#i want a novel from her but i almost feel that a concrete main character who doesn't seem to transgress corporeality would be a detriment

[convulsionofhonesty]

her body and other parties by carmen maria machado has disassembled and reassembled my body both times i have read it. it's so engrossing and haunting that i feel rearranged and physically unsettled after finishing.

i have no idea what the stories mean but i understand them perfectly. she creates layers of mundane horror that don't feel mundane and don't feel like horror. it's a fever dream of a short story collection.

and she uses language in a way that is so unexpected, describes things in such unconventional ways that your brain squirms at the dissonance, but that's ultimately her greatest strength and what makes her writing stay with you.

i don't think it's possible to ever fully process anything she writes because it just wraps around your mind in such a way that you can't see it anymore. her stories are all encompassing. i feel the urge to cry from catharsis every time i finish one.

[clearlitebergaming]

time to write down semi-coherent thought about EoD +it's post expac!

so.. somehow, compared to previous expac n living worlds, EoD feels uh, short? idk, im a person that space out story and not binge everything, but even then EoD feels short

the only memorable things i remember is stuffs with aurene and rama. everything else feels kinda like blurr.... i remember liking the humor.

i did the each map meta events this time. it does helps with the story. dragon's end especially. this time anet put on big achie icon to remind me 'hey, do the meta first before ending the story, or you'll feel like HoT all over again' -- which i appreciated

finale is good tho! super nice. i see they want to culminate the whole dragon cycle saga into these last part. certainly have epic feeling to it.

i like the post expac stuffs too. felt bad for rama for his bothced party. it felt super painful....

LOVING the date with canach

i also like how major npc in previous map's meta is present for gyala delve's story. it ties off nicely! still feels lack of build up and resolution tho. im used to it by this point, gw2 is never great at building up and resolution. and i already got spoiled about it, so im not disappointed to see lack of trahearne hahahaha

it IS jarring to see gw2 suddenly utilize NAKAMA POWAA in post expac in that manner. its so anime. i dont dislike it, could be written more smoothly. VA is doing amazing. wish id see more distressed commander in the future

can i say one thing tho, the part where aurene 'said goodbye' should be done in cgi / cinematic. unless somehow i dont see it....?

ok so gameplay wise. i never did high end content, so when it came to instanced boss fight, i was pleasantly surprised they have more defined pattern n mechanic in normal content. my xiv instict kicks back in >:3 still hate when doing strike that KO'd member cant be rezzed tho :<

being able to fish is highlight of this expac not ironically. i spend many time just fishing.

seitung is my fav map this time. its pretty, and easy to get around.

new kaineng is novel in that its a 'city' that is also explorable map. but novel wore off when getting around is hard. i remember i got motion sickness often when im in that map. maybe i just havent memorize ziplines n lift location. almost felt like tangled depth, but concrete. almost, but TD is worse. echovald wild.... is also a bit confusing to get around, but at least the ground level have 'clear path' i can blaze with roller beetle to get around for meta wwww dragons end is... okay. its a map for grand meta event, the main attraction is not on the scenery, as long as i can get around quickly, im fine with it.

and then, stuffs i dont like that i nitpick. the inflammatory part. the part that probably make people whos unfortunate to read this itching to make counter post in expressing disagreement (probably lol)

in the cut.

i hate they have to kill mai trin. she doesnt have to die, her death doesnt further anything. she can jsut be benched. it makes me dislike anka even more. i dont like her when shes hurting aurene, and i feel like her reasoning is stupid. she has similar vibe to scarlet in wanting destruction, but scarlet is bound to mordremoth, she has no choice. beside, making mai trin+scarlet fend off anka is super epic, it could be redemption for both girls. up to this point, i dont have 'ugh i dont like this character' in petty way, and congratz anka for earning that place (zojja came close, i dislike her being super petty and abbrassive esp to eir --i dont even like eir that much. but shes felt very different when i play as asura, shes super caring in tough big sister way. so i can let her slide)

post soo won got loose, and we have to confront joon, but joon threw a big tantrum. i understand shes stressed and not thinking clearly, loosing soo won and putting the whole cantha on energy disaster, but when she rambles about 'not sorry for being who she is/can' i was liek, "girl idk where that came from, now is not the time!" super out of left field. no one in commander side is questioning her ability, she just almost trauma dump on commander right when aurene is at stake.

now when i think about it, i got riled up real hot when either taimi or aurene got in harms way lol.

on to post expac stuffs,

stop making me care about eir goddamn it. its getting annoying at this point. i have nothing against eir, i just dont feel anything, stop making me to. if anything i felt bad for killing trahearne, but we cant have that grieve can we, anet?

of all ppl anet think commander is feeling guilty for...

you know who i feel more guilty for instead of cinder? those poor unarmed bastards smodur told me to drop bombs to inside bunker in drizzle wood.

id even go further by saying my commander still have regrets over shelling his own troops in PS, or over Tonn and Apatia's death. tho i understand anet cant do it because they long ditched permutations.

well, its not that bad actually.

will try to save to buy SOTO for now, or trying to get sule up to EoD as well.

[beepboop358]

Victor Creel Theories

(also includes ST movie DNA series: Star Wars)

Victor Creel is described as "a disturbed and intimidating man who is imprisoned in a psychiatric hospital for a gruesome murder in the 1950s." We know he will be institutionalized at Penthurst mental hospital, where Peter Ballard works, based on leaked on set pics.

There a few possibilities regarding his character:

He could be a former test subject with some kind of powers and a connection to the upside down (which would also follow the even/odd season pattern of a main character being directly involved with the upside down creatures) I think it's highly likely that Victor Creel will be involved with the mystery/danger in Hawkins in some way, and have a connection to the upside down. He could also be disturbed on top of this, and he could be involved in Eleven's storyline this season.

That he is not a test subject and is ONLY mentally disturbed.

He may be related to one of the already established characters. Most likely Joyce, and maybe Terry but it's a stretch.

Before I go any further into that last possibility, I just want to preface that this idea of an "evil father/grandfather with powers" could be a purposeful Star Wars parallel. The Duffer brothers have already paralleled and used Star Wars references a few times in the show:

In Star Wars, Darth Vader is Luke Skywalker's father, and Palpatine is Rey's grandfather (aka the literal worst guy in the universe). A common theme in ST is abusive/bad fathers - that post here. Interesting...

Palpatine is also Anakin Skywalker's father, so Luke and Leia are both the grandkids of Palpatine as well as Rey is, but it's unclear if they are just force midichlorian related or actually dna related as well but I won't get into that here!

Luke and Rey are both force sensitive (have powers), so are Darth Vader and Palpatine; their descendants (kid/grandkid) have powers, and so do they (father/grandfather) The descendants use their powers for good, while the ancestors use their power for evil. Who has powers in ST? Eleven and Will - and they both already have this idea of abusive/bad/evil fathers: Will has an abusive father Lonnie, and Eleven has an abusive father figure Dr. Brenner "Papa".

So... Victor Creel being the evil/bad grandfather to either Eleven or Will and the evil/bad father to Joyce or Terry, would make a FULL Star Wars parallel to people who are morally good and have powers (Will and El - Luke and Rey), discovering they are the descendant of an evil male figure who also has powers (Victor Creel - Darth Vader and Palpatine)

If Victor Creel turns out to be the father of anyone in the show my bets are it's either Joyce Byers or maybeee Terry Ives.

If he was a test subject, its likely he went "crazy" with some of his powers and the government couldn't cover it up so they declare him mentally insane to get him committed, and he probably goes insane being locked away as well. Personally, I think he may be 001 or an early test subject, when they were still working out the kinks of the program, and I think he does have a big connection to the upside down.

The Duffer Brother's on s4: "In Hawkins a new horror is beginning to surface, something long buried, something that connects everything"....

Now let's get into the possibilities for Creel's storyline/who he could be related to (split into 3 parts).

Part 1: Creel could be Joyce's father

Based on Victor Creel's description as "disturbed" and that he is "in a psychiatric hospital", it could connect him to Joyce's bloodline.

There are several comments in the show hinting to this idea of mental instability in Joyce's family:

s1 ep.5: When Lonnie comes to visit in s1 after Will goes missing, Joyce says to Lonnie "No, don't look at me like that, like how everyone is looking at me, like I'm out of my damn mind" He responds saying "I think you need to consider the possibility that this is all in your head. Remember your Aunt Darlene?" Joyce quickly replies, "No, this is not that."

That conversation, although quick, is very telling. Lonnie is implying that Joyce had an aunt who was mentally unstable - and Joyce clearly knows about her aunt being unstable because she responds to his comment by saying what's she's experiencing is not that (the mental instability of her aunt)

s2 ep.2: Joyce says to Bob, "this is not a normal family", when he suggest moving out of Hawkins.

I used to think Joyce was always was referring to the whole 'my son got stuck in an alternate dimension with supernatural monsters and is now traumatized, and we were sworn to secrecy by the government' thing but maybe she is also referring to her biological family.

s1 ep.2: When they are searching for Will, one of the other police officers, says "Joyce is one step from the edge" and the other officer responds "She has been several steps for quite a while now".

If Joyce is related to Victor Creel biologically, and he did also happen to be a test subject, has powers, or has some other relation to the upside down, this could possibly have contributed to whatever kind of abilities Will has, because he would be a descendant of Creel. But Joyce does not seem to have any powers and neither does Jonathan. If they were related to Creel, it's odd that they both didn't get powers, but Will did. I've always thought Will was born with his powers, like El.

