#i don't often find characters relatable! i don't think relatability is the point of books

[junonreactor]

yaay

[penultimate-step]

Lately, I've been thinking about the effect of real-world time on perception of media. Or, wait, let me start from the beginning.

When I was 11, I read the book Ender's Game for some school assignment or another. I don't remember ever considering Ender a relatable character, but certainly my understanding of the events was shaped by being of an age to see the protagonist not so much as a young child but as someone of my peer group, someone who could have been slotted amongst my classmates without anybody batting an eye.

Over a decade later, I read the sequel, Speaker for the Dead; it takes place many years later, when Ender is in his thirties, and my feelings about the in-universe time skip were undeniably shaped by the real life time gap between my reading of the novels. Reading the first book back then and then the second book now created a feeling where it's almost like, I'm browsing the facebook page of someone I had known in middle school but lost contact with, checking up on how they're doing today. The real-time factor caused me to perceive it less like a timeskip, and more like a reunion - the feelings were closer to "oh wow, that's my boy! I haven't seen him in years! Wonder what he's up to?" Which in turn gave me a better position to appreciate the parts of the narrative about him struggling to find a place in his adulthood than I would have been had I perceived it more strictly as a quick skip from 11 to 20 to 36.

While musing about this, I considered a VN I played a few years back, which took place over three in-game days - except at the end of one in-game day, the game would lock you out from progressing for 24 hours real time. So that as the in-game investigator protagonist was ruminating on the information that had been discovered that day, the player would be forced to do the same. In this example, by forcing the player to experience the same timeframe as the in-game characters, the sense of it being an in-depth and extensive investigation increases, even though without the forced pauses the game would be short enough to blow through in a handful of hours real-time.

Which brings to mind how time effects things in long-running serial works. It's well known that an audience which watches an episode or reads a chapter week by week has a very different experience than one binging through whole seasons or volumes at a time, but I wonder if the real time relative to the in-universe time makes that effect stand out more? Fight scenes, for instance, have been known to take up several chapters in certain manga or webnovels. What does it do to the reader's perception, if from their point a view a fight takes a whole month, while for the characters they read about it's only been a couple hours? Readers might feel that the situation is more stressful, since the pressure of the fight has been ongoing for a long time for them, while in-universe it was a rough afternoon but no more than that. Contrastingly, when a series skips ahead or otherwise has long periods of time for characters that feel short for readers, it can feel like no time has passed and everything is still the same, unless the author really stresses the differences in world-state that occurred offscreen. Because the reader hasn't changed at all.

No conclusion here exactly, I just think it's interesting how often an audience's response to a work, the emotions felt, are more closely tied to their real-life timescale, something almost completely out of the author's control, as opposed to in-universe time, which can be intentionally shifted or played with for the sake of the narrative.

[supersoakerfullofblood]

Why You Shouldn't Care About Theme (as a writer)

"Theme" is another word like "worldbuilding" and "plot hole" that writers put way too much stock into without clear definition. It's often thought to be one of the most important things in your story, one of the defining traits of creative writing, but it can be hard to pin down, and some pervasive definitions are actively harmful to the writing process. Let's talk about that.

A common misconception about theme is that it's the story's "message." Under this definition, a theme of The Great Gatsby would be that generation wealth is a hollow substitute for genuine human enrichment, love, etc. A theme of Hamlet would be to not kill yourself. But this idea of a book's message misses the point of why we read at all. Reading is a relationship between the author and the reader; to interpret text, the author puts their experiences in writing, and you bring your experiences to its reading. In other words, you as the reader create meaning from a story. You give the story its messages. The author's only purpose is to transcribe their worldview and experiences, and the best authors can sway the empathy of the reader towards those experiences. Anything greater than this, any book that moralizes, preaches, dictates, is gaudy, emotional propaganda. Imagine a novel where throughout the book, the author is telling you about the toxic environmental effects of unwalkable cities. While true, narrative fiction is a realm of characters and story, not essays. Readers pull meaning from a novel because they think and feel about a character's struggle and relate it to their own. So a message about The Great Gatsby is that generation wealth is hollow because we as readers live in an age of unprecedented wealth disparity; a message about Hamlet is to not kill yourself because we as readers have felt pretty down in the dumps sometimes and have maybe thought about suicide. But our experiences could be different: if we're generationally wealthy, we might read Gatsby as a celebration; if we have an awful stepfather, we might read Hamlet first as a story of revenge than of introspection. Strong authors make you sympathize with the experiences they've gone through--Fitzgerald himself was a wealthy, popular man and saw firsthand the effects of wealth, and Shakespeare probably felt rough around the emotional edges at times--but ultimately, deciding a text's "messages" is up to the reader.

So if we can't control the messages of our writing, what is theme? I like to think of it as "whatever a text is about," and that about word carries some ambiguity. Is Gatsby about money? Yes, but there's more to that. You can think right now about a plot element your WIP is about, but as authors, we want to find that greater depth. That's what we call theme.

Common writing advice tells you to plot out your theme, that greater depth, before drafting the novel. Figure out that Gatsby is a story about generational wealth being a hollow substitute for romance before anything else. But when you think about it, this is crazy advice. Themes like this can only come from our characters and how they interact with the world, and how our characters act is always going to stray in some way away from our plans for them. Writing that deeper theme, then, is impossible to plan (unless you're the most extreme plotter and have found success like that, then keep doing what you're doing. But you reading this almost certainly are not in that camp, let's be honest). So how do we get there?

Before you start drafting, think about the surface-level "abouts." Don't go deep yet. Just think about what's pressing on your mind. If you want to take a very slight moralistic bent here, do so, but be sure not to go into specifics (that's for the characters to do). For my first novel, I wanted to write about friendship responsibilities, family responsibilities, and friendship; for my second novel, church camp, romance, and evangelical culture; for my current novel, the role of story in culture, honor, familial trauma, and cultural perceptions of gender. Some of these took on moral detail--evangelical culture is bad--but most didn't. As you're writing, your characters will discover that deeper meaning. Again, your characters have to and will by nature of being part of the narrative. Your readers interact with the story, not with you.

In my first novel, I came to the thematic conclusion that too many responsibilities degrade individual identity, but too few leave someone empty; in the second novel, I concluded that evangelical culture places restrictive boxes on what romance looks like, and on how to interact with and resolve traumatic events. But I didn't come up with these--my characters did, and I learned from them in the exact same way any reader would. Similarly, a reader might interact with my characters and come to completely different conclusions. This is normal, okay, and encouraged.

You may also find other themes popping up as you write. In my second novel, popularity and social capital became a huge cog in the machine. Let these fresh themes surprise you, and run with them.

Ultimately, you can't control what your readers take away from your story. Your goal as a writer is to create characters so rich and deep and intimate (not in the romantic sense, unless you're into that) that the reader can bring their experiences to the text and find meaning. We cannot worry about this before starting a writing project, because we can't control it, and thinking too much about it will muddy the waters of what actually matters, what we can affect. And when you start to sense those deeper meanings emerging in your story, run with them, flesh them out, and embody them in the struggles of characters.

[demigodpolls]

Why do you think Frank gets so little attention from the fandom at large?

although I don't fault anyone individually for not having interest in a given character, I do think it's pretty sad that not much mind is paid to frank. it's not the best metric to measure things by, but on AO3, frank has the fewest fanfics of the prophecy 7 by a pretty wide margin.

there's no point in comparing him to the likes of percy, annabeth, and nico, who have existed for way longer, but the lost hero trio have well over 10k works for all three individually, while hazel has 8.7k (her popularity is surely bolstered by her relation to nico, the second most popular pjo character on ao3) and frank has about 7k. interestingly, will solace has over 15k fics--and that of course has to do with the popularity of solangelo (the second most popular pjo ship on ao3, as you see above), but considering how recently tsats came out (and how little material/information about him existed before that), I still think that number is pretty remarkable.

with all of this in mind, here are some of the reasons why I think frank doesn't get a ton of attention from the fandom below the cut.

