyra's personality is never going to do the things book!rhaenyra did!

they want to reconstruct these characters from the ground up, shove their dumbass life philosophies and first wave understanding of feminism in there, then NOT do any of the work that might allow them to depict an organic character arc. they still have to hit the same plot points, so ofc it's going to be circus-level flip-floping bc the motivations will not make sense if you change their core self so much.

this is especially evident with how the show REFUSES to admit viserys was a rapist. but at the same time implying so badly that alicent didn't want these children and is shackled by them. if she didn't want them, how did she manage to produce 4?? of them? who put those children into her body? if she didn't want them, then it was done against her will, no? can we examine that before we get to the point of gleefully handing them over to be executed bc you want to "be free"? no, ofc not, bc that would make viserys look bad 🙄 so how can you accept that supposed motivation of alicent's if it so half-baked? i hate it so much. and i hate it that people are going "fans are triggered by bad mother characters, but that's not feminist, women should be allowed to be villains and unpalatable on screen REEEEEE"

and another thing i find frustrating is this (mistaken IMO) attempt at a distinction between wanting explicit media vs media where things are left open to interpretation, and how hotd is supposedly the latter and we just don't understand that some people prefer having to fill in the gaps themselves. i don't want media with neon signs pointing if something is """"bad""""" or """""""good"""""". i am not asking for the booktokification of asoiaf!

no one in Succession is looking at the camera and saying "i am doing X thing bc of Y" and there are enough points where the show supports multiple interpretations, but the character work and attention to detail is stellar with similar amounts of screen time. i wish i could word this better but hotd does this annoying ass thing where it skips the fallout of important moments and then never addresses them, then pretends that's subtle character work instead of what it actually is: a lazy hack job.

i mean, honestly, i can't believe we ever complained about season 8 in the first place if these are the new standards. genuinely, i would encourage everyone to go back and re-watch those last episodes and make a bullet-point list about what's actually bad about them while trying to defend hotd s2 with the same arguments. because at least dany has a very clear, if rushed, progression there: she has a clear goal, an obstacle, suffers some losses she considers harrowing (an escalation), she is shown to be depressed and getting paranoid, there's a trigger point, she gives into violence and finishes off fanatical about her own self. where is the problem?

[canmom]

music and narrative {[0]}

so. as part of the ongoing music researches, I've for a while wanted about the relation between music and narrative. that's going to be a long project! but to begin with I wanted to run down the examples I know, and maybe solicit a few more~

now, on some level, nearly any song has some degree of narrative. your basic love song introduces us to some characters - singer, object of their affection - and furnishes them with emotions and desires. moreover, music can play a role in a narrative without literally relating events - indeed, the art of soundtrack design is definitely a subject I want to look into at some point. even songs addressed directly at the real world, such as political songs, construct some kind of narrative.

however, for these purposes, I'm interested in songs that go a bit further in the direction of telling a fictional story, especially when those link together into whole albums (sometimes called a concept album, though this is a slightly broader concept). which can work in a lot of ways!

for example, Janelle Monae's The ArchAndroid tells a sweeping scifi story of an android fleeing an oppressive society and becoming an unintentional figurehead of revolution. it sketches out a wide-reaching set of influences in constructing a scifi world, but you'd be hard-pressed to boil it down into a simple series of events - it prefers to leave a lot to interpretation. by contrast something like Splendor & Misery by clipping. deals with kinda similar subject matter - a scifi story, an escaped slave, artificial intelligence - but with a different musical approach and perhaps a slightly clearer narrative arc; sometimes directly narrating the thoughts and actions of characters, or slipping into memory, but also drawing less direct musical parallels with e.g. gospel tracks and slave spirituals. both excellent albums - both solve the problems of conveying a story musically in different ways.

of course, the largest pool of examples here comes in the context of musical theatre, and further back opera. (the exact transition from one to the other is something I'm going to need to research). particularly interesting to me are sung-through musicals such as Les Misérables, in which there's no spoken sections in between the songs. this restriction means the songs (and staging etc.) have to do all the work of conveying the events of the story.