We know almost nothing about Joyce's past, it's never discussed in the slightest in the show, which I feel like is purposeful. We don't know Joyce's maiden name; she doesn't change it back after she and Lonnie divorce. Maybe the Duffers are saving Joyce's backstory for s4 (and possibly s5), like I think they are doing with Will and El's connection. Will, El, Hopper, and Joyce were pictured in a series of 4 tweets posted by the stranger writers, hinting to the main 4 storylines for season 4. My analyzation of this tweet here.

I think it's possible that Joyce's storyline this season could also have to do with her past- not just her searching for Hopper- but also more personal information about her. Perhaps we will see flashbacks of younger Joyce and maybe learn about her biological relatives.

Noah also said this would be the darkest season for Will, so this idea of being the grandkid of someone evil or disturbed could fit into that.

Part 2: Creel could be Terry's father/Eleven's grandfather

The only other person I could see potentially having a biological; relation to Victor Creel could be Terry Ives and Eleven, (because it would complete the Star Wars parallel mentioned earlier) but it's a stretch for several reasons, the main one being that Terry and Becky's father Bill Ives, died in a car crash (year unknown).

So for Victor Creel to be Terry's father that either has to be:

Her adoptive father OR

Her mother cheated and led Mr. Ives to believe Terry was his kid but her father is really Victor Creel, and Becky is actually Bill Ives son (which would explain why Becky has no powers)

Right of the bat it's interesting Terry's father's name is Bill. Bill is a nickname for William (Will Byers full name is William), and Billy's a nickname also for William... Hmmm....

Immediately after El is born, Terry is adamant that Brenner stole her child to use as a weapon to fight the commies BECAUSE SHE HAD SPECIAL ABILITIES - and she's completely right about everything. How does Terry know El had powers immediately after she was born? Because she knows she has developed some kind of special abilities from the experiments as well. When El goes to visit her mother in s2, THE LIGHTS FLICKER, just like they do when the upside down is near, but it's not Eleven controlling it. Her Aunt Becky says it's just the wiring, and Eleven responds: "IT'S MAMA. She wants to talk." And then we see Terry's NOSE BLEED, just like El's does when she uses her powers.

Quick side note about El's biological father is Andrew Rich: (It's revealed in the canon novel Suspicious Minds that Andrew Rich is El's father) He was a college student who got expelled from school due to protesting the Nixon address, making him eligible to be drafted in the Vietnam war, and he died in battle. Terry was involved in the Project MKUltra experiments at Hawkins National Laboratory in College, under the direction of Dr. Martin Brenner, but didn't know she was pregnant at the time. Andrew never even knew Terry was pregnant, meaning she was extremely early on in her pregancy at the time he was sent away, not even Terry was aware yet. It's also stated in this book that BRENNER HAD A HAND IN GETTING ANDREW EXPELLED SO HE COULD SEND ANDREW AWAY. The novel states that Brenner has Andrew drafted because he wants to SCARE Terry, to show her how much power he has over her life. There's definitely some history between Terry and Brenner that we don't know about yet.

If Victor Creel is in fact Joyce's father it's interesting that the powers seem to have skipped a generation with Joyce, and also one kid with the Byers, but if Victor Creel is Terry's father, no generations were skipped in passing down powers. ANYWAYS, this is all just theories and speculation since we have no actual concrete reasons to believe he will be related to Joyce or Terry.

Part 3: The possibility that Creel could be involved in Eleven's storyline this season does not rely on them being biologically related.

**One of the filming locations for this season is the Claremont House, which is RUMORED to be Creel's house and also "Vecna's lair" the new monster for s4 (unconfirmed) This is the house the Hawkins group goes into in the ST4 sneak peek, where they see the grandfather clock striking midnight. If that's true, there's a connection between Creel and the upside down and having powers, which could connect Creel to Eleven. The Duffers: "In Hawkins a new horror is beginning to surface, something long buried, something that connects everything". This thing "that connects everything", could be Creel's storyline (his possible connection to the lab/upside down/person in the show), because Creel's storyline also spans all the way back to the 1950's and before that, so there's our "long buried" part most likely.

Robert Englund recently revealed in *an interview* that his character Victor Creel gouges his eyes out, making him unable to see. Englund also mentions what it's like working with Millie Bobby Brown and talks about the first time her met her, he doesn't mention any other cast members in detail like he does Millie.

He's clearly working closely with Millie's character Eleven.

But why? I think Creel could be involved with Eleven getting her powers back, and her reliving her past. Once the government baddies realize El has no powers, they're gonna want them back. If Creel was in fact a test subject, maybe there is some kind of connection between them, Such as Eleven revisiting what happened to her in her past and how that could relate to her getting her powers back.

Another thought I had was that perhaps the gruesome murder he committed is somehow related to something that ends up impacting in Eleven's life.

------------------------------------------------------------------------------

Whatever Victor Creel's storyline is, it will be an important one, and it will carry somewhat into s5, since he will be a returning character. He is not signed as a series regular, but as a recurring character, which means we don't really know to what capacity he will be in s5. It could be flashbacks mostly, or he could have just as big or small of a role.

Source: indie wire

That detail about eyes being gouged out reminds me of fear street 1666 when the townsmen who was sacrificed to the devil becomes possessed and gouges the kids eyes out. Leigh Janick, director of fear street, is married to Ross Duffer. They both direct and make horror/sci-fi themed series about kids in a small town set in the 80's, who fight supernatural evil with a heavy undertone of queer themes, that are even filmed in a lot of the same locations (the mall, the town streets, etc.) I'm not saying it's the same thing, it definitely won't be. But there's so many similarities between ST and Fear Street, I thought I would mention this as another.

[avatar-news]

The Fire Nation Awaits 🌺 An in-depth look at the ever-elusive islands in the era of Korra and when we will finally pay them a visit

[Artwork by Avatar News; not official.]

Note: This article was published before the official announcement of Avatar Studios at the Paramount+ investor day.

“Water. Earth. Fire. Air. Long ago, the four nations lived together in harmony. Then, everything changed when the Fire Nation attacked.” We’ve all heard those words a million times. The four elements, and the power to control them bestowed by four subspecies of giant lion-turtles, are at the very heart of the world of Avatar. The balance between them was once upon a time broken by one of the four, the Fire Nation, forming the main conflict of Avatar: The Last Airbender. For much of Aang and the Gaang’s quest at the close of the Hundred Year War, the Fire Nation was a forbidden, far-away location, until the curtain was finally drawn back in the aptly-named Book Three: Fire when our heroes entered the inferno, undercover behind enemy lines. A dramatic tropical destination! New outfits! Culture shock! Needless to say, it was a big deal.

→ 🌺 The big reveal of the Fire Nation in Book Three: Fire had its own marketing push, matching public anticipation.

When the Hundred Year War ended, the newly-instated Fire Lord Zuko dedicated his life to righting the wrongs of his forefathers and working with Avatar Aang to bring the Fire Nation back into the fold under peace. By the time Aang’s successor debuted as the next Avatar in the titular The Legend of Korra, Zuko had abdicated the five-pointed crown and his daughter, Fire Lord Izumi, took the stage leading a reformed, rebalanced Fire Nation.

There was no more war, no more enemy lines, yet the Fire Nation became more distant and mysterious than ever before.

Korra’s close encounters with the land of fire

To this day, Korra has never visited the Fire Nation, nor has it been seen at all, nor do we know anything about it in her era. In fact, practically the only thing we do know is that its leader is a noninterventionist, which conveniently gets it out of the way of making an appearance in Korra’s journey as the Avatar so far.

The closest we have come to seeing the Fire Nation in The Legend of Korra was in Book Two: Spirits, Chapter Five: Peacekeepers. In the midst of the Water Tribe Civil War, Korra sets out across the sea to get help from the royal family, however, she is intercepted by a dark spirit and never makes it to her destination. In the next episode, she washes up on a secret island home to the Bhanti sages, which probably technically counts as Fire Nation territory, but as we know from The Shadow of Kyoshi (more on that later), this faction predates the Four Nations themselves so it doesn’t really count.

→ 🌺 Korra washes up on the beach of Bhanti Island in Book Two: Spirits, Chapter Six: The Sting.

No, as cool as that location and the events of the Beginnings two-parter that happened there were, it wasn’t the main draw of seeing the Fire Nation that we’re still waiting for: seeing how the Fire Nation, which was already industrializing in Aang’s time, changed over the decades, compared to places like Republic City and Ba Sing Se; meeting new characters; visiting new and familiar locations; worldbuilding both new and expanding on what we already learned.

After this aborted tease in Book Two, we never come close to the island country again (at least not with this Avatar and in her era; yes I’m leading up to something...). Instead, the focus turns strongly to the Earth Kingdom in the third and fourth Books, and beyond.

Keep in mind that The Legend of Korra aired for about two-and-a-half years total from 2012 to 2014. Since then, the story has continued in comics. The comics era has lasted from 2015 to present-- seven years to the animated series’ two. In that time, there have only been two comic trilogies due to various production troubles, and neither have touched the Fire Nation. Instead, they directly continue the Earth Kingdom-focused threads started in Books Three and Four of Korra, both originally airing in 2014. Or, in perspective: we had a focus on Republic City in 2012, the Water Tribes in 2013, and the Earth Kingdom from 2014-2021.

Will we finally see the Fire Nation in the next graphic novel trilogy?