- part of it probably has to do with shipping. while frazel is a well-accepted canon ship, I don't think it actually garners a ton of real interest. when a pairing is very popular, its individual parties will inevitably share that popularity; i.e., will solace, as observed previously. furthermore, frank doesn't really have any popular non-canon ships. online fandoms heavily favor mlm pairings over any other kind of pairing (this is just a very neutral, well-observed fact, so I hope no one is bothered by this acknowledgement), but if a male character is not popularly shipped with other men, they tend to fall to the wayside. to be honest, I think it's a little surprising that frank/leo doesn't get more favor; maybe it's because people just don't like to acknowledge the love triangle they were in, but the enemies-to-lovers material that people usually enjoy is right there, you know? jason/leo is fairly popular on tumblr at least, but no one really ships its SoN counterpart percy/frank either, which is interesting.

- part of it probably has to do with the fact that, compared to others, frank does not appear to be a very angsty character. fandoms tend to prefer characters who have tragic backstories and/or highly-animated personalities, and while frank undeniably has his individual struggles, they probably seem quite small compared to the bulk of the principal cast. for reasons like this, a lot of people will likely tell you that they don't find frank (or his powers) very interesting, and prefer to devote their attention to other characters.

- part of it probably has to do with frank (in my opinion) being neglected by HoO books. I wish he had gotten to do so much more! but of the things that he did do, I don't think many people consider them to be very memorable.

- I think there's also no point in ignoring the fact that frank is a chubby POC, and well, these types just aren't often so beloved by fandoms. that his only popular ship is with another POC probably doesn't help matters, to be honest...! it's just a well-documented phenomenon that, unless they're anime characters, POC characters and POC x POC ships tend to be much less popular in online fandoms than their white counterparts (i.e., 2010s star wars comes to mind). of all 10 percy jackson POV characters on ao3 (I'm including will in this figure and excluding apollo, who I consider an outlier), piper, leo, hazel, frank, and reyna make up the bottom 5 in that order in terms of popularity. this page is a great resource for more data on race, queerness, gender, etc on ao3. (unrelated - fascinatingly, percabeth is the 8th most popular m/f ship on ao3 of all time, and jiper is 96th!)

that's just my two cents as to why I think frank doesn't get a ton of attention. I hope no one is upset by my observations, I mean all of them in a pretty neutral, analytical way. to anyone else reading this, here is a reminder that character hate and ship hate is not tolerated on this blog. if you post unkind things, your comments will be deleted and your account will be blocked. we don't need to bash other characters or ships in order to uplift others. save it for your own blogs, please!

thank you for asking and engaging with this blog!

-demigodpolls

[maxwell-grant]

hi. you've mentioned Donald Duck a few times in your posts, with scrooge being one step removed from pulp heroes, Donalds Paparinik (Italian superhero identity which I love, the new PK Adventures where lovely) in terms of their relation to the Diabolik line of European superheroes and Donalds general tendency to run head first down slippery slopes. so I'm wondering if you have any further thoughts on his comics and weird place in the superhero/pulp world

Oh God, do I. I mostly wanna talk about the superhero side of things but I feel like it's worth mentioning I grew up with Donald Duck comics, specifically the Carl Barks ones. The picture above wasn't taken by me but I own and recognize like 7 of the books in it, my mom always bought these that collected several of his stories and had these beautiful painting covers so we could read them together, and I still flip through them on occasion and love them very much (I really wanna buy a translated edition of Life and Times of Scrooge McDuck to read with her but those cost a liver). Donald Duck was one of my childhood hyperfixations and I got my hands on all the comics and movies and cartoons I could find with him, and I actually did read several of the Italian comics, I could go down the stationery right now and grab 5. I first stumbled on Paperinik via those, and for long I didn't think much of it, because Donald Duck moonlighting as a superhero for decades isn't the kind of thing that comes up often. I just thought Paperinik was a weird but funny idea for the longest time and always liked rereading a story where he puts on the costume to scare a rich jerk into leaving his granny's farm alone. And THEN I stumbled onto PKNA, Paperinik New Adventures, and oh my god this rules so much.

Actually one of the best superhero comics I've ever read, it's just constantly and consistently doing these wild absurd stories and swings into genre territory and quality storytelling. It's famous for opening it's first issue with aliens genociding an entire planet and I thought that was kinda overselled, and it's not frequently this dark (sometimes it actually gets darker though, and I probably stopped before it could really get there), but it is a very weird comic. It's more akin to Fantastic Four's serialized consistency than any kind of graphic novel prestige storyline but it is frequently so good at what it does, even the lamer issues are still worth reading. I like describing it as Donald Duck falling headfirst into Batman-level resources, forced to deal with Superman problems (on both the "huge sci-fi horrors" and "people being really, really irresponsible dicks" ends), while trying to stay Ditko's Spider-Man and failing. These do not feel quite like any Donald Duck comics I'd read before and while they would hold up with a different character, I do think they deserve credit for how they make it still always feel like you're reading a Donald Duck story, if a slightly different one. In fact I'd even say PKNA actually makes the concept feel more suited for Donald Duck in a way that brought the idea full circle.

To those of you that don't know, Paperinik started as a villain, or more of a revenge fantasy. By that point there was a tradition of doing a lot of parody stories with Donald that started in 1953. By the late 60s, readers were dissatisfied with Donald Duck always constantly being mistreated by the rest of the supporting cast and losing unfairly, so it was decided to have one of those parodies feature Donald Duck as uncovering the fortune and resources of "Fantomius" and becoming a masked rogue able to get back at them by achieving the impossible, in that he both steals from Scrooge and defeats Gladstone's luck by framing him for it.

He had a stint as a master thief until it was decided it made him too mean, so he morphed into a superhero trying to overcome his prior bad reputation and using his new skills and gadgets (still prone to malfunctioning) to deal with his typical rogues and new ones, and having the admiration of his nephews who don't know that Unca Donald and Paperinik are the same. PKNA, in turn, was sort of a reboot, shedding the previous history and pretty much getting rid of Donald's traditional supporting cast and having Donald stumble onto a different set of resources and means to fight crime, but keeping the idea of Donald Duck having a superhero alter-ego that nobody suspects. The scale and menace of the threats he's up against DRASTICALLY increases, and if anything that fact is crucial to what allows these to still feel like Donald Duck stories, even with Paperinik being a genuinely impressive and cool hero able to save the world. Nobody believes Donald Duck could be a cool and impressive person if he tried, and so Paperinik becomes not just a power fantasy, or a call to something better or be someone better, but it becomes a key component of Donald Duck stories: a thankless job he's expected to do that he doesn't want to do until his pride or something crucial is on the line. These are still parables about human failures and what can be learned from them.

I'd even say a big part of why they succeed is because they introduce a character who can pick up Donald's slack as a comically unpleasant ill-tempered grouch in need of a lesson protagonist in Angus Fangus, a character who's sort of J Jonah Jameson meets Harvey Bullock. Angus has it out for Paperinik and gets up to a lot of the antics you would traditionally expect Donald to be doing if this was a classic Donald Duck comic (and even has a Gladstone-esque rival of his own in another reporter), and getting to learn lessons and be humbled and even have his own set of impressive moments. The choice to give an entirely new cast around Donald greatly added to the comic's ability to experiment and do new things while still keeping the core of Donald.

I actually like a lot of these new dynamics better than the ones he traditionally has, I love The Raider and Lyla and One and oh god Xadhoom, Xadhoom is so fucking cool, such a cool design and name, this powerful roaring supernova stickbug alien person in a crusade of murderous vengeance who names herself her language's equivalent of creditor because the death of her entire planet is the DEBT SHE WILL COLLECT IN BLOOD ENERGY and she is just the most 90s anti-hero ever made except she's stuck in a Donald Duck comic getting into comedic situations and learning to laugh and feel emotions and learn from her mistakes again whether she likes it or not. These two are so good together.

Even with a superhero lair and supercomputer and gadgetry handed to him, Donald Duck is so comically outmatched against his opponents he still winds up winning through guile and will and comedic trickery. Donald desperately wishes he could go on self-serving ventures or just sit at home and enjoy tv, and not get dragged into dealing with murderous alien invasions, or cyberpunk revenge stories, or collapsing future timelines, and still having to solve those problems so there's a world to come back. The stories are frequently fun and they are prevailingly comedic and very good at it too, but they also get a lot out of taking weird turns into unexpected territory.

I haven't finished it because I wasn't able to find it in full or keep track of what's the og series and what's the reboot, still trying to sort that out, but god what a find this series is. What a great strange turn in the history of this great strange character.