there's a lot to be said about the various traditions of musicals (for example). there's even more to be said about the history of opera - both the Western traditions and other musical traditions that have been given the label such as Chinese opera. but that will have to wait for later day in the project because otherwise this entire post would be a huge list of musicals, and I want to try and wander all over the shop.

what I'm most curious to find is music that tells a story all on its own - no actors or staging, but more similar to oral narration. of course, in the present era, music is often released along with videos, and these can tell quite elaborate stories that will become part of the overall 'message' communicated by the song, so the lines are a bit blurry! but since the aim of this series will be to look for ways to convey narrative using music, I'm looking for examples where the music does most of the heavy lifting.

music that tells stories is something with a looong tradition in folk music, pretty much the world over. in Europe, the ballad was a common form for it, a word that survives into the present. it seems that most cultures have had some kind of tradition of wandering itinerant musician-poets - for example, at various points in history, there were biwa hōshi in Japan (pictured) and griots in West Africa, medieval Europeans had minstrels, the Celts had bards, the Occitans had troubadors...

moreover, work and marching songs such as sea shanties would also have a certain degree of narrative to them, in addition to their main function of keeping a group moving in time.

in modern times, people will sometimes attempt to reconstruct how this kind of music and lyric poetry would have been performed. you can naturally only go so far with the archaeological evidence, but I'm fond of Peter Pringle's recordings of segments of the Epic of Gilgamesh, using period instruments if not necessarily a period musical style!

in the modern age of recorded music, these traditions have become much more niche, but there are still artists who use music as a vehicle to tell a fictional narrative. (fair warning: I'm a huge nerd, so most of the examples I know are like, supreme nerd shit. also about ten years ago I was given an assortment of metal from a friend which included a bunch of what I'm about to put below.)

to begin with I've naturally got to talk about my friend Maki Yamazaki (Dr Carmilla) and the band she founded but later left, The Mechanisms. They tell a story of a sprawling gothic scifi universe, with the band playing the role of travelling space pirates who observe the (invariably tragic) tales that unfold. The Mechanisms' music starts as folk song pastiche, but gradually gets more original, although narratively they keep the approach of crossing over mythology with genre storytelling (fairy tales as space opera, arthuriana as space western).

The Mechanisms got a significant measure of international fame washing back after their frontman Johnny Sims got really big on some podcast or something.

Maki's solo music as Dr Carmilla took things in (from a narrative sense) a more abstract direction, using elaborate production and an incredibly textured sound to tell a (so far!) fragmentary story of the tragic space vampire Dr Carmilla and her doomed relationship with another vampire Lorelei (for example). And I'm gonna have lots more to say about them all, in the future, but this is just an overview so let's not get ahead of ourselves!

In a related vein (though I'm much less familiar with them) comes indie band Decemberists, who often create narratively driven songs - for example, The Mariner's Revenge Song depicts a sailor's motivation for extracting bloody revenge on someone who wronged him, with the actual violence conveyed by an energetic instrumental break. A subject that reminds me of the Clockwork Quartet, now long gone, who managed to record just three of their songs from a larger project, yet stand out as way more interesting than most of the steampunk milieu - with for example The Clockmaker's Apprentice giving a very fun antihero-revenge narrative to the ticking beat of a clock, and The Doctor's Wife a compelling tragedy of desperate medical science.

There's definitely something in common with this type of storytelling and the subgenre termed rock opera, which has a pretty long history going back to the late 60s (SF Sorrow by Pretty Things and The Story of Simon Simopath by Nirvana, thanks wikipedia), with notable examples including some incredibly popular albums like Pink Floyd's The Wall (which was adapted into a partly animated film using animations by Gerard Scarfe, c.f AN86) and My Chemical Romance's The Black Parade. In many of these, the connection between songs and narrative is fairly abstract and metaphorical - most of the examples mentioned are about the psychological arc of one character.

Calling this a genre or subgenre is kind of a stretch recently - just in those four examples we see a pretty wide range of musical styles, so it's more like an approach to album writing. Still, for want of a better word, there's definite overlap between this 'genre' and musicals. For example, the history on wikipedia cites The Rocky Horror Picture Show as an example of rock opera, which in my head it's just a musical. (Anyway, exactly the taxonomy of regular opera/libretto, rock opera and musical theatre is not that important anyway, because we want to look at the techniques of all of them!)