This question comes to mind every time new Korra content is supposed to roll around, and the powers that be know it-- it’s a pretty obvious gap in the world of Avatar right now. This franchise is iconically built around four elements and the Four Nations based on them, so one of them being MIA is quite glaring, and for that reason everyone is understandably always asking about it.

The most concrete confirmation we’ve gotten was this AMA answer from franchise co-creator Michael Dante DiMartino in 2016, two years after the show ended and a year before the first graphic novels did come out:

“Yes, hopefully in the [Korra] comics, we’ll have a chance to go to the Fire Nation and see how it has changed since A:TLA.”

Since then, as previously discussed, two comic trilogies have come and gone, obviously not getting closer to the Fire Nation-- and I would actually argue entrenching themselves further away from it.

I want to make it clear that I’m against fan entitlement. Creatives telling the tales they want to in service of the story and the artform is how the industry should run. I’m just hoping to offer some perspective on how we got to where we are almost a decade into the era of Korra and the metatextual pacing of the franchise itself.

Either way, the next Korra comic trilogy has been official confirmed by the editor for Avatar at Dark Horse Comics in this informal statement on Twitter:

We’re not ready to announce any details yet, but we are working on the next trilogy. I really appreciate your patience and hope it’s worth the wait! ✨

There’s currently some kind of holdup for which we really have zero context or information, and we of course have no idea what this next trilogy will be about. (I do speculate a bit on what it could be a few paragraphs down.)

But, like what turned out to be Ruins of the Empire before it, I faithfully made a mockup graphic for my post announcing the confirmation of the next The Legend of Korra graphic novel trilogy. And like before, I chose to completely speculatively and blindly make it Fire Nation-y, as if the next comic could/would(/should?) feature it. This is mainly because I feel like that’s what most people’s eyes would be caught by and thus result in the most successful post (hey, at least I’m honest), but also because it’s just fun.

Here are both images, from 2018 and 2020 respectively:

→ 🌺 Speculative edits I made for my posts on the announcement of previous and upcoming Korra comics before we knew anything about them.

In both cases, the response was huge, and people were super excited about the prospect of Fire Nation content just from my quick speculative mockups. I am of course hoping that the new artwork I made of the Krew for this post will have a similar effect (it’s the first time I just straight-up drew it instead of editing existing images) but again it’s really mostly just for fun.

Anyway, until the next trilogy is properly revealed, we’ll just have to wait and see.

However, that’s not the only place this could happen.

Are they saving the Fire Nation for an animated movie?

With Avatar’s HUGE success on Netflix last year, interest in the franchise rocketed to an all-time high. The streaming wars have begun, and Avatar’s owner and its parent company, Nickelodeon and ViacomCBS, have finally started to notice.

ViacomCBS is launching Paramount+ on March 4th, a relaunch of its existing streaming service CBS All Access. Paramount+ is meant to be a big expansion and refocus to compete with the big hitters: Disney+, HBO Max, and, yes, Netflix. (There’s quite an entanglement there, with Netflix being the home of Avatar’s big year and the upcoming live-action series.)

One of the keys to a successful streamer today is high-profile originals to drive new subscribers. ViacomCBS knows this and they know Avatar has just become among the highest profiles a property can have, breaking records and going toe-to-toe with other big-hitting sci-fi/fantasy/genre franchises. This knowledge goes right to the top of the food chain: the CEO of ViacomCBS mentioned Avatar by name when discussing potential originals for Paramount+.

I have previously discussed how The Search relates to this. The Search was the second ATLA comic trilogy, focused on the search for Zuko’s mother in the thick of the Fire Nation, and if you didn’t know, it was originally pitched by Bryke as an animated movie after the original series ended.

I just want to be clear that what I’m discussing here is purely speculative, but this is the only other piece of the Avatar franchise that we know was optioned for animation besides the shows themselves. It’s possible they would be interested in going back to this idea as a Paramount+ original (and it would certainly be popular among audiences), but it is of course set during the era of Aang and thus covers both a time period we’ve already seen, and also by nature of already being released as comics, events we’ve already seen too.

However, the whole point of this article is that there is one major, huge thing we haven’t seen yet, with massive anticipation building for a decade behind it: the Fire Nation in the era of Korra. So, again, this is just speculation, but it’s also possible that they could return to the very smallest seed of the original idea for a The Search movie, and do a Fire Nation-focused Korra movie now.

→ 🌺 ATLA’s Fire Nation-focused The Search was originally pitched as an animated movie.

You can skip this next part if you don’t want to see me embarrassingly promote my fan idea 😆 but this is where the artwork I made for this article comes into play. The general idea for it, and the reason I tried to replicate the show’s style as much as possible, is that it’s what a Fire Nation-focused movie could maybe look like. Something as standalone and unrelated to Earth Kingdom drama as possible, with fresh new looks for the Krew to get people excited for something fresh and new! I really feel like the Avatar franchise has so much potential for expanded content like this, that’s why I have high hopes that Paramount+ will make the most out of it! You can see the individual characters’ artwork in larger size here. Ok I’m done back to business.

If the idea of a movie seems too impossible to you, we can also take a deeper look at Bryke’s involvement with upcoming comics instead.

After Korra ended, they officially each went their separate ways. They vaguely consulted on Avatar stuff, and Mike of course wrote the Korra comics, but Bryan was planning on writing and drawing his own original non-Avatar comic series and Mike was releasing his own non-Avatar novels. This all appears to have come to a stop when they signed on to showrun the live-action retelling of ATLA at Netflix, officially reuniting the partnership and committing to Avatar again in a big way. Of course, they ended up leaving that project over creative differences, but it did result in a big, lasting change: this time they remained official creative partners and have indicated they’re still working on Avatar now, together. This is a far cry from the official breakup after Korra, so it begs the question what exactly they’re working on. I of course have my fanciful predictions of a sprawling expansion of the Avatar franchise at Paramount+, but what if it’s actually a combination of the ingredients from before the live-action series...

More speculation, but what if the reason for all the mystery behind the next Korra comics is because they will be made by Bryke, with the two of them co-writing and Bryan doing the art for the first time? If that’s the case, they could want to make them a bigger deal than the other Avatar comics have been so far, and maybe that’s why it’s taking so long to iron everything out, have a more significant story, have more of a marketing push, etc. If they’ve been saving the Fire Nation for something big, this could be it.

I personally think this is less likely than a show or movies or something, but it is possible. Anything is possible right now since we know so little about the large-scale direction of the franchise moving forward, just that it’s gonna get big.

⛰️🌋 The Fire Nation in the era of Avatar Kyoshi

We’re not done! Despite everything I’ve written here, believe it or not, the Fire Nation was actually the star of the show in the last year.

With the debut of the Avatar franchise’s first original novels, Kyoshi made a huge splash (in a way only she can). If you haven’t read them yet, you NEED to-- they’re some of the best Avatar content EVER. The Rise of Kyoshi hit shelves in 2019 and The Shadow of Kyoshi followed in 2020. The latter is of particular interest here, because it was almost entirely set in the Fire Nation and featured practically everything and anything you could want from a visit to elusive islands. Though obviously set in a historical period some four hundred years before Aang’s time, Kyoshi’s sojourn in the Fire Nation gave us a huge amount of new information, a depth and breadth of worldbuilding, culture, and character we’ve never really seen in Avatar before. It truly makes the most of the literary medium, so hats off to author F. C. Yee for the passion and effort he put in.

In The Shadow of Kyoshi, we learn about the era of the previous fire Avatar before Roku, Avatar Szeto. Through Kyoshi and her own Team Avatar, we learn about the different clans and islands of the Fire Nation, as they experience the fraught early reign of Fire Lord Zoryu and the conflict between the Keohso and Saowon clans, culminating in the Camellia-Peony War. We get a multitude of fleshed-out perspectives from the upper crust to the flea-bitten underworld, matching the heights of the worldbuilding quality of Republic City. It’s such cool, intricate stuff, and really shows Avatar’s potential (and that’s all just the worldbuilding-- the character work is also top-notch).

That’s not the only place the Fire Nation has shone recently. One of Insight Editions’ awesome scrapbooks, Legacy of the Fire Nation, gave us a tour through the royal family’s history, including never-before-seen looks at young Iroh and Ozai and much, much more.

All this just goes to show that the Fire Nation has been a hot ticket throughout the ages and there’s one conspicuous gap in that history: the era of Avatar Korra. With so much recent expansion and development of the Fire Nation in our world, it would be perfect to see the culmination of it all in the current time period in the world of Avatar too.

If this made you excited for the potential of what the Avatar franchise could look like in the coming years, same boat!

The next concrete date where something could be announced is February 24th, when ViacomCBS will host their investor day and present their streaming strategy, including Paramount+ originals. There’s no guarantee Avatar is mentioned, but I’m keeping a hopeful eye out.

As for comics, Dark Horse’s schedule marches to its own beat, so there’s no way to know when the next drop of information is coming our way.

Could this finally be the comics that take us to the Fire Nation, or could the much-anticipated visit be in another medium like animation? Stay tuned-- as always I’ll post as soon as we learn anything new!

[natsubeatsrock]

Lower Your Expectations for Nalu

I'm going to start this post off more generously than I normally would. I don't have any real reason to. I just kind of want to reach some of the Nalu fans with this section. (Nalu fans probably shouldn’t want to read the rest.)