[nanowrimo]

4 Ways To Cure Writer’s Block

Every year, we’re lucky to have great sponsors for our nonprofit events. NovelPad, a 2023 NaNoWriMo sponsor, is a novel drafting software designed to make it easy for writers to write. Today, they're sharing a few tips to help you beat writer's block:

NovelPad loves NaNoWriMo because we have the same goal: Helping authors get the thing done!

Starting a book is usually fun and easy—your fingers dance across the keyboard as you explore an exciting world, meet your characters, and stir up intrigue for the coming plot. But once you get into the weeds of how that all works, and how you and your characters get from Point A to Point B, you might find yourself losing momentum. You might find yourself so encumbered with obstacles that you might get a case of the dreaded writer’s block.

The very good news is that writer’s block isn’t terminal, and I certainly don’t think writer’s block is as enigmatic as some people seem to think. I believe it’s actually quite a simple problem, and usually due to one of a few common factors. Let’s look at four ways you can push yourself through your case of ye olde block.

1. Check in with yourself.

Step one is always to check in with yourself. 

Start by reviewing your basic self-care needs:

Are you staying hydrated?

Do you feel hungry?

Would a shower or a nap be beneficial?

Is it time for a walk or some stretching exercises?

Consider your environment as well. Maybe you need:

Noise-canceling headphones

A change of scenery

A babysitter or someone to help around the house

To open or close some windows

Next, evaluate your level of focus. Is your mind wandering elsewhere? It can be useful to create a "dump list" to jot down anything that's causing you stress, such as work-related issues, pending tasks, or upcoming events. Setting that list aside can give you the tangible feeling of pushing those things off your desk to worry about later.

Once your body, mind, and environment are sorted out, you'll likely discover that writing becomes a bit easier!

2. Look back at where you’ve been.

Even if the first tip did or did not do the trick, let’s take a look at the project itself.

Sometimes writer’s block is a blessing in disguise! Your creative gut might be telling you that something went awry. Try reading your project back and pinpointing where it became difficult to keep going. Consider alternate plots or paths to get your writing flowing again.

If you're managing multiple plots and subplots, identifying the moment you deviated from the main path can be quite challenging. To pinpoint which plot line is causing issues, you can take advantage of NovelPad's handy feature: Plot tracking.

On the Plot Board, you can review every scene of a particular plot in order, making spotting those errors in your plotlines much easier.

3. Rewrite a problem scene.

Once you've identified the scene causing issues, it's time to make improvements! This can be challenging because there are countless ways to approach a scene.

However, don't hesitate to embrace revisions. Often, a scene benefits from a thorough rewrite. With NovelPad Revisions, you can save limitless scene revisions, compare them side by side, and effortlessly switch to the one they want in the live manuscript. This keeps your different versions safe, well-organized, and readily accessible.

4. Freewrite to free yourself.

Freewriting is a great way to get your creativity flowing again. Write some poetry, compose a letter to a friend, or simply let your thoughts flow without judgment. Freewriting without judgment can help turn on your writer mode and even help you solve some problems! It's especially beneficial when you're stuck on something specific, because we often find brilliant solutions when we stop being so critical of our ideas.

Kick writer’s block off your desk with NovelPad! It's free to use throughout NaNoWriMo, and we offer discounts to participants and winners afterward. If you find that NovelPad isn't your cup of tea by the end of November, don't worry—you can still access and download your project at any time. Just write!

Our team at NovelPad believes in making it easy for writers to complete their books. That’s why we built an uncomplicated, intuitive system that stays out of the way until you need it! We want writers like you to #JustWrite without burdening you with excessive features. Speaking of features, software updates at NovelPad are based entirely on user feedback from authors to keep our features sharp, relevant, and minimalist.

All NaNoWriMo participants have access to a 15% discount on NovelPad with code WRIMO2023 — use the code during checkout to redeem your discount. Offer expires April 1, 2024.

Top photo by Richard Dykes on Unsplash.

[spacingstars]

Technically these thoughts were inspired by @battlekilt's response to this post I just needed a space to luxuriate in the sauce of my own thoughts lol.

Generally, there are two points to my stream of thoughts here:

One, the personal element of Rex knowing about Anakin and Padme’s marriage.

Two, the professional element of Rex knowing about Anakin and Padme’s marriage.

I’ll first get into the weeds of point one:

By and large, Star Wars canon does not go into overt detail on exactly how it was that Rex found out about Anakin's marriage; how this occurred tends to be a matter of conjecture more often than not—usually pitted down to a matter of accident. Either comically or more seriously. I don't bring this up to disparage this take. I, in fact, held to it myself upon my first watch of TCW! But I've since reevaluated that position and have come to a completely different conclusion altogether:

Anakin told Rex intentionally.

My reasoning for this is down to a number of things, particularly due to the series of TCW novels that were written to tie into the first few seasons of TCW. The one I am primarily discussing here is Star Wars: No Prisoners, and shoving aside any other opinions that I have on this book, it holds some specific moments from Anakin about Rex that really validated the change in thought process I had the more I analyzed Anakin and Rex’s relationship.

Generally, I had before assumed it was a matter of accident (in past scenarios, I most often thought of the confession coming about from a moment where the prospect of survival was not the most cheery of outlooks); the reason as to why I held such a thought process is because Anakin’s marriage is generally his most guarded secret, he was unwilling to tell anybody about it, and in such a context, it becomes easy to assume that Rex finding out was a fluke, nothing more.

However, the more I started to really pick at Anakin and Rex’s relationship, the more I started to think it would be a lot more interesting if Anakin intentionally told Rex about the marriage.

In the past, I came about this mainly from the idea that part of what makes Anakin & Rex so interesting to me is the two-way loyalty that stretches between them, the way Rex occupies a unique space in the list of Anakin’s relationships. TCW itself frequently speaks of the trust they have in each other, to the extent other characters (like Padme herself, seen in TCW S07:E02, during the holocall scene between her and Anakin, and in No Prisoners itself) notice it. And with that in mind, I thought, more and more, it made more sense to me that Anakin had told Rex intentionally. It’s clear, given moments in the ROTS novelization, that Anakin didn’t want to shun this aspect of his life into secrecy:

from Star Wars: Revenge of the Sith

(This is not the only instance of Anakin expressing a desire to leave the Order in the ROTS novelization; his behaviors in ROTS itself are also indicative of this desire to me (his lack of care about getting caught with Padme in the moment she reveals her pregnancy,) and his quote of “I understand wanting to walk away from the Order,” when Ahsoka walks away from the Order during the Wrong Jedi arc. Which, if you want a short explanation for why I think Anakin stayed despite expressing multiple times a desire to leave, there are many little pieces and layers to it, but the primary conclusion I’ve come to is that Anakin stayed out of a sense of duty, particularly related to ending the war. But that’s not what this post is about.)

This leads me to believe that Anakin wanted to confide in someone—wanted someone who he could trust to share this part of him, and given the loyalty and trust he holds in Rex—and I’d also wager it’s down to Rex’s demeanor—it was easier for Anakin to tell Rex than anybody else. Of course, this was all my own conjecture! This was just me taking bits and pieces of what we have of these characters and their circumstances and affixing them into a different configuration to explain something that wasn’t elaborated on in canon.

Of course, or so I thought, because Star Wars: No Prisoners has quite the interesting scenes, scenes that do elaborate upon this.

from Star Wars: No Prisoners

also from Star Wars: No Prisoners

It’s so fascinating to me that Anakin thinks Rex is someone he owes it to tell, and doesn’t that just speak of how highly Anakin regards Rex? He’s able to think that Rex deserves to know, and not just that, but that Anakin thinks Rex would understand. Anakin describing Rex as not just professionally loyal but personally loyal is a sentiment that really strikes to the core of why I think Anakin was comfortable enough to tell Rex; because ultimately, Rex has not just given him his professional loyalty, the loyalty expected of a soldier, but he's also given the loyalty of his friendship. I really don’t think it’s a stretch to say that the feeling is mutual between them. The way Rex speaks of Anakin in Star Wars: Rebels is so damn fond. I really do think Anakin told Rex, intentionally, not just for the professional aspect of it, which I will get into shortly, but because Anakin wanted to have someone he could trust and confide in; Anakin has trust and faith in Rex, the same as Rex has trust and faith in Anakin.

from Star Wars: Age of Republic short story "501 Plus One"

And, returning to the discussion surrounding the screenshots from No Prisoners, obviously, there’s even more there, what with Anakin thinking about how he can’t just leave his men to suffer (it shows consistency in his character, in regards to the loyalty he shows his men because his thoughts here reflect those in the Umbara arc, where he refused to leave, even on orders from Palpatine, until Rex reassured him he could handle it. Which is just... it drives me batty, but my thoughts on that moment from Umbara are not strictly relevant to this post.) And part of that conniption is born out of the loss of his mother! Because he faults himself for being unable to save her, and now he's left with an all-consuming desire to ensure no one under his care dies, which, of course, will inevitably lead to Anakin being consumed by his own conniptions about death itself through his visions of Padme dying in ROTS. (I love how many layers I can peel back and examine from this one moment.)