A more direct narrative comes in the work of The Protomen, who have the 'no way that would work' premise of creating a huge, dramatic, emotional story based on the plot of the Mega Man games. By putting the focus on the tense relationships of the fought main characters (scientists Light and Wily and robot boys Proto Man and Mega Man), and their sense of rejection and betrayal by the broader society, they somehow pull it off.

Moving gradually in the direction of (progressive) metal, we encounter Ayreon, whose entire career has been telling psychedelic and occult stories of time travel, aliens, warnings projected into the past, out of body experiences, and the history and direction of humanity. I'm not sure if all of their albums fit together into one big story exactly, but certain ideas seem to keep coming up - for example, future societies or aliens sending warnings to humanity to fix our shit before it's too late. In some of their albums (e.g. The Electric Castle) they follow the device of having each member of the band play a character in an ensemble cast, bringing it a bit closer to something like a radio play.

Also in metal land we find the rather unique project Charlemagne: By The Sword and the Cross, best known for that time Christopher Lee shed the blood of the saxon men. This is using music as a vehicle for a (more or less) historical story, featuring an old Charlemagne (Lee) reminiscing on the various awful things he did over the course of his life. Apparently they made a sequel to this album, which I never realised!

As well as history, metal also likes to lean on literature and poetry. For example, Kamelot (classed, apparently, as 'Power Metal') have a rather fun adaptation of the story of Faust into two albums, Epica and The Black Halo. Iron Maiden famously took on the Rime of the Ancient Mariner in a 13 minute song. And that's not even to get into all the songs dealing with Tolkien.

Moving on from metal before we start listing a hundred songs about vikings, it's worth looking more broadly for music about history, since it's a pretty major overlap with fictional storytelling! For example, the Boney M song Rasputin tells an incredibly catchy account of the assassination of Grigori Rasputin. Another rather more charged example comes in Nakam by Daniel Kahn and the Painted Bird, about the unsuccessful paramilitary plot to poison six million Germans as revenge for the Holocaust.

If you go looking, you can find an impressively long list of historical songs compiled by 30 users of lyrics website Genius - though many of these I feel don't really count, since they were describing contemporary events when they were written.

Of course, there is a heavy overlap between this subject and political songs - in many cases the historical subjects are invoked to comment on the present. For example, Wernher von Braun by Tom Lehrer was written at a time when von Braun was leading the US space programme. In many cases, the songs simply invoke a historical event to express a feeling, assuming you already know what happened. Others may recount events more or less directly, before seguing into a verse or two at the end about why it matters now. Most of the songs in this list focus on recent (20th-century) history, sometimes they reach further back - mostly to talk about colonialism.

Historical songs can also be quite oblique. For example, Mili's song Salt, Pepper, Birds and the Thought Police is about the life of Korean poet Yoon Dong-ju, but you wouldn't necessarily know it from the content of the lyrics unless you were already familiar with Yoon's life. More on Mili in a moment - most of their songs are more fictional.

One thing I'm curious about is whether there are examples of more historical fiction in music, which tries to imagine the thoughts and feelings of historical characters... well obviously there's Hamilton, and perhaps that illustrates why there aren't a lot more songs about non-recent history, because the vibes can be off.

Storytelling is still a powerful mechanism even in a contemporary, political song. Take Construção by Chico Buarque - the story it tells is of the pointless death of a construction worker; with the lines ingeniously remixed over the course of the song, this turns into a wider illustration of the ruthlessness of the system that killed him. Its lyrics are absolutely fucking genius, even if you don't speak Portugese.

Speaking of language, most of the examples I've covered so far are in English, since well, that's my native language. It's naturally a little harder to access a story in a language you don't speak, but in these days of subtitles, we kinda can! So for example I can encounter projects like MILGRAM, something of a combination of music project and voting-driven story, in which we are introduced (by character song) to a number of characters facing execution - and then invited to vote on who should die. Heavily illustrated, it is somewhere vaguely in the space between album and straight-up anime.