Generally speaking, it's better to lower your expectations for a ship becoming canon. That way, you are pleasantly surprised to see how it will happen. Sometimes a relationship should have more subtle canonization than a bombastic showing. If Mashima plans to make Nalu canon, we should be patient to see how it happens. It’s not impossible for Nalu to have some impressive showy way it becomes canon. However, it’s worth letting Mashima do his thing and let the chips fall as they may.

Alright, the kids are gone. Let's do this for real.

I've been running this blog for just over six years. You'd think that, at this point, it would be hard for me to be surprised by this fandom. I've seen all kinds of things happen, and that should be the case. I joined during a rather tenuous time where fandoms were more willing to go at it.

As it stands, the Nalu fandom is the gift that keeps on giving. Whenever I feel as though I can't think of anything else to say about this ship, something happens, and I'm brought back to writing about it. You'd think it would be me talking about how the ship functions in canon. However, fans seem willing to bend over backward to sing Nalu's praises.

I'd respect it if it weren't Nalu we're talking about. This might be one of the most overrated ships in anime. I'll never understand how most people who watch this series even passively wanted these two to become a couple. All the couples Mashima's written over the years, and this is the one he'll be judged for? (Also, maybe Gruvia, but we talked about that already.)

Still, I do have to give this some fandom credit. Mashima has taken nearly every possible opportunity to feasibly advance this ship since the Grand Magic Games ended (arguably even before that) and passed on doing much with it. On some occasions, it feels as though Mashima is directly mocking the idea that Nalu could possibly become canon. And yet, fans believe that Nalu will become canon at any moment because he draws a Twitter pic of them once every three months or so. (Yes, I did edit this sentence since Nalu Day. What of it?) 

Recently, I got an ask comparing the Nalu fandom to the MAGA crowd. I'm not personally vindictive enough against Trump or his supporters to affirm that comparison. Though, I can't act as if I haven't been thinking of an analogy to describe Nalu fans. I think a better comparison might be fans of the Dallas Cowboys. 

Cowboys fans seem to believe that their team can win the Super Bowl any season. That's not an inherently problematic perspective to take. You should hope that your team will do well. However, this often manifests itself in confidence that ignores the faults within individual Cowboys teams and the strength of their opponents. Not to mention, this ignores the objective fact that the Cowboys haven't done well in the playoffs for 25 years.

I don't think it's wrong for fans to believe that their ship will become canon. I don't know too many fans who wish their ship doesn't become canon. However, I always worry about the fans who believe their ship happening is an inevitability. Especially when things seem to be pointing away from the possibility of it happening. This is usually a recipe for toxic fandoms.

But, let me humor the idea for a moment.

What if Mashima really plans to make Nalu happen in the end?

As I'm writing this post,  we're currently in the middle of the fight between the third Dragon God. We're getting close to the real conclusion of that battle. But after that, there are two big arcs until the series truly ends. Three if they decide to have one last battle against the quest-giving dragon.

If Mashima's going to make Nalu canon, how would that work now?

There's the "realization" route. This is the one I probably see the most. Natsu and Lucy could come to the clear realization that they have come to love each other throughout the series. Of course, you'd have to imagine that whatever would bring this on is more powerful than thinking the other has died. 

Twice, throughout the series. 

Each.

On top of several other crazy things to happen to them over 600 chapters of material spanning a decade and a half. Yet, I'm supposed to believe that some random new moment will change the tide for Nalu.

The other way to do it is to have a confession. Either Natsu or Lucy decides to share with the other the fact that they are in love. Their feelings are reciprocated, and you can figure out the rest.

Depending on who you ask, we've almost gotten this a few times. Lucy's had a few opportunities to talk about her relationship with Natsu and has been fairly nice about it. A few times it's hinted that there might be more to their friendship but nothing concrete. I've even seen it hinted that Natsu was going to confess in chapter 545.

But, that's just it. We've only gotten hints at the possibility that there's more. If Natsu and Lucy actually like each other romantically, why not make it clearer earlier?

"It's because he's being subtle about their shared romantic feelings."

Yeah, I have reason to doubt that.

Jellal and Erza have feelings for each other implied throughout Fairy Tail. Sure there's explicit stuff like their meeting before the Grand Magic Games started. But there's been plenty of subtle stuff surrounding their relationship. People make hints at their potential romantic relationship all the time in canon, even as recent as the last arc.

I feel like I say this a lot when talking about Jerza. But really think about the arcs they're together in. There's Tower of Heaven, Nirvana, the Grand Magic Games, Tartarus, Alvarez Empire, and Aldoron. Their relationship is brought up or hinted at in Fantasia, Tenrou Island, Avatar, and Mercuphobia. While that looks like a large amount of material, Jerza doesn't take up much space in any of these arcs. Outside of the Grand Magic Games, Nirvana, and Alvarez, these are small moments between the two of them at best. Sometimes it's even less than that. And yet, the ship makes sense to the vast majority of the fandom.

But that might be an unfair comparison. Jellal and Erza have a history dating before the series started. 

Let's use a ship that involves characters that met after Natsu and Lucy. Gray and Juvia. (Wait, these guys again?)

The big thing with this ship has been how Gray feels about Juvia. We've known how Juvia feels about Gray literally since they met. However, we've seen Gray slowly change his views on Juvia. We didn't just jump from enemies to lovers. There was a subtle shift as the series went on.

Do you really think that Mashima couldn't do better with Natsu and Lucy? His main duo? The series is only possible because the two meet each other. But I'm supposed to believe that Mashima didn't want to make a Nalu romance seem more explicit?

If you were to ask me, the most likely route for Nalu now is a much less sexy option. If Nalu were to happen, it won't happen in a grand showing of affection. It will just... happen. We'll likely skip to some random point in time after they beat all the dragons and see them as a couple. Maybe we'll se an Earthland Nasha.

This isn't something anime/manga fans aren't used to. I know everyone likely thinks of a different series that has done this over the years. People will rag on series like Naruto and Bleach for doing this. For what it's worth, I do like both of those series and their endgame ships. 

That said, I have two problems with this option. 

First, Nalu doesn't have the kind of setup that those other ships have. You're not getting characters openly confessing before a fight. You're not getting two characters flustered over the prospect of feelings suggested to each other. Heck, you're not getting a "Silver Ray" situation.

"What about those times when Lucy was asked if she likes Natsu?"

Again, Lucy's not openly agonizing over that as part of their relationship. If this was something we were supposed to seriously consider as an option for her, we'd know.

Even then, this would only show that it's one-sided. Natsu hasn't had any similar moments where he considers liking Lucy. Anyone bringing up the waterfall scene is speculating at best. Do you really expect me to believe that Mashima will change that this far into the series?

But this doesn't even get into the second problem. Is this how you'd want Nalu to become canon? 

I've said this before, but Nalu has been expected to become canon for close to a decade. That almost feels like an exaggeration. But one of the big chapters I usually point to for Mashima potentially making Nalu more overt is Lucy Fire. That chapter turned ten years old this past March.

Nalu fans have been inventing all kinds of scenarios and situations about how Mashima will make their favorite ship happen. Wouldn't it be disappointing for fans to see that this ship would happen without any of the pomp and circumstance you'd expect a ship like this to get?

I know plenty of people who were disappointed when their favorite ship just became canon without a lot of lead-up. I didn't love getting to the end of Bleach without knowing more about how Ichigo and Orihime got together. Yes, I know the novels exist, but I (literally) paid to read the manga. I'd like to have seen it happen in the manga. (This could be about Naruto, but I only own The Last.)

This is why I believe Nalu fans should lower their expectations. Do you know the fantasy fans have for Nalu happening? Natsu and Lucy finally being hit with the overwhelming realization they love each other? A tearful confession of their feelings for each other capped with a kiss? All of their friends cheering them on, knowing they should have been a couple a long time ago? Maybe even a glimpse at their wedding and their future kid?

Congratulations, that was Rave Master's main couple. Don't expect the same thing for Nalu. If Nalu will happen, it will look much more disappointing than what fans believe it will look like.

At this point, I'm even not sure that Nalu will happen. Mashima has made every version of Nalu look more romantic except the original. I can't apologize for my skepticism on its prospects. Even actual Nalu fans are worried about if it will happen. I will enjoy seeing more of this salt in the future.

Now, there's one question you might be asking of me. How will I react to Nalu happening?

I don't have some back-pocket post prepared in case Nalu does happen. Heck, I thought of making one but ended up writing this post instead. 

However, I have been wrong about future events of Fairy Tail in the past. If I'm wrong and Mashima does make Nalu canon, then I'll talk about it. I highly doubt it will make me like the series less. It certainly won't affect anything I'm doing with the rewrite, given my rules for changes. Consider that I've been able to talk about Gruvia negatively at this point in the series. I'll absolutely continue to talk smack about Nalu if it ends up canon. 

That said, I have reason to believe that I'm right about the direction Nalu will take. And if I'm right, don't expect my tone on Nalu to stay the same. At the very least, I can promise a third Nalu edition of "My Incredibly Unpopular Thoughts" if Nalu doesn’t happen. I haven't done one in years and I can't think of a better way to celebrate the ship dying once and for all.

[collectsfallenstars]

WARNING: Absolutely long post

IN DEFENSE OF KIM EUN SOOK'S "THE KING: ETERNAL MONARCH"

The King: Eternal Monarch has been getting mixed reviews 10 episodes into the season and it has boggled my mind as to why this has been happening. It’s a grand project, has a robust storyline, beautiful cinematography the likes of which is done for full-length films, and has a love story between two adults who behave like adults and not in perpetual high school. It is very different from most Korean dramas I have come across, and that alone is reason enough to watch it.