I also have to emphasize that the biggest thing is that Anakin didn’t even tell Palpatine about his marriage. Palpatine, Palpatine, someone who had been a confidant for Anakin for so long, Palpatine, more than anyone, most certainly knows the most about Anakin; he’s the only one who truly understood how Anakin ticked, and he used that knowledge to disastrous effect.

Which to me, just reinforces how incredible it is that Anakin felt comfortable enough with Rex to tell him about his marriage.

Now, No Prisoners doesn’t actually contain a scene where Anakin tells Rex, but given his thoughts it’s very likely Rex was told shortly after the events of the book.

Now, for point 2:

Which is that, in essence, when Anakin remarks that Rex needs to know about this secret so he can freely contact him or otherwise know about the whereabouts of his location in case they get orders and Anakin, along with the 501st, need to be shipped out effective immediately.

This is a readiness issue.

Readiness is the ability of a military force to engage in assigned tasks and/or missions upon orders.

Anakin being upfront about his marriage to Rex on this principle is most certainly going to get Rex in agreement* because Rex would be aware of the logistical importance of maintaining readiness. Anakin and Rex are on the same page here because, ultimately, no one else is going to better understand these aspects of the continued function of an armed force than a clone; they're clone soldiers.

*Which, additionally, regarding the argument that Rex ends up in a precarious situation for knowing about Anakin and Padme’s marriage, upon further examination of this, I do not think this holds water either. I say this primarily because, ultimately, Anakin, in being married to Padme, has not broken any of the GAR’s regulations. The issue of Anakin’s marriage is of concern to the Jedi, not the GAR. And Rex is not beholden to the Jedi’s religious doctrine; Anakin is, and unless you want to argue that the Order would crack down on Rex in retribution for aiding one of its members in hiding a marriage that’s expressly against their rules… nothing would happen to Rex because ultimately the issue of Anakin and Padme’s marriage is only an issue with regards to, primarily, the Jedi Order, which is not an authority that Rex is behold to; Rex is beholden to the GAR, and, as I said, Anakin being married is not breaking any regulations I can think of… I also find it hard to believe that the GAR would be pressed about a secret marriage when much of their natborn soldier base is also likely to be married. In fact, given my previous comments about readiness, the GAR is likely to take Rex’s stance on the matter.

Rex and Anakin are on the same page regarding the issue of his marriage for both the personal reasons of it and the professional.

And, to address Rex's awkwardness about covering for Anakin in TCW S07:E02:

Rex's awkwardness about having to cover for Anakin and Padme in TCW S07:E02 is presented more as a moment of humor juxtaposed against the earnest conversation between Anakin and Padme as they discuss Anakin and Rex's relationship; it's meant to be a funny-sweet moment regarding the relationship between them. This entire moment is meant to show the familiarity Anakin and Rex have with each other, to the point they have a system worked out between each other when Rex needs to cover for Anakin, which I should also say the fact that Rex is willing to lend his gear** to Anakin for this cover story is something I consider to be a big display of trust, it's very much a classic "friend covers friend," kind of moment.

**That helmet is important to Rex's identity. It is, in effect, his face; it is a custom helmet, donning his signature jaig eyes; it is what most people are going to think when they hear Captain Rex; it is, effectively, Rex trusting Anakin enough to hand over a vital part of his identity.

Everything about this moment screams familiarity to me in the way Anakin and Rex conduct themselves with each other; I find it quite telling that Rex is comfortable enough to tell Anakin they don't have time for what Anakin is suggesting they do in front of the bad batch. Rex is essentially saying no to something that can read as an order from his commanding officer to other clones. The fact that Rex is comfortable enough with Anakin to do so is massive, and as I've said before it shows the familiarity and comfort the two have with each other in their personal relationship. When Anakin first implores Rex to provide cover; Rex's insistence on them not having time for that—to me—less indicates that Rex doesn't like covering for Anakin, but more so that Rex is fixated on the mission because he just got a glimmer of hope that Echo is still alive.

It should also be said, Rex is simply awkward; it's just a facet of his personality. He's an awkward dork in armor.

With all that said, to paraphrase a quote from the post that started this ramble, Rex was one of Anakin’s best friends. (And I personally think that the feeling is mutual given the numerous times Rex has expressed similar sentiments towards Anakin.) :3c

It should also be said that much of this post was made much more coherent thanks to @battlekilt, who was also a great help in fleshing out much of these thoughts, especially those pertaining to Anakin and Rex's interactions in TCW S07:E02.

[writingquestionsanswered]

How do you explore ideas properly? I often see the advice "explore your characters desires, motives, etc." and "dive deeper into the lore of your world" and similar stuff... but how do you actually do it? I take things literally, so I find this particular wording quite difficult to comprehend. Specifically, when I'm trying to develop my story, sometimes an idea will pop up, and I get that "is this the key to fix my plot hole?" feeling, and I run it through my head, and then my brain is just SO QUICK to disprove it. Like, just instantly lost interest? Sometimes it just wasn't the right idea, but recently it's happened every single time, so I'm starting to lose trust i myself.

So, how can I properly explore and idea for my story to find out if it fits or not, before my brain is too quick to judge it for the worse?

Properly Exploring Story Ideas

Without greater context, it's hard to know exactly what that particular bit of advice intended, but from a general writing advice standpoint, I don't think it's meant to be taken too literally.

Generally speaking, "explore" really just means that once you've done the brainstorming and development to flesh it out for yourself, you need to establish and develop that thing for the reader (so, within your story) and bring it to its natural conclusion. In other words, "explore your character's motives" really just means you need to think about what your character's motives are so that you understand them for yourself, then you need to establish and flesh out those motives in your story and illustrate how they lead the character to pursue the particular goal they pursue. "Exploring" really just means "flesh it out for you and the reader."

When you get random ideas while you're plotting and planning, though, I think most of the time it's usually pretty easy to see whether or not it pertains to the story you're trying to flesh out. For example, let's say you're fleshing out a story about a woman who works for a chain bookstore and is trying to solve the mystery of her boss's murder because she wants justice for them, and also to clear a co-worker's name who is the main suspect. As you're fleshing out the murder (who did it and why, how it happened, how it was discovered, how your character got involved) as well as your character's motives (why it's important for her to try to find out what really happened), if you suddenly get an idea that she's a renowned cellist, I think you can probably pretty quickly determine that this isn't an idea worth exploring--either for yourself or in the story--because right away you can see it has nothing to do with a bookstore, your character's job as a supervisor, her boss's job as the manager, the murder (which turns out to be book related), or the killer (who turns out to be the boss's long lost ex who feels like the guy tanked her small book store.) So, this is an idea you can dismiss. But, if you come to a point during the fleshing out or writing of the story where it would make sense for your character to also be a renowned cellist, then you'll remember that idea and be able to plug it in because it's needed.