I mentioned Mili already, but many of their other songs have a strong narrative arc to them, and sketch out the contours of a fictional setting. For example, one of their best-known songs is world.execute(me), which portrays the failure of a bdsm relationship between an AI girl and her creator. Which is relatively grounded by Mili standards - other songs depict for example the relationship of a jiangshi and a mad scientist cooking food, or a witch reanimating a knight with scientific methods to kill on her behalf.

And I think that will suffice for now. But we are of course only scratching the surface - this is by no means supposed to be an exhaustive list but I'm sure there's stuff that I'll be kicking myself for not mentioning. Mostly, however, this is a request for recommendations - particularly, of music from genres I haven't addressed in this post, and especially non-English languages, or that convey their stories in especially creative or unusual ways.

This project will likely be a long time in the works - it's something of a supplement to the Music Theory Notes (for science bitches) series - but my aim will be to pick out a few of these to examine how they go about conveying narrative through songs. Because I think that's kind of one of the big things I want to do with music.

ok canmom out i gotta go play some music. see you next time!

[nanaosaki3940]

TokRev Final Season Hate???

Damn!! The hate under these Twitter posts!!! And not them comparing it with Wind Breaker anima/manga... Like bitch, Wind Breaker's mangaka is a massive fanboy of TokRev and Ken Wakui to the point he created a character who looks similar to Baji (which is Sugishita) and they share the same birthday which is November 3rd. He even draws TokRev character fanarts and posts them on his Twitter account, so... 😐😐😐

People seriously need to stop comparing Tokyo Revengers to Wind Breaker. The two series are fundamentally different, with completely distinct storylines and themes. Let's not forget that Tokyo Revengers is about Bosozoku biker gangs intertwined with time travel, yakuza, and underworld mafias rather than just a simple delinquent narrative.

It's astounding how frequently people compare Wind Breaker to Tokyo Revengers. While WB isn't a bad anime by any means, it focuses primarily on intense physical confrontations. Viewers might be drawn to its well-choreographed fight scenes and impressive animation, and that's perfectly fine. However, this does not make it comparable to TokRev simply because both shows feature delinquent elements. In reality, the characters here aren't even true delinquents; they act more like unofficial town protectors, with the delinquent theme serving merely as a backdrop.

The level of admiration for this anime, purely based on its animation, is overwhelming. TokRev, on the other hand, is driven by its intricate story, and while its animation may not stand out, this doesn't mean WB is superior just because it boasts good choreography and visual appeal.

Preferring Haruka Sakura as a main character over Takemitchi Hanagaki is subjective, but it’s misleading to claim he's a better protagonist simply because his emotions are more straightforward, oscillating between anger and embarrassment.

WB is indeed enjoyable for its animation and fight scenes, but it cannot be fairly compared to TokRev. The two shows are fundamentally different. Firstly, WB's storyline is kind of weak, with a pacing so fast it could be compressed into a single episode. TokRev, conversely, has a well-crafted storyline with a steady pace that allows for deep emotional engagement. How can viewers feel emotionally connected when WB's narrative rushes by so quickly? To me, the characters in WB are flat, displaying only two basic emotions (we still don't know why Choji acted like a bitch btw 😑).

In my opinion, they are incomparable. Tokyo Revengers offers a richer, more emotionally resonant experience due to its well-paced storytelling and complex characters, unlike the hurried and simplistic approach of Wind Breaker.

[dramaticviolincrescendo]

BFSS vs. MYATB

I had some Thoughts(TM) after finishing “Blooming Flowers, Silent Sorrow” and thought I’d put them out into the universe.

I’m definitely glad that I read the book and plan to start “Jinbao Marries a Wife” after the extra episodes air. That being said, this is nevertheless one of the rare occasions where I actually preferred the show to the novel. I have already rewatched the series more times than I care to admit publicly, but I don’t really see myself reading the book again unless an official English translation is released to see the approved wording and whether anything was left out of the translation I read.

For anyone who plans to read and wants to avoid spoilers, I’ll hide the rest below the cut. If you loved the book, no worries—this won’t be a negative review!