 

Granted, I have not watched many of them so maybe I don’t really know what I’m talking about. But what I am sure of is that I get tired of things very easily when they’ve become predictable.

 

See, before watching The King: Eternal Monarch, the last Korean drama I watched was Something Happened in Bali back in 2004. Then coronavirus happened, billions of pesos were to the government but no mass-testing happened, ABS-CBN shut down, people speaking against the government were being put in jail, and I thought, hmm let’s go to Netflix to escape. K-dramas with beautiful autumn colors should do the trick.

 

I watched maybe one or two series in full but soon found myself giving up on the ones that came next. Watching them one after another made it clear that they were built like romance novels – no matter how different each premise was for a series, they always followed a pattern. And patterns, while they may be dependable, can sometimes be boring.

 

And then I decided to give The King: Eternal Monarch a try even though the binge-watching monster inside me disagreed with it. So there I was last week, Netflix open and a lunch of Sinigang na Baboy with rice laid out in front of me.

 

The series opened with a serene view of a bamboo forest, wind blowing gently through it, and the voice of a man talking about the legend of a bamboo flute back when monarchs ruled Korea. Oh, a historical series.

 

1 minute and 40 seconds later, it cuts to a man covered in blood, in a police interrogation room in modern day Korea. Oh, it’s also detective fiction. Gotta watch out for red herrings then. Oh but wait, the man covered in blood, Lee Lim, is supposed to be 70 years old but he doesn’t look a day over 30. I mean, yes Korean genes and skin care are magical but not to this extent. The idea of immortality is introduced which suggests that the series has supernatural elements too. This means world building for these magical elements and forming rules that govern them. (I mean, Bram Stoker and Anne Rice made their vampires perish under the sun and Stephanie Meyer chose to make them…sparkle.)

 

And then 4 minutes in, we get a flashback to winter of 1994 in the Kingdom of Corea. Uhm. Typo? No? Lee Lim, the bastard son of the former king, murders his half brother, the current king, in order to steal the bamboo flute that grants the owner much power. The king’s young son, 7 year old Lee Gon, witnesses his father’s murder, struggles with Lee Lim, splits the power laden bamboo flute in half, and nearly dies if it weren’t for a mysterious figure coming in to save him.  The mysterious figure drops an ID card with the name and picture of Lt. Jung Tae Eul on it and Lee Gon clutches it along with half of the bamboo flute. Lee Lim escapes to the forest with only a broken half of the bamboo flute. He comes upon a pair of obelisks, passes through it and lands in Korea with a K. Lee Lim comes face to face with the face of the person he had just murdered, except he isn’t a king anymore. He’s just an unkempt unemployed man. We now have the introduction of parallel worlds and doppelgangers. It had only been 18 minutes into the first episode.

 

I put it on pause, finished my lunch quickly, cleared the table, and settled down on the couch to watch. I did all that before resuming to watch it because it clearly wasn’t the kind of K-drama you could easily watch while eating, glancing up and down between the screen and your food, missing bits of the subtitle here and there and not paying any mind. Because of its structure, the kind of story it wants to tell and the breadth of its narrative, it demands your full attention.

 

I get why people find it difficult. I found it difficult. But it was infinitely exciting. It’s as if someone laid out a puzzle with a thousand pieces, a maze, Connect the Dots, Spot the Difference in front of me and told me to play with them all at the same time.

 

What kind of story did the writer, Kim Eun Sook, want to tell? She began with the murder of the parents of Lee Gon by his bastard uncle, Lee Lim, who feels he has been deprived of power for too long and intends to take it all for himself. It becomes a story of both sides seeking justice for their own separate tragedies. To flesh out this story, she has to give Lee Lim a plan for world domination and give Lee Gon a defense strategy in place, as well as an active pursuit to entrap his uncle. She has to give them motivations, conflicts, moments of doubt and triumph. If this were the only story she wanted to tell, a linear storyline with flashbacks and flash-forwards should be enough. Throw in a romance, love triangle, one final obstacle, 2 chaste kisses, 1 passionate kiss, 1 tearful kiss, 1 reunion kiss and you will arrive at your happy ending.

 

But Kim Eun Sook wanted to do more. She expanded Lee Lim’s plan for world domination into two parallel worlds. Adding science fiction to the mix complicates matters because you will have to build another world that is visibly different from the other even if they are parallel to each other. Audiences should be able to tell one apart from the other quickly in order to keep up with the story. The difficulty that The King: Eternal Monarch faces is that the Kingdom of Corea and the Republic of Korea look almost exactly alike. It takes almost a few seconds to recognize the Royal Seal, or the European inspired trams running in the background to ascertain that the scene is in the Kingdom of Corea. But once the characters appear, it becomes easier to tell which world we’re dealing with. Jung Tae Eul and the police force belong to Korea. The Royal Staff and family, Prime Minister Koo and cabinet members belong to Corea. The only ones to traverse between both worlds are Lee Gon and his uncle.

 

Therein lies one of the criticisms for Kim Eun Sook’s work – the pace is too slow. I would argue though that the pace is just right when you’re creating two worlds, with very different characters in each, whose stories run parallel to and interweave with each other. It is very easy to place all evil characters in World A and all good characters in World B. But that’s lazy writing, and also ugly.

 

Kim Eun Sook humanizes and fleshes out a significant amount of the supporting cast with such care, developing them alongside the major characters. Usually in dramas, the side characters will get hints of a back story in an episode or two, and then have just one episode dedicated to them. Kim Eun Sook did so much more and in effect, her two parallel worlds became so concrete, with real, moving characters contributing their bit into the two separate forces of Lee Gon and Lee Lim that are about to clash. It creates anticipation, excitement, and spreads your heart out amongst many characters instead of investing your emotions into just the main leads.

 

But aside from the science fiction element, Kim Eun Sook also takes on the task of writing detective fiction into her already robust narrative. Lee Lim is essentially building an army of doppelgangers from the Republic of Korea and planting them in key positions in the Kingdom of Corea. He then takes the dead bodies of these Corean citizens and dumps them in the Republic of Korea, leaving Lt. Jung Tae Eul and her squad in the police force with a trail of unsolved cases. Detective stories are by themselves difficult enough. You begin with a dead body, a search for clues, weeding out which clues are significant, chasing a lead, failing, planting and then ignoring red herrings, closing in on a suspect, interrogation, a surprise turn of events, and so on until the murder is solved.

 

But Lee Lim didn’t leave just one dead body in Korea. There’s an entire army of them and Jung Tae Eul has to be on the trail for some of them in order for her to work with Lee Gon in order to solve them and in turn, help him uncover his uncle’s evil plans.

 

This brings us to one of the major criticisms of this drama – the romance between Lt. Jung Tae Eul and King Lee Gon. Apparently, there’s not much of it as it has taken a backseat to the struggle for power in Corea by the Prime Minister, Lee Lim’s murderous spree and body switching between the two worlds in a bid for a two-world domination, and murder investigations that Jung Tae Eul and her squad must carry out in Korea.

 

Would I like to see more of the actors Lee Min Ho and Kim Go Eun on screen? Why, yes of course! But as early as the 1st episode, it was already apparent that this was not going to be the usual K-drama. They weren’t going to meet cute, fall in love, fight their feelings, work on a murder mystery on the side, finally confess, become a couple, fight the final boss side by side, and then live happily ever after. Fantasy, science fiction, and detective fiction all seem bear equal weight with romance. It was different, and I found that absolutely interesting. And just because romance doesn’t dominate 80% of the story does not mean that the romance is lacking.

 

The first episode tricks you into thinking that there is very little romance in this drama. The lead characters of Lt. Jung Tae Eul and King Lee Gon meeting each other for the first time in the last 6 minutes of an episode that was 1 hour, 12 minutes, and 15 seconds long. What can possibly develop and deepen in 6 minutes? Not much, right?

 

But what happened in the last 6 minutes? Lee Gon rides into Gwanghwamun Square on his white horse after having crossed over from Corea and into the parallel world of Korea. He creates a slight commotion what with his royal handsomeness and almost ethereal white horse. Lt. Jung Tae Eul reprimands him. Lee Gon recognizes her as the woman on the ID card his savior had left behind 25 years ago. And in dramatic fashion, he alights from his horse, walks towards her, stops, and then engulfs her in a tight hug. He tells her, “I’ve finally met you” and the episode ends with a shocked Jung Tae Eul in the arms of an almost reverent Lee Gon.

 

In Kim Eun Sook’s other, wildly popular work, Goblin: The Lonely and Great God the first meeting between Kim Shin and Eun Tak also had that moment of finally finding the one they’ve been searching for. But for the Goblin, his bride’s existence was merely functional, as he needed her so he can finally die in peace. So their first meeting was your typical first meeting in K-dramas. There were no feelings yet, but they develop from there. So the whole drama then became a stage to establish the growth of their relationship that would give him the will to live instead of dreaming of death all the time.

 

But now, in The King: Eternal Monarch, the first meeting isn’t an easy blank canvas.

Lee Gon bursts into the first episode, already halfway in love with Jung Tae Eul long before he’s even met her. As a child, Lee Gon had held on to Jung Tae Eul’s image as his a savior. There is deep gratitude.  As a young orphaned monarch, he held on to the idea of her to ease his loneliness. His first duty as a king was to bury his father and learned to cry only in the privacy of his own room when he was 7 years old. But somewhere out there, there was someone who had cared for enough for him to have saved him. This thought sustained him as he grew up.