So, I guess what I'm saying is you actually should trust your gut. Write ideas down as they occur to you so you can come back to them later if need be, but if something doesn't feel right to pursue in the moment, it's almost certainly because your brain understands it doesn't fit into the story you need to tell. If an idea occurs to you that is the magical thing your story needs, it will be absolutely clear to you in that moment.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[bonnieisaway]

bickering with my boyfriend abt this frame because i find it interesting that clove, a very no struggles seeming type of joyful character so far has this image left of them in the realm they go to where they die. because he thinks these are just past memories but these have to be impressions left by clove the previous times they were in this realm

becus they do it legitmately SECONDS before. and i just wanna know ... what happened that caused clove to die and end up back here and be in this state in this realm - long enough to sit there and sob, because they don't like staying in this realm, which we know by the build the world tweet -

and it frightens them that it becomes harder to return. and like also notably, most of the impressions left by them are by the return to life

where they have been the most often and probably run through this realm quite quickly sometimes to return, to the point where the impression of them is left scattered by the return. so like,,, what happened to them that one time? that they were upset after dying- because dying itself shouldn't upset them, because they always come back.

i also think these impressions are why it becomes harder for clove to return, i don't think they have any control over when they're left or the fact that they are in the first place. i think these are pieces of cloves being left behind, similar to how omen leaves pieces of himself behind when he teleports and he asks yoru if this is true for him too. they can't come back if nothing is left if this realm eats away at them slowly.

and god they seem so sad when they turn and see that old impression of them again. like it's such a painful memory for them. what happened to them? how are they related to the scions? why were they at that library and in that fight? what was in that book?

anyways i love clove valorant i might be mentally ill

[wuntrum]

do you have any tips for an artist who wants to start making one off comics? i really enjoy your artistic direction and style of story telling so i’m very interested in your thoughts on it

yes, definitely!!

-read lots of comics! and a variety of them, too--both ones in the sort of genre/style you'd like to make, but also ones in completely different genres, lengths, places of origin, traditionally/indie/digitally published, simple to experimental formatting, etc

-in relation to the last one, if a comic you read really speaks to you, take some time to study some page layouts from that comic! how do the panels vary from page to page? how much space is the text taking up? what sort of "shots" (to borrow from cinematic language lol) are they using? these shouldn't be fancy, just little thumbnails, but i find it really helps. here's a few i did from a guest in the house by emily carroll

-start smalllll. its really important to build up your stamina, just like with any new sort of skill. if you wanna make a graphic novel thats 200+ pages long, you should make some comics that are 1, 20, 50 pages long and see them through to the end before taking on a super big project.

-this is related to the last point, but i think keeping your cast of characters small at first can also help build up your comic stamina. signals was the first longer comic i made, so i specifically really wanted to focus on just jeanne (and occasionally her parents and peers when they showed up)

-character sheets are helpful, but i also think the easiest way to start getting your characters drawn consistently is through actually drawing the comic! there's also gonna be panels where they look "off" or whatever, and its literally fine, i promise

-through the smaller comics, experiment with how you go about writing your story! theres no right or wrong way to write/plan out a story so, it takes some trial and error to figure out what will work best with your work flow. for me, i've found success in making a timeline of events for the story -> loosely guessing how many pages i'll need/want per section of the story -> freewriting (trying not to edit too much, just dumping all the words out) -> thumbnailing/loose sketching/editing text (all sort of happens in the same step; i find i need the layouts in front of me to understand what i need/don't need from the text i wrote) -> tight sketching -> final . but, if that flow doesn't work for you, try something else! i know a lot of comics people find success in writing a script first, with indications of page and panel-by-panel breakdowns

-take shortcuts often and without guilt. its a lot of work to make a comic! theres just a lot of drawings involved, that most people aren't gonna look at for very long! i especially recommend for infrequent/difficult things, like buildings or crowds or cars or bookcases, using some sort of 3d asset/brush to make your life easier. if you can reuse a drawing and change the crop/expression, do it!

-use some sort of tracker to track your progress on how many pages you've sketched/inked/finished. even if you don't have an external deadline, i think it's still good to give yourself some sort of timeline to work on (i recommend setting "ideal" goals and "realistic" goals, especially if you're working/still in school/etc). for signals, i used google sheets, because you can set up columns to be attached to little circle charts, so as you check off your progress, you can really easily see how much you've done/how much you have left to do (as i type this i highkey forget how i did that before, with signals, so...you might need to do some sheets experimentation to actually do this lol. but there's probably other trackers you can use too)

-understanding comics and making comics by scott mccloud are both great books, highly recommend them (easy to get second hand/from your library/🏴‍☠️)

-lastly, haveee funnnnn

[marie-m-art]

There's a specific concept from Good Omens that I really like (amongst many others), that I was chuffed to also find in a Sandman and a Discworld story!

I love that in Good Omens (both book and TV), Heaven and Hell are presented as mostly redundant and ineffectual when it comes to human morality - and that Hell in particular find some of the things humans do to be pretty shocking, and/or instructive.

Opportunities for humour aside, this idea flies in the face of the common belief that the world's worst ills are the result of outside forces influencing people to do evil (ie the devil. Or ... lizard people etc? I digress). And it's unlike other stories out there that are like, "World War II was actually caused by xyz characters!" or similar. Good Omens doesn't rewrite history like that, or let us - humanity - off the hook when it comes to the big stuff, when it could so easily have done so in a universe where Heaven and Hell are literally real.

The story, of course, also credits human cleverness to humans, and celebrates the things we should be proud of, like art, music, delicious food, craftmanship, invention, etc. And it credits humans for having a propensity for compassion and goodness.

"[Crowley] did his best to make their short lives miserable, because that was his job, but nothing he could think up was half as bad as the stuff they thought up themselves. […] And just when you'd think they were more malignant than ever Hell could be, they could occasionally show more grace than Heaven ever dreamed of. Often the same individual was involved."

I love this concept because I see it as an uncoupling of religion and morality. They can both exist together, but the former isn't necessary for the latter. (This isn't the only possible interpretation; the more literal reading might be more about free will, but this is where I extrapolated it to).

From Sandman: Season of Mists Episode 2 (plot context stripped out to avoid spoilers, but skip ahead to black text if you want absolutely nothing spoiled if you want to read it).

Lucifer: "And the mortals! I ask you - why? […] Why do they blame me for all their little failings? They use my name as if I spend my entire day sitting on their shoulders, forcing them to commit acts they would otherwise find repulsive. 'The devil made me do it.' I have never made one of them do anything. Never. They live their own tiny lives. I do not live their lives for them."

And from Eric, a Discworld book (this one's related to Hell learning from humans, more than morality/free will... I won't spoil the funny by elaborating!):

"Earl Beezlemoth rubbed one of his three noses.

'And humans somewhere thought this up all by themselves?' he said. 'We didn't give them any, you know, hints?' […]

The earl stared into infinity. 'I thought we were supposed to be the ghastly ones,' he said, his voice filled with awe."

Another commonality between these two stories that isn't directly shared by Good Omens (yet...? still have another season coming …) but that I like enough to point out, is the idea that Hell is a place where people end up if they believe they deserve to go there. I like this because a lot of people are influenced to feel guilty about "sins" that are innocuous parts of normal human behaviour, so it's pretty brutal to fear going to Hell over them. There's comfort in this idea, to me. (granted, the following Sandman quote states this less explicitly but I take the same meaning from it … but lmk if I've done a reading incomprehension; I also haven't read all the books yet).

From Sandman:

Lucifer: "And then [the mortals] die, and they come here (having transgressed against what they believed to be right), and expect us to fulfill their desire for pain and retribution. I don't make them come here."

From Eric (partial footnote near the beginning):

"Interestingly enough, the gods of the Disc have never bothered much about judging the souls of the dead, and so people only go to hell if that's where they believe, in their deepest heart, that they deserve to go."

Eric also really leans into the idea of Hell being a bureaucratic, corporate, boring nightmare, also familiar to Good Omens fans, and the demons are so over it. The tone (you could probably guess) is very different from Sandman, and it's one of the earlier, less-serious Discworld books; it's a very fun, absurd ride of a read!

There are a few other Discworld books I'll talk about in a future post, that may also be of interest to certain Good Omens fans (I'm gearing these posts toward the fans who came to Good Omens from the TV show and haven't had the pleasure of discovering Neil's and Terry's other work yet); the ones I have in mind examine religious extremism, and the uncoupling of religion and morality too. A couple of them also have queer themes, if that is also your jam! (Less shipping opportunities but I assume some fans, like me, like the rest of the material in GO in addition to the love story).

I'll end this with a quote from a footnote from Eric that has nothing to do with anything in this post, but which took me by surprise and had me laughing days later whenever it came to mind. It's referring to books in a section of the library:

"Just erotic. Nothing kinky. It's the difference between using a feather and using a chicken."

And another bonus one that I found while looking for the first:

"Rincewind had been told that death was just like going into another room. The difference is, when you shout, 'Where's my clean socks?', no one answers."

I hope this made sense and is maybe interesting to someone ... I had fun talking about this at least!