The Story

I’m extremely impressed that the story is basically the same and, in parts where it isn’t, maintains full fidelity to the original plot and characters. Like MDZS and The Untamed, there were some plot points that got shuffled around in order to suit the medium of television rather than written narrative—and only twelve episodes of television, at that—but it didn’t alter the essence of the story or even the overarching plot at all. Some events were consolidated where it made sense (ex., finding Zongzheng Yuzhan’s dahlia and escaping with Xiaoyu), and others were fragmented in a manner that allowed us more time to get to know the characters (ex., Xiaobao delivering the medicine and their intimate moment in episode three being at two different times). Even Xiaobao’s illness, which was shortened to the spring rather than the following autumn, was still written and portrayed in such a way that you really felt the passage of time and how excruciating it could be when finding the dahlias before their window passed was at the fore of everyone’s minds.

There are a few points, however, where I feel like the show was able to add something to the narrative that I found I missed when reading the book, while I didn’t encounter anything while reading that I really wished had made it into the show. To be honest, given how few episodes they had to tell this story and how important pacing was as a result, that really surprised me. Here are some things that come to mind:

Toning down the non-con elements. While the show depicts those moments as almost more of a non-con initiation transforming into something more tacitly consensual as it progressed (or dubious consent due to drinking or drugging), the book really stuck to the non-con focus of their interactions. I was surprised how long it remained that way, as well as how much more Huai’en pushed it by trying to initiate things after the betrayal and poisoning. I know a lot of that is due to the medium—in a show of this nature, I’d have been more surprised if they’d kept it the same. It’s just something I preferred about how it was depicted in the show and felt made the romance a little more believable as it evolved so quickly.

More conversations between Xiaobao and Huai’en. As with the last point, it made the budding romance more believable for me, not to mention adding that extra bit of heartbreak when Huai’en betrayed Xiaobao. In the book, he doesn’t mention anything about his family history or his father after Jin Bao’s asthma crisis; much of what Xiaobao learns about Huai’en doesn’t come up until the latter is already gone. Sharing the truths (or what Huai’en thought were the truths) of his past added to the half-truths of what he’s doing in Jiangnan created a much deeper sense of manipulation for me and added to the weight of both what he does in episode six as well as how he still tries to keep the Jins alive in the aftermath.

The overall character growth. I’ll put more on this in the characters section, but I was left feeling a little disappointed at the end of the book in a way I wasn’t when I finished the show. It’s not that the growth was bad or missing, just that it didn’t feel as deep as the show for me. At the end of MYATB, Xiaobao is more mature and mindful of what his family needs and his own responsibilities in making that happen; in BFSS, he’s mostly acting like a young master again, gallivanting around with Huai’en and bemoaning how useless he can be. In MYATB, Huai’en grows to care about more than just Xiaobao, even though Xiaobao is still his true north; in BFSS, he’s seriously considering killing Xiaoyu out of jealousy in the last few chapters while rescuing her. In MYATB, Su Yin is angry at the situation, not with Xiaobao, and eventually comes to terms with the idea that Xiaobao has matured and can be trusted to make his own choices; in BFSS, we don’t really see the closure to that disagreement, which was one of my favorite scenes in the finale. Again, nothing wrong with how the book portrayed things, but I felt there was a certain growth in these characters in the show that I’d have liked to see mirrored there.

Xue Tong’en’s ubiquitous presence. She’s startlingly absent in the book while her presence in the show seems to be the backdrop to everything. Zongzheng Yuzhan’s obsession and even madness are palpable in the show, and his strange hatred for yet attachment to Huai’en is especially moving. All of that was absent in the book except for a couple of mentions in the overall narration and Zongzheng Yuzhan’s unwillingness to relinquish Xiaoyu. I just didn’t feel it like I did while watching MYATB.

Their strange but heartwarming little found family. My jaw dropped to see Zuoying and Youying peace out during the final battle, leaving Huai’en to fend for himself, and Zhaocai have an off-screen love interest he was determined to marry before he, too, caught a case of bisexuality. (His sentiment, not mine.) No tearful farewells after a year of huddling together for survival? No beautiful little scene of Huai’en’s two shadows keeping him alive until help arrived? No Zhaocai-Xiaoyu tag-teaming to interrupt Xiaobao and Huai’en at every turn? Don’t get me wrong—the two of them going off on their romantic road-tripping was satisfying, but… Well, as someone who sees platonic and romantic relationships as equally important, I was a little sad to see that it’s just…them.