 

And at this point in the first episode, we’re working with the idea that time travel hasn’t been introduced yet. Which means we’re treating time as a straight line, allowing Lee Gon and Jong Tae Eul to age at the same time. So if Jong Tae Eul had been 25 years old when Lee Gon was 7 in 1994, then she would be 50 years old and he would be 32 in the present year, 2019.

 

Then, as a man in his 30’s, he still keeps on searching for her. But in his head she is frozen in time as the 29 year old woman in her ID picture, and at this point he might possibly be half in love with her already. And when he finally meets her in the flesh, he had spent nearly all his life loving her in different iterations. Finding out that she hadn’t aged as he thought she would have gives him another possibility of loving her as a man would a woman.

 

Now the audience has to grapple with this idea, that he had loved her for 25 years already, prior to seeing her in the flesh. But then if you add the idea of time travel as hinted at by the 10th episode, then this first meeting becomes heavier. Not only would he have loved her for 25 years, but he also would have loved her for 25 years multiplied by the number of timelines he had crossed as a time traveller.

 

That’s why their first meeting had to happen in the last 6 minutes of the first episode. Everything that happened in that first hour and 6 minutes, all the murders, plotting, collision of worlds, and clash of doppelgangers in the past 25 years had to happen in order to bring Lee Gon and Jung Tae Eul to that fated meeting at Gwanghwamun Square. Kim Eun Sook had played with the idea of destiny with Goblin: The Lonely and Great God’s Kim Shin and Eun Tak. Now she takes the same idea of a fated meeting between two souls, Lee Gon and Jung Tae Eul, and proceeds to tear them apart with time loops, parallel worlds, and a frozen dimension to test how their love can endure all of that.

 

There can be no slow burn; there is no chase that starts with attraction, denial, bickering, jealousy, no you-make-me-worry-so-much love confession that is so often found in K-dramas. The lovers don’t even have that poor girl-rich boy/immortal-mortal or whatever uneven power dynamic that’s so popular in dramas. I guess that's what most people inevitably look for because these things were built to be formulaic.

 

But now you have a writer who is trying to build a bigger, more ambitious story, who is willing to take some risks with that formula in order to tell a love story that can transcend time and universes.  The stakes had to be raised higher, the backdrop made grander, in order to hold a love story as epic as this.   How can this not be romantic enough?

 

There are six more episodes left in this series.  Quarantine has been extended. Give this series a chance. 

[ronbegleyformayor]

So this is going to be a long post—your question gets to the larger topic that is episode 100. Also to anyone reading this I would appreciate if you took a minute or two to read the whole thing—I purposefully waited a while to respond to this so my response would come across as measured as possible.

So anyone plugged into queer theory and media has probably heard of the term “bury your gays”. It’s a trope that goes at least as far back as lesbian pulp fiction novels from the early 20th century, and for a number of reasons that I’m not remotely qualified to comment on the trope has persisted into modern media. As the name implies, bury your gays is the implicit belief that for a story about gay people to end correctly, usually one or both members of a gay couple are killed before the it ends. Whether intentional or not, the trope is rooted in the idea that gay couples are not supposed to be together, that queer love is a temporary fantasy that must be righted by the end of the story. A weird kind of offshoot of this is the causing of gay characters to suffer through loneliness or separation from a partner, and it comes from the underlying idea that gay=alone. Frequently this manifests in queer characters feeling that they have to choose between family and friends and the “"gay lifestyle”“ when in reality those two things frequently are not mutually exclusive. A subset of this trope is featuring a gay character (or frequently the partner of a more-established gay character) as possessed by some form of “evil” to emphasize which side of the temptation is “correct” and which isn’t.

I’m guessing you can see what I’m teeing up here, so I’ll just add as a caveat that most writers (especially straight writers) do not necessarily agree with the homophobia behind these tropes, nor is it (usually) their intent to perpetuate negative stereotypes about gay people. That being said the legacy of this trope is alive in a lot of media, and intentional or not: gay people suffering is entrenched in how we think about writing them.

Now to be extra clear, I’m not (necessarily) saying this is what King Falls is doing. So far the writing of queer themes and homophobia has been nuanced and has avoided a lot of the pitfalls that have come to be expected, but I would also be lying if I didn’t say episode 100 didn’t rub me the wrong way, and for a couple of specific reasons, too.

For me what that boils down to is characterization and timing.

Let’s talk about characterization first.

Just think about this for a second: what do you know about Jack Wright? No really, can you name anything beyond the bare minimum of characteristics? He’s a journalist and radio host, has a belief in the paranormal, and loves Sammy. He has a sister and a fiancé, has black hair and brown eyes, and plays rugby. I can’t think of a single other concrete fact we’ve learned about him specifically, and being generous like less than half of the things on that list don’t directly have to do with Sammy. Now we could extrapolate bits of his personality based on the two very short clips we’ve ever heard of him and from what’s implied by Sammy and Lily, but that’s also kind of the point: everything we know about Jack Wright is almost exclusively based off his sister and his fiancé, both of whom are anything but unbiased. Did you notice how Lily trashed Sammy and Jack’s radio show in the first King Falls Chronicles but then went on to call Jack smart and prolific in his field like five minutes later? It’s a(n understandable) level of cognitive dissonance for someone who was going through the difficult process of grieving. Both Sammy and Lily are biased sources of information because both care very deeply for Jack. On it’s own that really isn’t a problem—in fact I would say it’s an opportunity for an interesting bit of narrative contrast between the perception of Jack and the reality of when we actually get to meet him.

That at least was my opinion.

Instead we have this ”“dark”“ version of Jack, a lover just out of reach who’s trying to tempt Sammy into leaving his family and friends for the “freedom” of the void. This is a situation that, if I’m being honest, has some homophobic tinges, and hearing the dialogue played out the way it was kind of made my stomach turn (and not in the fun, scared-to-death at 3AM way I’m used to).

Now please don’t misunderstand me. I don’t think this is what the writers were intending, nor do I think that there is anything necessarily wrong with having a normally good character occupy a “bad guy” role. When done correctly it can be interesting and compelling, and help tease out different aspects of a character or relationship dynamic. The issue isn’t that we’re seeing a “bad” version of Jack, the issue is that a. the specific wording of his interaction made my homophobia alarm bells go off, and more critically b. this “bad” version of of Jack is the only true version of him we know. Having him in a “bad” role outside his norm would be interesting if we actually had a real-time, in-person Jack with which to compare him. We might have a constructed idea of who he is from descriptions of biased sources close to him or tapes that are probably a decade old, but we only need to hear from this ”“shadow”“ Jack two more times and it’ll be more times than we’ve heard even recordings of the real Jack.

Emily, for example, had a baseline character established before her abduction. We got to know her as a character before she went missing, so when we eventually saw her as a different version of herself, we had a baseline understanding of how she typically acts in a situation, which is something we just don’t have with Jack.

Also, do you notice how Jack never directly spoke to Lily? He talked about her, but never to her, and can we take a moment to appreciate the gravity of that moment? Jack (or whatever was controlling him) had the opportunity to lure one of the four members of the "named” in the prophecy in the book, and instead of choosing his sister, the person he has known for his entire life and the only flesh and blood family with whom he’s in contact, and he chose to lure Sammy instead, to make Sammy choose between a gay relationship and the support system he’s built up.

Can you understand why this kind of leaves a bad taste in my mouth? It feels a little like the “love the sinner” (Jack), hate the sin (being “bad”, trying to make Sammy have to decide between romance and a family), and that’s an adage that queer people tend to get tired of really quickly.

Again, because I really don’t want to be misunderstood, I don’t think this is what the writers intended; in fact I’m guessing the thought probably never even crossed their minds. But at the end of the day that’s kind of the point: if you’re going to make a show that subverts homophobic tropes (which I will readily say that they have done up until this point), you have to make sure not to accidentally fall into any of them yourself.

This leads me into my other issue with the episode: the timing.

My opinion toward the show right now would be considerably less harsh if this was not the last episode before a hiatus. I’m not saying the show can’t take breaks, but ending after this episode specifically? We are left with a very specific image of who Jack is, and exactly what kind of influence he has on Sammy. We’re left with the impression that Sammy has to choose between his found family and a gay relationship, and just to put icing on the cake we’re being told there is going to be another hiatus, prolonging the suffering of a character who has been through quite a lot already.

If this wasn’t the episode before a hiatus, I wouldn’t be as unhappy because we would have more immediate reactions to what had happened. We would have the four of them discussing it in detail. Maybe we even would have gotten a chance to hear Sammy himself say that this wasn’t Jack, and even get to hear more detail from him about who Jack is, if not what we heard. Maybe we would have actually gotten to see them get a step closer to getting Jack back instead of now knowing that the void has been opened, and we have to wait for another few months to see if the gay characters will ever get something even resembling a happy ending.

But we didn’t get any of that. Instead we got a cold, empty laugh that I haven’t been able to get out of my head since.

This isn’t to say that the show is headed in a bad direction. I think because this was not the intent that there is still plenty potential for things to stay on the rails. But what it looks like from here is that we are just continuing to prolong the suffering of the gay couple that sits at the emotional heart of the show’s main plotline. I’m just getting to a point where I’m starting to lose faith that we will see anything but it.

also huge thanks to @calebmichaels and @deputytroy. a lot of these points were the distillation of conversations between us, and if you think that I made a particularly interesting point at all in this post, it was probably their idea, not mine.