[winterspellsfrozenkit]

Twisted Wonderland's Grim is a Grimalkin.

Okay TWST fandom, so today I was chatting away with another friend who plays TWST explaining that it's highly likely that Crowley summoned us due to the opening you get when you first start the game and she asked why he'd do that. And I said this without thinking:

Once I said that, it hit me: GRIM IS NOT NAMED FOR GRIMM'S FAIRY TALES, HE'S A GRIMALKIN.

Let me explain! (This is a long post, you've been forewarned. There is a TLDR at the bottom if you need it.)

So I like reading fairy tale books, retellings, etc., and I learned a long time ago during my high school hyperfixation on reading faery based YA readings about Grimalkins. What are Grimalkins?

Grimalkin (Also spelled Greymalkin) is an archaic term that was often used to describe cats; particularly haggard, female cats. Grimalkin, according to the Oxford English Dictionary, likely comes from compounding the words "Grey" and "Malkin". "Malkin" is a term with several meanings including: a low-class woman, a weakling, an untidy slovenly woman. It's also used to describe cats and hares.

Grimalkins were listed in Scottish legends as a faery cat that dwelt in the highlands, but during the 16th Century witch trials, cats became associated with the devil and witchcraft. Women on trial in Scotland were frequently accused of having a familiar, a ‘demon in disguise’, which was often a Grimalkin. One example of Grimalkins being tied to witchcraft and the devil at the time is William Shakespeare's play MacBeth, which shows the Three Witches who foretell Macbeth's future as having a cat familiar named Grimalkin. They're also in Louis Le Breton's Dictionnaire Infernal, which is a book on demonology.

So how does this relate to Grim?

Grim's design is heavily influenced by common media portrayals of the Devil with a pitchfork tail and fiery pointed ears that can look like horns at times.

One reason that fire is blue like Hades, Idia, and Ortho's hair is because thanks to the Pop Culture understanding of Christianity, people heard Hades and thought to equivocate him to Satan which is why he's the bad guy in the Disney movie, Hercules, when in the original myth, Hera is the one antagonizing Heracles.

Also, most of the fandom believes this creature in the pre Prologue scene when you first start the game, is Grim.

Just saying this looks a lot like different representations of devils and demons.

Note the human hands and clawed feet on this statue of Pazuzu.

And the incorporation of animal traits blended with humans

This is some concept art for Bald Mountain in Fantasia and I can see leathery wings like a dragon/bat, one has a snakey tail, and some have those human-like hands, but clawed feet.

As stated earlier, Grimalkins are tied heavily to devils and witchcraft and TWST tends to push this at us. For Halloween, while all the Dorms have different monsters such as mummies, ghost pirates, headless horsemen, but Ramshackle's Halloween outfit is this:

Not only that, but when we wake up, this is what Crowley says to us about Grim, when he finds us in the library after Grim cornered us, trying to get our robes:

Again, the most common familiar that people accused of witchcraft were said to have was a Grimalkin. A demon cat. This also ties into why we and Grim are put in Ramshackle Dorm.

Now, as some know, Ramshackle Dorm is based on the Haunted Mansion. But the Haunted Mansion had a specific haunt that was cut before the ride came out: The One-eyed Black Cat.

Now, if you don't know this cat, it's okay. He was cut before the ride came out. To sum up, X Atencio, the Imagineer who came up with the basic story ideas and the script for the rides of Haunted Mansion and Pirates of the Caribbean, had many drafts of the Haunted Mansion's story. One of these cut drafts had a distinct villain character: The One-Eyed Black Cat.

Now, people might argue the Bride/Constance Hatchaway is the villain of the Haunted Mansion, but the One-Eyed Black Cat was different. In that draft, the Ghost Host would warn guests about the One-Eyed Black Cat and the One-Eyed Black Cat was specifically trying to attack/get the guests on the ride and detested mortals, especially happy ones. Guests would've seen signs of the cat throughout the ride as if he was stalking them (Think something akin to the little glimpses of Catnap as he stalks the player throughout Poppy Playtime Chapter 3). At the end of the ride, they would've faced the cat, who's face would turn into some form of human-esque skull like head.

Now the cat made it pretty far before he was cut, because we do have surviving sound outtakes of Paul Frees, the voice of the Ghost Host, saying "Except for that unnatural and dreadful one-eyed black cat" which implies he's not one of the 999 happy haunts, but something truly evil, like a demon.

Now, One-Eyed Black Cat's not mentioned in the Haunted Mansion ride, and there's an idea that his role was passed over to the Raven, another cut antagonistic character who would haunt the rider specifically, but was less unnatural than the cat, but the more likely reason is both the raven and the cat were cut due to the ride changing from story driven to an atmospheric ride. However, nowadays, you can find the One-Eyed Black Cat on the Composer's Crypt in Walt Disney World and as a statue in Disneyland's Haunted Mansion (Funnily enough, during the Haunted Mansion Holiday, the cat statue gets a black and white pinstripe bow...).

Now, this may be reaching, but Grim chasing the player throughout the school, trying to steal their robes because he wasn't allowed to attend NRC, feels like a reference to this possibly demonic cut cat character. Also, his smirk face does make one of his eyes look smaller than the other, kind of like the image on the Composer Crypt.

Anyways, back to Grimalkins. So besides being tied to the devil and witchcraft, Grimalkins were also known as Scottish faery cats. Why does this matter? May I draw your attention to these moments from Book 6 and Book 7?

(Warning minor spoilers)

Idia discussing what Grim is.

Idia and Ortho describing powerful magic cast on Grim.

And from Book 7 Chapter 106

Soi in Book 6, Idia notes Grim is some magical mix of direbeast and animal. In a lot of faery stories, faery animals like Grimalkins, Cat Sidhe, and Kelpies look very similar to normal animals, but they are distinctly a fae, which makes them much more dangerous to mess around with. Much like how Grim is not fully an animal, he's also part direbeast which, considering what has been mentioned in game about direbeasts, sounds like a distinctly magical species that is far more dangerous that regular animals.

Grim is also noted to fluctuate between full Phantom and absolutely no blot levels, but Idia does note a complex magical spell on him that later Papa Shroud mentions is very similar to Malleus's magical realm, which is a faerie spell... (Again, there's that faerie connection). Likewise, depending on the story context, Grimalkins can either be demonic familiars to witches (more akin to TWST Phantoms) or they can be faery creatures (more like TWST Direbeasts).

I've also noticed people point out some kind of connection between Malleus and Grim. There's a blog post by ventique18 does a really good job about pointing out the similarities between the two. Here's the link: https://www.tumblr.com/ventique18/721267245925400576/three-pronged-tail-bringing-back-the-grim-is?source=share

So perhaps one of the reasons for the tie between them is Grim is at least in part based on a Grimalkin, a faery cat, and Malleus is a dragon faery. With all these little things lining up, maybe Grim got his name in part from Grimm's Fairy Tales, but I really and truly do believe Grim is some form of Grimalkin and his name is more a reference to that, but whether he is based on the demonic familiar, faery, or BOTH, we shall see.

TLDR: I'm pretty sure Grim is HEAVILY based on a Scottish fae cat creature/demonic cat that act as a witch's familar called a Grimalkin because there's a lot of references that seem to point to that.

[fuckyeahgoodomens]

Nina and Maggie interview with Caitlin Tyrrell for Screenrant :)❤

Screen Rant: I love this show so much! Season two is amazing and you both are phenomenal in it!

Maggie Service: Oh, thank you so much. Nina Sosanya: Thank you.

Can you talk to me a little bit about playing the human story in this largely Celestial series?

Maggie Service: Yeah, I think they're quite good grounding I think for the audience. It's almost like they're a connector between the Celestial world and the audience. I think that's been set up really well in season two. Nina Sosanya: Yeah, they kind of magnify the themes in a kind of human way that we find sort of quite relatable. The themes of good and bad. The themes of when and if to trust another person with your vulnerabilities, which is what's going on with Heaven, Hell, Crowley, Aziraphale, and, you know, everyone. Maggie Service: Everyone.

I love your characters' dynamics with Crowley and Aziraphale. Can you talk to me a little bit about working with David and Michael to create those relationships?