First, the raid; next, the cure. Having Xiaobao’s remedy come last made Huai’en’s journey feel like there were higher stakes for me. In the book, it’s like tying up a loose end—“bring back Xiaoyu, and I’ll fully forgive you.” In the show, Huai’en gets to see what’s at stake and can make the conscious decision to inconvenience and further endanger himself by taking Xiaoyu away. He knows Xiaobao still loves him and has to just sit there helplessly while he continues to go through episodes that leave him unconscious for hours or days; he has to leave without saying goodbye, with no prompting from Xiaobao to bring Xiaoyu back or ultimatums on his forgiveness. And if he failed? In the show, that’s it for Xiaobao; in the book, it’s just whether his sister comes home, which Huai’en isn’t as bothered about even if he’s willing to die for it. For me, it read as a little more…transactional in the novel, so it wasn’t quite as emotionally stirring. Plus, waiting until later to heal Xiaobao meant Su Yin and Huai’en had to work together after everything that happened between them, which may have gone a long way towards that reconciliation I mentioned.

Li Gongxiang. …That’s it. ‘Nuff said.

All the little things that made the characters more real. Obviously, visual mediums are going to fill in personalities in ways that written narratives can’t, but MYATB did so in such a way that I deeply missed those details when they weren’t there. Zhaocai and Jinbao’s odd sleeping arrangements. Xiaobao and the dancer…and the guy in the restaurant… Shaoyu coming back to stake his claim only to get out-bratted by Xiaobao. Youying royally screwing up and putting the Jins on alert, necessitating an in-universe convoluted plot to make it seem like a random jianghu misunderstanding. None of it was necessary, no, but it was fun and made me care more about the characters as I watched. The only moment like this in the book that really stood out to me was Su Yin tickling Xiaobao into submission, which was honestly amazing. In any case, adding depth to the supporting characters that wasn’t there in the book added more to the main characters as well, so I missed those small details as I read.

The Characters

I know it seems like I covered that already, but there were a couple of specifics that really stood out to me regarding character choices and personalities in the book compared to the show. As with the story, there wasn’t much I felt hadn’t been incorporated from the book, while there were elements from the show that I did miss seeing as I read. Overall, I thought the show did a fantastic job of taking who the characters were on a fundamental level in the book and enhancing them with certain narrative choices.

Huai’en: I am unspeakably grateful for whoever decided to age him up to 20. It facilitated the conversations he had with Xiaobao that deepened their relationship and made the romance more believable. With that added maturity, his cold manipulation makes a lot of sense for his character rather than the angry and violent outbursts that the teenage Huai’en in the book was prone to. Even in MYATB, Huai’en experienced a few of those, but they only came at pivotal moments and, as a result, had more meaning to me. (Note: not morally right, but still meaningful.) On another note, I was mourning the loss of his scene with the emperor as I read. The majority was still there, namely the blood test, dahlia, and refusing his title. However, exonerating the Jins was a huge moment that contributed to his reconciliation with Xiaobao and their ability to live happily later. For me, it was more moving to see him take that initiative in the show rather than have it offered to him as an incentive for providing information that could free Prince Shen later in the book.

Xiaobao: …It’s the word “lecherous.” I just can’t get past it! In the show, we’re made aware that he’s frequented brothels in the past, and no further details are given. His attempts to woo “Miss Zheng” are slightly sleazy, but they hardly count as “lecherous,” which I really liked. It’s more of a wide-eyed “she could kick my ass in any context and I’d thank her for it” situation than…well, “lecherous.” (Nope, still can’t get past it even when I use it.) With an aged-up Huai’en, I think that having Xiaobao be more of an adorable wannabe player matched a bit better. He was still that way in the book, but the sexual element was a lot more prevalent (namely trying to switch positions), while MYATB moved him past that very quickly.