[carriagelamp]

November 2020: A Months of Familiarity

This November ended up being a month of me either rereading old favourites, exploring new books by favourite authors, or a mix of both.

…Be prepared for so much Terry Prachett, I found his audiobooks on Libby last month and since that I’ve been unstoppable.

The Amazing Maurice and his Educated Rodents

The first of my Terry Practhett books to mention! I chose to include this one on my list because it’s a beautiful stand alone novel, perfect to read if you’ve never touched on of Pratchett’s works before, and is often overlooked.

The book is about Maurice, an “amazing” cat by his own admission, who has teamed up with a stupid boy and his very own plague of rats. The moneymaking scheme is simple: set the rats loose on a town and after causing a panic let the boy stroll in and offer to play his pipe and lead them away… for a fee. This is working well, until Maurice, the boy, and the rats arrive in the town Bad Blintz. Here the rats are beginning to question the morality of their work, the boy gets entangled with a young, mischievous local girl, and they’re all shocked to find out that the town already has a real rat infestation… or so the rat catchers claim. Things quickly turn sinister and deadly as the group is forced to confront not only the cruelty of humanity, but something even more sinister living in the small, dark, hidden place of the town.

This is a YA book, unlike some of Pratchett’s other novels, so it’s a quick, fun read, while still having all of his dry wit and heavy, complicated thoughts about society, morality, belief, and what it means to be a person. It’s a genuine delight to see Maurice and the rats, recently made sentient by wizards’ rubbish, struggle to come to terms with who they were and who they are now.

Black Pearl Ponies: Red Star & Wildflower

Y’all it ain’t a secret at this point that I enjoy a stupid horse girl book, right? I picked up the first two books of the Black Pearl Ponies books from the library on a whim and they were basically what they promised. Girl lives with family on ranch, father helps train horses, girl goes on pony adventures with ponies. A particular focus is given to horse welfare and care. Very mediocre but a nice thoughtless covid read if you, like me, get a craving for animals books written for seven year olds from time to time. Plus this comes with the added humour of it being written, as far as I can tell, by a British author who thinks all Americans are stetson wearing cowboys which I find unreasonably funny.

Crenshaw

I love Katherine Applegate’s work; I read the Endling series earlier this year and they are overwhelmingly good. Crenshaw was also an enjoyable read, though not my favourite by her. It read a little bit like a book I read last fall, No Fixed Address, which was also a very good read though not my usual genre. Crenshaw is about a boy, Jackson, whose family, though close-knit and loving, is experiencing financial difficulties and struggle with food scarcity, homelessness, and all the instability and stress that results from this. During this tumultuous time, Jackson is surprised by the reappearance of a tall, bipedal, snarky cat — Crenshaw, his old imaginary friend. This is a charming book that blends genuine, real world hardships with whimsy and magical realism.

The Enemy Above: A Novel of WWII

Since it was Rememberance Day this month, I decided to pick up a holocaust novel. This book is about 12-year-old Anton, a young Jewish boy who finds himself fleeing from his Polish farm in the middle of the night with his old grandma when a German raiding party that attacks their village in an effort to make the countryside “judenfrei”. The book is, perhaps, not the most well-fleshed out, but it’s fast-paced and exciting for a child/YA audience that’s being introduced to holocaust literature, without trying to downplay the absolutely horror and brutality of the Nazis. It manages to strike a satisfying balance between fear, tragedy, and hope.

“Everything he had heard was true. He was just a twelve-year-old boy and yet they hunted him. He had broken no laws, done nothing wrong. He was simply born Jewish. How could anyone want to kill him for it?”

Gregor the Overlander

Somehow I never knew that Suzanne Collins wrote anything other than The Hunger Games? I stumbled across this series at a used bookstore and was first taken by the cover and then shocked when I realized I recognized the author’s name. Well The Hunger Games was such a good read, how could I not pick up a book with people riding on a giant fucking bat?

Such a good choice. I’m almost done book two and bought book three today after work. It is exactly the sort of low fantasy that I live for, when a fantasy world lives so close to the real world that you can practically touch it. I also love the fact that while all the wild fantastical elements are happening, you still have the main character taking care of his toddler sister the whole time. It’s at times charming, hilarious, and nerve-wracking!

It’s about Gregor, a normal kid who’s doing his best to help his mom take care of his two younger siblings ever since his father disappeared years ago. Gregor expected months of boredom when he agrees to stay home over the summer instead of going to camp like his sister in order to watch his baby sister, Boots, and their grandma while his mom is at work. He never could have expected that a simple trip to the apartment’s laundry room would lead to both him and Boots tumbling miles beneath the earth into the pitch black Underland, a place filled with giant rats and bugs and people with translucent skin who fly through the massive caverns on huge bats. He also could have never expected that he would get wrapped up in a deadly prophecy that would force him to travel into distant, dark lands into the waiting claws of an overwhelming enemy.

Kings, Queens, and In-Between

A Canadian queer novel that I’ve seen trumpeted everywhere. Libraries, classrooms, bookstore, this book got so much hype (and has such a pleasing cover) that I had to get my hands on it. Now, I’ve got to admit that it’s not really my genre; I don’t love realistic fiction. But that being said, it’s a fun, heart-warming, queer romp through that explores gender, sexuality, love, family, friendship… there’s a lot of lovable, quirky, complicated characters that get thrown together in unexpected ways at a local summer carnival. While there’s tension and misunderstandings and mistakes, this is overall a very optimistic and loving novel, and would be a great read if you want a queer novel that reads like cotton candy.

Love, The Tiger

This book is the graphic novel equivalent of a nature documentary. There’s no text, but you follow a day in the life of a tiger as it moves through the jungle on the quest for food. The art is honestly beyond outstanding, and though it’s a really quick read it is so very worth it. I’ve also read Love, The Lion in this series (also good, though a bit more confusing imho) as well as one of the books from his other series Little Tails which is still very nature and education based, though for a slightly younger audience.

Making Money

More Pratchett! Making Money was the first Discworld book I ever read, and it’s one of my most reread ones — it’s an ultimate comfort read! This is technically the sequel to Going Postal (another book I reread this month), in which conman Moist Von Lipwig is saved from a rightful death at the noose in exchange for agreeing to work for the city. Going Postal sees Moist narrowly dodging death in many varied forms as he tries to get the Anhk-Morpork postal service back on its feet and get the drifts of dead, whispering letters moving again. In Making Money things at the post office have become… too easy. Moist is bored, restless, until he finds himself thrust into a new job: head of the Royal Mint. There he has been given not only charge of the biggest bank in Anhk-Morpork, but also a dog with a price on its head, a lethal family with all the money in the world out for his blood, and the fear that his secret past life may be on the verge of being exposed to everyone, all while he’s desperately trying to make money…

The Moist series is honestly an example of Pratchett at his absolute best imo, and the amount of humour, wit, adventure, and scathing commentary he can build around a bank is outstanding. Cannot recommend enough.

The One And Only Ivan

Another book I’ve been hearing everyone talk about, as well as another Katherine Applegate book. It’s been on my radar for a while, but with the sequel and a movie coming out, it had everything at a fever pitch and I finally picked it up. Fantastic read, I definitely enjoyed it more than Crenshaw. This book was based off the true story of Ivan, a gorilla taken from his home in the jungle and sold to the owner of a mall, where he spent years of his life growing from child to adult silverback in a small, concrete enclosure. In this fictionalized version, everything changes for Ivan and his friends, when a new baby elephant is bought to help revitalize the mall attractions and Ivan makes a promise he doesn’t know how to keep: to protect this baby, and keep her from living the life Ivan and his friends were forced to. This book made me very emotional. Applegate’s picture book that goes along with it is also a great companion read.

Ranma ½

I realized that our library had the 2-in-1 editions of Ranma ½ and honestly that was it for me. This has been a favourite series of mine since I was in middle school and realized that the creator of Inuyasha had written other things. It is unapologetically ridiculous and larger-than-life and you have to love the shameless joy it has at being ludicrous. It does start to feel a little repetitive the further into the series you go, but at the moment, with covid, I find I have a huge tolerance for rereading slightly repetitive things so long as they make me happy. And boy howdy does the vaguely queer undertones, endless pining, and relentless slapstick of Ranma ½  make me happy. This is classic manga y’all and if you’ve never read it you should!

The basic premise, for anyone that doesn’t is that of an bonkers martial arts comedy. It follows Ranma and his father who, while training in China, fell into cursed springs. Each spring has the tragic legend of a person or animal who drowned in it, and if someone falls in they inevitably turn into that creature any time they’re doused in cold water. Ranma had the misfortune of falling into “The Spring of Drowned Girl” and, indeed, turns into a girl anytime he’s hit with cold water. Things continue to spiral out of control when Ranma meets his arranged fiancée, Akane, who is as exasperated by this situation as Ranma. Both would rather be fighting people than worrying about things like romance. And don’t worry, there is lots and lots and lots and lots of some of the goofiest martial arts fights that you can imagine for a bunch of high schoolers.