Maggie Service: Yeah, well by this point, their portrayals of Aziraphale and Crowley are just iconic. But my character didn't get to have anything to do with them really in season one. So it was lovely to actually meet Aziraphale and Crowley in season two and go, "Ah, yeah. This is, okay, that's who you guys are." Nina Sosanya: You know what's actually quite nice is also because they're so iconic that you read the book, you know the characters, then you see season one, and then as human characters, we get to treat them [as] they're just these normal blokes. So these characters don't know about their iconic status at all and don't care, really. They're just taking them at face value. Two quite kooky odd guys to be either suspicious or to be in awe of. Maggie Service: Just they're the loveliest men in the world. Yeah.

What was it like collaborating with Neil Gaiman this season on an original story versus season one where it was an adaptation?

Maggie Service: Well, his focus was very, very clear for what the story was going to be. [He] and Terry Pratchett had spoken about what the sequel would be. Season Two might be a bridge to a possible thing that may or may not happen. Who knows. We have to see how much people love Season Two first, but he was very clear on what it was. So actually, the scripts hardly changed at all. Quite often, you'll get so many different versions of a shooting script, but really, when they landed that's what we shot and that's the story we told. Nina Sosanya: But he was lovely. He was very happy being on set and watching his work comes to life. He likes actors and he likes that process. He likes watching the process of his words being owned by other people. He's very generous in that way. He sort of gives his work away to the actor. Maggie Service: Yeah, he likes writing for specific people, I think because he feels safe in that he can probably hear how it's gonna sound. So when it does I think he quite likes that too. Makes him feel quite clever and makes us feel like we've done a good job. It's good for everyone.

[cherryfennec]

¿What is Dimentio's relationship with each of the members of Team Bleck? ¿Does he really consider them friends? ¿What does he think of them? ¿Do you like doing activities with them? And if so, what activities would they be?

I'm not really much of a character writer in my eyes but personally I currently kinda see his relations like this:

O'Chunks

Dimentio likes to humour O'Chunks and his way of thinking. He tends to be more open towards people that are prone to suggestions and the big guy is a fine example of that. He shows more of his playful side with him and tones down his wordplay just for the guy ("Mmm... I do enjoy a good chunking…”). O’Chunks is an open book to Dimentio that he doesn't need to explore, he has enough information about him and there isn't a lot that he could get him to do for his own benefits (that is until the Floro Sprout experiment). O’Chunks is very loyal and focused on the Count so Dimentios schemes would have little potential wiggle room with someone with such one-dimensional motives. In the end O’Chunks isn't really worth a lot in his eyes but he still treats watching and listening to him as a form of entertainment. They don't really spend much time together outside of meetings.

Mimi

Mixing the fact that Dimentio likes to poke into peoples secrets, be it for gathering dirt or curiosity for knowledge, and that Mimi has a bit of a brat personality, you're left with somewhat of an ‘annoying sibling relationship’. He likes catching her on lies and correcting them, even if the truth is embarrassing. He knows how much she wants to impress the people around her and how much she hates his jokes, which makes it more rewarding for him to follow and annoy her. However since her pride wouldn't allow ignoring even subtle mockery, she actually responds (most often with the first reply she can think of). Then the cycle repeats. She's someone with no benefits to him, just like O’Chunks, however in contrast to the warrior she actually makes it worth the trouble by acting on what he says. Other than meetings he probably follows her in the Castles hallways.

Mr.L

This one is neither like O’Chunks or Mimi. Mr.L is someone who is both valuable to Dimentios visions and entertaining to spectate. Since he's a person required to achieve the magicians goals, Dimentio tends to listen carefully to what the man says. He gathers ‘ammunition’ and then confronts the mechanic in his workshop or hallways, poking him for more information. Mr.L is a person who actually does respond to Dimentios inquiries, but instead of always saying whatever is at the tip of his tongue he can at times reply either with a different intriguing question or a self aware sentence. It's a fun game to Dimentio, he found someone else just as talkative as him who also isn't a total moron despite having moments of acting like one. He would follow Mr.L around the hallways and even into his ‘workshop’, that is until a little accident.

Nastasia

Dimentio finds her a little annoying. She's not very talkative, somewhat smart, and treats her duties with focus. He knows that she doesn't trust him so he doesn't talk to her unless he needs to. She’s a potential danger to him as she has eyes everywhere and doesn't take his words at face value. She knows something is up and tries to subtly to make whatever the jester is trying to do harder. At one point she started dragging Mr.L around with her, due to a certain event, just so he couldn't be left alone with Dimentio in a room. But in the end it doesn't matter as shes just another small inconvenience he will overcome. He does find it a little amusing that she tries though.

Count Bleck

To Dimentio the Count is worth as much as The Prognosticus he holds. He's hard to talk to and let's his emotions dictate his actions. He would be a threat if not for the fact that after the Void is opened he starts caring less and less about what people around him do and waits for the script to finish. Dimentio does sometimes try to get a reaction out of him just for kicks (such as asking if the name Timpani rings a bell). He takes pleasure in bringing people down and the Count, despite his looming demeanor, doesn't fight back.

Would he call any of these people friends? Not genuinely. Dimentio seems like the type of person who makes friends for benefits rather than because he has emotional attachment. The same goes for hanging out, if he ever participates it's to entertain himself either by mocking or spectating (he tends to easily fall for his curiosity). But that's just my perspective!

[laurellerual]

in agot arya mentions becoming a high Septon in *that* line, its been a while since I read the books so I don't remember a lot but do you think arya will end up having a big role in any faith (the seven or the old gods)? i can't remember if she thought about religion a lot or not

High septon Arya with some cool high priestess tarot symbolism

Good question. Arya is the only main character to be part of a religious order, and is not clearly falling into the 'chosen one' category. I expect that all the religions and respective magics that she has encountered will play a fundamental role in her future.

I don't see Arya in a role like the High Septon because I don't think she recognizes the Seven as her own gods. I would say that Arya believes in the Old Gods and the Many-Faced God, and that she recognizes the power of R'hllor.

I think that in the future Arya could find herself in the position of 'collaborator/lay member' of the FM order, perhaps fulfilling a similar role as Brusco and Izembaro, but it is only speculation.

Some random thoughts on religion in Arya's storyline not a meta:

Religions are a fairly recurring topic in her chapters, she is probably the character who has encountered most faiths, but her relationship with them is particular. She seems to be quite curious about religion, especially now that she's in Braavos and surrounded by the strangest temples.

One time, the girl remembered, the Sailor's Wife had walked her rounds with her and told her tales of the city's stranger gods. "That is the house of the Great Shepherd. Three-headed Trios has that tower with three turrets. The first head devours the dying, and the reborn emerge from the third. I don't know what the middle head's supposed to do. Those are the Stones of the Silent God, and there the entrance to the Patternmaker's Maze. Only those who learn to walk it properly will ever find their way to wisdom, the priests of the Pattern say. Beyond it, by the canal, that's the temple of Aquan the Red Bull. Every thirteenth day, his priests slit the throat of a pure white calf, and offer bowls of blood to beggars."

We know that she was raised in a mixed faith family. But while there is a septa to take care of her education I don't think the Stark children were born in the light of the Seven.

Arya never seems to refer to the religion of the Seven as her own. She defines the seven as "the southron god, the one with seven faces". She also never pray to them and she doesn't uses many common language expressions concerning them. But she often notices symbols or expressions related to the Seven that are used by the people around her. For example, in contrast, it's funny how often the Hound says "seven hells" or how often she hears "Mother have mercy".

But this religion can be useful to better understand the character from a thematic point of view, especially in her relationship with her mother. For example, it is interesting to see how Cat, for a moment, sees Arya in the warrior. Or how Arya could end up filling the role of Mercy for Merciless Mother.

This passage where Cat describes the Old gods as faceless particularly interesting in light of Arya's future, but also in light of Cat's future. In fact Lady Stoneheart's face ironically resembles the face of a weirwood.

Catelyn had been anointed with the seven oils and named in the rainbow of light that filled the sept of Riverrun. She was of the Faith, like her father and grandfather and his father of her before him. Her gods had names, and their faces were as familiar as the faces of her parents. Worship was a septon with a censer, the smell of incense, a seven-sided crystal alive with light, voices raised in song. The Tullys kept a godswood, as all the great houses did, but it was only a place to walk or read or lie in the sun. Worship was for the sept. For her sake, Ned had built a small sept where she might sing to the seven faces of god, but the blood of the First Men still flowed in the veins of the Starks, and his own gods were the old ones, the nameless, faceless gods of the greenwood they shared with the vanished children of the forest.