Su Yin: As I mentioned above, I really mourned the loss of their closure. In the show, we see a Su Yin who goes through hell trying to avenge Xiaobao only to learn that he needs to take a step back and trust that Xiaobao can take care of himself. He isn’t that same spoiled young master who needs Su Yin to constantly come to his rescue anymore by the end, and Su Yin has seen Huai’en’s sincerity even if he will never be able to forgive Huai’en’s indiscretions himself. Su Yin is very similar in much of the book, but I felt that their roads diverged some after Xiaobao went to warn Huai’en about the trap at Chifeng Cliff. In BFSS, we never really see him get over that, and his anger is truly at Xiaobao—he even insults him multiple times. MYATB shows it as concern with Xiaobao’s self-esteem and seeming willingness to degrade himself, shortly followed by understanding and acceptance, however hesitant. I loved that growth for both Su Yin and their relationship, so I was quite disappointed that it wasn’t the same in the book.

Que Siming: This was a case where expectations didn’t meet reality. I’d heard from people who read the book how he was the only one rooting for Huai’en and Xiaobao, but…that wasn’t entirely the vibe I got. It was still there, as it was in the show, but perhaps it was his personality that made it a bit difficult to see. In the show, Que Siming is eccentric, self-serving, and arrogant. However, there are moments when he displays genuine emotion towards Xiaobao’s suffering and Huai’en’s fate that show he really does care, even if his taste for gossip outweighs most other things a lot of the time. In the book, he was mostly just mean. The self-serving arrogance was there, but I didn’t really see much else. It could have been lost in translation, and I’m sure I’ll have a better grasp of him after “Jinbao Marries a Wife,” but on the whole I was left feeling like he was one of the only characters who was extremely different and far more likable in the show. Props to Kou Weilong!

Xiaoyu: She is one of the other characters who felt extremely different between the two mediums, and I vastly prefer the show’s version. In the book, Xiaoyu almost didn’t even seem like a kid of only about ten. Her dialogue read like a young woman, and I have to agree with the book version of Huai’en that her feelings about Xiaobao were…uh…wow. I definitely preferred Su Yin alluding to a marriage as merely a parting shot at Huai’en. Of course, the context is important: in the book, the Jins already decided Xiaoyu would run the family business, and she was also aware of what had happened to the Xues and that she wasn’t actually a Jin. In those circumstances, it makes sense that she would have been groomed to consider this eventuality without much thought given to their brother-sister relationship beyond just always being together. Still, uh…very glad they didn’t go that route. It also meant she could be more of a child in MYATB and wage a war for Xiaobao’s attention against Huai’en without that loaded underlying meaning.

Zongzheng Yuzhan: In MYATB, he seems to have gotten an upgrade. Even more than just being an oftentimes off-screen, absentee antagonist, he was a character foil for Huai’en. We are meant to see that Huai’en’s understanding of love is twisted, as Li Gongxiang said, because his only example is his foster father’s obsessive and possessive form of love. What makes Zongzheng Yuzhan monstrous is that he can’t change. What makes Huai’en human is that he can. He could have been a monster—a beast, as Xiaobao calls him in the book multiple times—but he takes a different road. That road leads to direct conflict with Zongzheng Yuzhan and emphasizes their differences in a dramatic and captivating way. In the book, that conflict really isn’t there. Zongzheng Yuzhan very easily lets go of Huai’en being Zongzheng Yunlian’s son and urges him to be free until he comes back for Xiaoyu. Perhaps that’s the Zongzheng Yuzhan we’d have seen if Huai’en had visited him in prison, but that steady escalation of their differences until it reached a boiling point made the stakes in the second half of the show that much more impactful for me.

In all, I enjoyed BFSS. It was worth reading and did add a lot of insight into certain scenes that couldn’t possibly include dialogue, especially Xiaobao’s thoughts during poison episodes and his quieter moments as Huai’en insisted on proving what a joke Su Yin’s security was to him. (I’m imagining Su Yin with a clown nose and wig asking, “Am I a joke to you?” Yes. Yes, you are. But I love you anyway.)