The Old gods have a much more obvious importance for Arya. This is the religion she prays to and the one she is immersed from narrative. Arya sees and crosses some of the most important places of this faith: High heart and the God's eye. The scene in the godswood of Harrenhal is fundamentally related to the theme of identity. I talked more about this here.

But the Old gods haven't an organized faith so I don't think it works to think of it as analogous to the faith of the Seven. I mean that there are no 'roles' to fill here. Bran's storyline could tell us more about this.

When Arya arrives in Braavos she sees a Sept, but she never goes there. Her thoughts go to the fact that this is a city without trees instead.

I think we need to keep an eye on the Many-Faced God and the Old gods because they're the deities that have the most thematic relevance in Arya's story right now. Somehow they represent the crossroads at which she is.

They are not my Seven. They were my mother's gods, and they let the Freys murder her at the Twins. She wondered whether she would find a godswood in Braavos, with a weirwood at its heart. Denyo might know, but she couldn't ask him. Salty was from Saltpans, and what would a girl from Saltpans know about the old gods of the north? The old gods are dead, she told herself, with Mother and Father and Robb and Bran and Rickon, all dead. A long time ago, she remembered her father saying that when the cold winds blow the lone wolf dies and the pack survives. He had it all backwards. Arya, the lone wolf, still lived, but the wolves of the pack had been taken and slain and skinned.

Perhaps when winter comes we will discover that this crossroads is not as marked as it might seem. I'm not the first person here to discuss how similar in their description Bloodraven's Cave and House of Black and White are. In particular there is a visual and thematic parallel in the use of weirwood, in the appearance of Bloodraven and the kindly man and in the type of meat that is served to Arya and Bran.

We must also take into consideration the religion of R'hllor which will become increasingly important in twow. Arya has encountered this before and is familiar with its power to resurrect the dead this way. This will certainly affect her opinion of Lady Stoneheart and Jon Snow. Also we've seen Melisandre's glamors and we know these are listed by the kindly man as one of the methods Arya will need to learn. Even the concept of blood magic seems somewhat akin to the methods of the FMs.

Another religion to keep an eye on for the future is that of the Moonsingers because, as was discussed around here a few days ago, we could see Arya frequent their temple. They are as old as the FM, among the founders of Braavos and seem to deal respectively with life and death.

"The Isle of the Gods is farther on. See? Six bridges down, on the right bank. That is the Temple of the Moonsingers." It was one of those that Arya had spied from the lagoon, a mighty mass of snow-white marble topped by a huge silvered dome whose milk glass windows showed all the phases of the moon. A pair of marble maidens flanked its gates, tall as the Sealords, supporting a crescent-shaped lintel.

This could become relevant in the next book when Arya gets her moonblood.

"It may be that the Many-Faced God has led you here to be His instrument, but when I look at you I see a child . . . and worse, a girl child. Many have served Him of Many Faces through the centuries, but only a few of His servants have been women. Women bring life into the world. We bring the gift of death. No one can do both."

Furthermore, the fact that Moonsinger and Wolf are practically synonymous is certainly... a choice.

"Snow," the moon murmured. The wolf made no answer. Snow crunched beneath his paws. The wind sighed through the trees. Far off, he could hear his packmates calling to him, like to like. They were hunting too. A wild rain lashed down upon his black brother as he tore at the flesh of an enormous goat, washing the blood from his side where the goat's long horn had raked him. In another place, his little sister lifted her head to sing to the moon, and a hundred small gray cousins broke off their hunt to sing with her. The hills were warmer where they were, and full of food. Many a night his sister's pack of him gorged on the flesh of sheep and cows and horses, the prey of men, and sometimes even on the flesh of man himself.

[thoseyoulove]

Just finished Part I of The Vampire Lestat and here are my first impressions (I skipped IWTV *for now* since the show has already covered it... I'll read it eventually):

I can't tell yet if I like it or not.

So far, I enjoy the concept and the characters seem to be compelling. In terms of eventfulness, there hasn't been much, but I do have some interest in these people. They all appear to be complicated and have a lot of baggage, which I guess makes them appealing and gives the story potential. Let's see where this goes.

I don't hate, but I also don't love Anne's writing style. I don't think she narrates and describes things very well, she lingers on stuff I don't care that much for and doesn't provide details on things I'm actually curious about? There are some abrupt changes that annoy me sometimes as well.

I do believe this might be an attempt to get ourselves in the mind of Lestat and how he process to the world around him, though? It would make sense considering how chaotic he is.

Another thing I like is how he got so obsessed with the 20th Century, music and theater. The descriptions really give me the idea of someone experiencing the world for the first time (in a while) and considering how isolated he was growing up or after everything that happened with Louis/Claudia, it makes sense that he is so fascinated by all these discoveries. And it's really immersive and sweet to see how he in awe he is with all of it.

He also speaks like he is somebody born in the 1700s. So I give her credits for that as well.

Pretty sure Lestat is neurodivergent at this point (ADHD is basically a yes from me, maybe he has dyslexia and/or autism too).

And his memory is trash. So often he doesn't know if he actually did something, or if it were someone else, or if it was just a thought... I'm like, ARE YOU OKAY (he isn't)? By the way, this is painfully relatable because I also have poor short (and long-term) memory. Heaven help him (and moi).

That boy is a water sign if I've ever seen one.

He cries A LOT. I don't remember ever seeing any (book/show/movie) character cry that much, specially in such a short time lol. And the fact this is coming from a man and not a woman... There you go with defying gender norms, king!

Lestat having Borderline Personality Disorder isn't even a headcanon at this point, but a FACT.

He probably hasn't been hugged enough times in his life and it SHOWS.

Even with the abuse in his family, his frustration with his mother and the "malady of mortality", he manages to stay optimistic in a way that feels so childlike and naive that makes my heart warm and ache for him. I'm like, you deserve better.

Again, I don't know if I'm enjoying or not, but I do like the fact I can imagine Sam's Lestat doing all of this on season 3. Picturing Sam bringing these moments to life is the BEST PART of the reading.

Would I still read these books if the show never existed? That's what I need to find out.

I can see why some people got so invested in this character, though. At least for now. Some stuff hit close to home and I find myself rooting for him. I imagine that for the ones who read it at as a teenager, it must've made them feel less alone and seen to some extent.

At this moment, it's Lestat > Gabrielle > Nicholas for me.

Lestat's father isn't a person I care about, but depending on how the show adapts him, I guess it could be a good opportunity for a blind actor. It would be killing two birds with one stone, because it would develop Lestat's backstory, but also give space for a category that barely gets any job in the industry. I would love to see a powerful guest star that is a an actual disabled person playing a disabled character. Sure, we would hate him, but if someone manages to show their potential, book more roles and maybe even earn an award or nomination, why not?

Whenever Lestat talks about kissing his mother I get confused if the incest is already happening or not lol. Because I normally would just imagine a platonic kiss on the cheek or forehead and I haven't seen anything explicitly inappropriate. I don't know if it's because I'm reading the Brazilian Portuguese version, or if Anne wasn't that clear, or maybe I'm slow and naive, but nothing big seems to have happened? But I'm familiar with those spoilers, so... Anyway, whatever. It's not like I was counting the days to read about incest, so I don't really care about it being evident or not. I just mean that for now they seem to be more of a "parent that didn't want kids, but cares for him in a distant, but still real way and child that seeks for any crumbs of love and affection" kind of relationship.

Speaking of that, Lestat is SO DESPERATE for love, omg. Nicki was basically the first person besides his mother that was nice to him and he told the guy ALL OF HIS LIFE STORY AND FELL IN LOVE almost immediately? Get up!

Peak BPD/ADHD/maybe autistic/water sign/Scorpio behavior. MY GOD.

Still don't know how to picture Gabrielle and who I fancast playing her. I do think I have some sense of who she is now, which is nice. I also have some actors that could pass for Sam's parent and have the appropriate age to play her in my mental library, but I can't form a face yet. Not the face of a real actress or even an imaginary face, it's just a blur so far. Which sucks because I loooooooooove imagining fancasts, specially for a show as great as this one, but I'm just waiting for the revelation to come to me lmao.