Perhaps I’d feel a little differently if I’d read the book before watching the show. Having gone the opposite direction, though, I’m left astounded at how well MYATB took a book with over a hundred chapters, adapted it for the screen, enhanced both the plot and characters, and told the story in twelve episodes with time to spare for an extra fluffy epilogue. There was a lot of love put into the show, and while I did enjoy the book, that may have made all the difference for me.

[agentrouka-blog]

What made you first interested in Jonsa? I really want to love Jonsa. Which may sound strange. But hear me out. I’ve read all the metas and from a metatextual level I really agree with and believe in Jonsa. But I have trouble actually enjoying it and I think maybe it’s because so much content seems to focus on Jon pining over Sansa. I’d much prefer to see things from Sansa’s perspective where she sees the hero in him and sees that maybe all the songs aren’t lies after all as opposed to him “winning her over.” I feel I have been inundated my whole life with stories of outcast men pining over beautiful women they see as out of their league and “winning them over” and I honestly find the trope tiring because it’s so male perspective focused and doesn’t give Sansa the agency of choosing her lover, instead, making her something to be won or earned. If you have any suggestions for Jonsa content that focuses heavily on Sansa’s point of view, on her falling for Jon first (or at least falling for each other at the same time without realizing it) I’d love to hear them! And I’d love to hear what makes Jonsa appeal to you on a personal non-meta level!

Hi there!

I too draw a difference between Jonsa as a theory and shipping it for entertainment.

I've drifted quite a bit away from what you describe as "content", which is fanworks, art and fanfiction. My tastes are very narrow and that puts me outside the target audience for a lot of what is being shared by creators. Plus, I get a great deal more personal enjoyment out of just interpreting the canon text. I enjoy what the couple represents in the narrative more than I necessarily enjoy immersing myself in different non-canonical variants.

And there's a lot of variants. You have two similar but also very different canon-sources (books and tv show) and within those two sources very different takes on the couple. For as many "Jon pines for higborn Sansa" approaches you get an equal amount of "Sansa jealously pines for her brother's oblivious best friend" modern au's. What we enjoy in recreational reading is extremely personal and subjective.

That said, for fear of disappointing you, I don't particular enjoy the "Sansa falls first" scenarios because what I like about the couple especially is the idea of Sansa finally being appreciated for who she is. Canon offers us plenty of examples of Sansa extending affection and crushes on other characters. They are never truly reciprocated, and they join in on a theme of Sansa going unappreciated for her qualities by the world around her. She is disregarded, mocked, criticized, belittled, humiliated. So much so that a large part of the fandom considers this to be justified and educational for her. She has given up on being loved for herself, but she will not sacrifice her values as a consequence. So someone falling in love with her is to me a very compelling and cathartic validation of Sansa as a person. Of course, this only works if the person falling for Sansa is actually attractive to her and embodies the things we know she has been looking for all this time. But specifically the idea that Sansa falls first fails my personal taste because it contains a sense of lacking reciprocation that we've already seen multiple times in her story. She's been not-loved-in-return a lot already.

I do enjoy the concept of Jon being loved by Sansa, too, because it validated aspects of him he usually keeps close to his chest. Things that touch on his specific mixed sense of identity as a nobly-raised bastard. He has soft sensibilities, a romantic disposition, pedestrian dreams of family and home, and highly idealistic and emotional ideals surrounding leadership that center on duty and honor. But he is generally not appreciated for those specific things. He is appreciated for his brains and his abilities, his bravery, his pragmatism, his loyalty to his friends and duties - but not for the boy who wants to be Lord of Winterfell with a lady wife and babies, who wants to be a hero from the songs, Florian the Fool, Ryam Redwyne. It's a lovely and very specific recognition of a very private part of Jon, to be loved for his secret soft self.

But it's not my primary focus because unlike Sansa, Jon still receives a lot of validation and love in the source material. It's just not the specific kind he wants. So that makes it comparatively less compelling to me.

That doesn't mean that Sansa primarily falling in love with Jon isn't an equally valid thing to enjoy! It's just that I can't make you any good recommendations on this subject specifically because it's not my specific favorite flavor of jonsa.

I wish you good luck though!