Through the Woods

A beautiful and creepy Canadian graphic novel. I honestly really don’t even know how to describe it in a way that does it justice. It’s a collection of short horror stories, with beautiful, flowing art style that draws you in and sends chills down your spine. I’ll let the art doing the talk, and honestly beg you to go find a way to read this graphic novel:

The Witch’s Vacuum Cleaner: And Other Stories

The last Terry Pratchett book on my list (though shout out to the others I’ve listened to this month: Wee Free Men, Hat Full of Sky, Men At Arms, and Snuff) and one that I actually physically, rather than listening to the audiobook. I included this one because unlike the others, this was a Pratchett book I had never read before. It collects a number of Pratchett’s short stories that had been written for children over a number of years. These weren’t necessarily my favourite examples of Pratchett’s writing (I prefer his longer work that can really dive into social issues) but it was such a quick, easy, fun read that you can’t really help but be charmed by it. I liked the stories that took place in “the wild wild west (of Wales)” in particular.

[protectwoc]

thots on little women (2019)

or, y’all are giving greta gerwig too much credit, part one

(Before y’all say anything, I know)

I have a lot of thoughts about the new Little Women movie.

I should probably start by saying that I loved the new movie. I thought most of the acting performances were good (Emma Watson’s accent notwithstanding), and it was a pretty faithful adaptation of the book; a lot of the quotes were lifted verbatim from the novel, and I often found myself mouthing along with the actors. I don’t usually like book-to-screen adaptation changes, but I actually didn’t mind most of the changes here. The two biggest things that were changed were the decision to start the story in the middle and jump back and forth, and the positioning Jo as the writer of Little Women who was forced to write in the “Jo marries Bhaer and gets a happy (married) ending” bit. I actually really liked both of those choices and thought they were good additions to the story, making this probably the only time I’ve ever liked any book-to-screen adaptation changes. Also, I am and have been since childhood an Amy March stan, and I liked that her character was more fleshed out and relatable to other viewers. I also think Florence Pugh did a superb acting job. Overall I liked it a lot, and I fully intend on rewatching it again.

I should also say that I read Little Women when I was very young, probably nine or ten, and I loved it, and it has been one of my favorite books since. Regardless of these facts, I never saw any of the live action versions, so the only version I have to compare the 2019 one with is the movie inside my head. With that said, as previously mentioned, I have a lot of thoughts.

Look, the movie was really good. I thought so, my family thought so, and clearly critics thought so too. But when I started reading the reviews after I had seen the movie, something about them kept rubbing me the wrong way. Something kept nagging at me, but it wasn’t until I read this particular review that I realized what it was: “here’s the thing about greta gerwig’s little women. it’s really not just about jo anymore...she showed the struggle and sacrifice and love that meg has. she gives beth one of the most beautiful story arcs ever. she lets beth exist in the movie and grow on us before her death.” But… she didn’t, I remember thinking. And that is the crux of my issue with the movie, or at least, the conversation around the movie. It feels like a lot of people are giving Gerwig credit for things she didn’t actually do, like fully fleshing out the non-Jo characters, or exploring Jo’s sexuality. And that is what I am going to discuss in this essay.

I imagine the Venn Diagram of people who read my first Descendants meta and people who will be interested in this is virtually nonexistent (probably just me, honestly) but just in case, this essay will be set up similarly to my last one. It will probably come in at least two parts, since I can already feel this getting away from me, and I will start with an unnecessarily long list of prefaces:

This meta is not, for the most part, about race. I do believe Greta Gerwig is a White Feminist™, which shows up in a lot of her work, up to and including this one. Obviously the racial diversity of Little Women is virtually nonexistent, but coming from a Greta Gerwig adaptation of Little Women, I’m not sure what y’all were expecting. Since I didn’t go into the movie anticipating any sort of racial diversity, I wasn’t disappointed, and for that reason I will be leaving racial dynamics and Gerwig’s fraught history with racial diversity out of this meta almost entirely.

As previously mentioned, I read Little Women when I was pretty young and loved it. I read it way before I knew anything about the internet or media discussion, so I formed my opinions on the story writ large independently of basically everyone else. With that said, it wasn’t until way later, like about 14 or 15, that I actually started reading online discourse about Little Women and discovered that my opinions ran contrary to just about everyone else’s.

For example, I have always loved Amy March. She was always my favorite character, her chapters of the book were always my favorite to reread, and I was ecstatic when she married Laurie and thought it made perfect sense.

Conversely, I have never been a huge fan of Jo. I know, in the book community that’s basically blasphemy, but whatever. This sense of apathy is probably due to the fact that Jo and I have virtually the same personality, and I get on my own nerves quite often, and also that even as a child I was never a huge fan of Jo’s “not like other girls” personality.

I am what some people would call hyper-romantic. Consequently, my favorite section of the book has always been the last half, with all of the romances and drama. I also didn’t have a huge problem with Jo’s marriage to Bhaer; I didn’t love it or anything, but given that I was never super attached to Jo’s character, I wasn’t super broken up when she married him, also partly because…

I never read Jo as queer. I know, I know, but as a bi woman, I never picked up on whatever subtext everybody else seemed to. I grew up around a lot of white women in the country, and they all acted exactly like Jo did, so maybe that’s why. Of course, it’s a perfectly valid interpretation/headcanon, I’m just telling y’all that I personally never saw it. With that said, I was excited to watch an interpretation where she was more explicitly queer, as all the reviews seemed to say she was, and boy, was I… disappointed.

To clarify, I’m not saying all of my opinions because I want to change anyone’s mind, or convince them that they’ve been reading the book wrong all these years. But I think it’s important to let y’all know where I’m coming from, since I’m sure it’s going to color the way that I view the movie, and the problems within it. In the same way, if my personal opinions about the book change the way you are going to read this essay, I suggest stopping now.

With all that said, I present: Thoughts on Little Women (2019). Also, spoilers, obviously.

Part One: The Sisters

A lot of the praise given to Gerwig’s Little Women centers around one thing: Jo’s sisters. Specifically, how the three sisters are given a much more prominent role in the storyline than in previous adaptations, almost to the level of Jo herself. Now, as previously mentioned, I have never seen another adaptation of Little Women, but I can speak for this adaptation and say that I feel supremely let down.

Let’s start with the obvious: Beth. The review that I cited claimed that Gerwig “gave Beth one of the most beautiful story arcs ever” and “let viewers get to know her so that you really feel her loss.” While of course this reviewer is entitled to their opinion on this movie; all media is up for interpretation, I can’t say that I agree with these statements, or even know where this interpretation came from.

Beth basically only has five major scenes in the film. Obviously she’s a part of many of the other girls’ scenes, but when I’m discussing her “major” scenes, I’m referring to ones where the main focus of the directing is on Beth and her feelings/behaviors. Anyone who read Little Women can tell you that the most memorable thing about Beth is her death. Unfortunately, in the movie, the scenes that deal with her sickness/death are more focused on Jo’s feelings than Beth’s. In the past, Jo mourns her hair with more concern than she shows for Beth, and in the present, the focus continues to be more on Jo’s emotions. Beth’s only actual major scenes are:

Beth is too nervous to talk to Mr. Laurence and hides behind Marmee

Beth is the only one of the March sisters to go visit and take care of the Hummels; she contracts scarlet fever

Beth overcomes her fear of Mr. Laurence and goes to play the piano in his house.

Mr. Laurence gifts Beth a beautiful grand piano; she goes to thank him.

Jo takes Beth to the beach where Beth confesses she is ready to die.

The problem with these scenes is that they tell us basically nothing about Beth’s characteristics. From those five scenes, we can glean that she is selfless, shy, until she isn’t anymore, and that she is a musician, which, contrary to what many musicians believe, is not a personality trait. In actuality, we cannot even concretely say that she is shy, since we only see this behavior through her interactions with Mr. Laurence. She seems to have no problem engaging with the Hummels, and it could just as well be that she is more nervous interacting with a rich older unmarried man, which would not be uncommon for a woman of her situation in her time period.

The only personality trait that differentiates Beth from her sisters is her selflessness, since all three of the other sisters have moments of selfishness that define their characters. But the only time this is ever contrasted with them is when she goes to visit the Hummels, (and then she contracts scarlet fever as a punishment?) One occurrence does not a personality trait make. We know virtually nothing about who Beth is. When viewers see Beth’s sickness and eventual death, they feel sympathy for Jo instead of mourning Beth’s character.

In fairness to Gerwig, much of this is the result of the source material instead of a directing choice. Beth was never given as much focus on Alcott’s Little Women as her sisters. For context, each of the sisters were given “chapters” that focused on their adventures and exploits. Meg has eight, Jo has fourteen,  and Amy has ten. Beth has a grand total of five chapters actually centered around her point of view. So it seems obvious that in an adaptation of the source material, Beth would not have been given nearly as much precedence in the narrative.

BUT, and this is a huge but, we knew that Gerwig has no problem changing huge parts of the story she’s telling. This is not a bad thing; as I’ve already mentioned, I think it works to her advantage in many parts of this movie, namely the ending change. So it would not have been out of her scope of abilities or desires to change parts of the source material to flesh out Beth’s character in the same way she fleshed out Jo’s. The fact that she elected not to do that shows that she simply didn’t want to.

Again, this is not a bad thing. Even though it is always presented as a story of four sisters, it is no secret that Jo is the main character of both the book and basically every adaptation. It is no surprise that she is the most developed character because she is essentially the protagonist.

HOWEVER, with all of that knowledge, the thing that irks me about this movie is how the conversations around it has been giving Gerwig so much credit for how developed all of the sisters are when this just isn't true. As it turns out, it is untrue across the cases of all of the sisters.

The next most obvious is Meg. Meg’s case is arguably more egregious than Beth’s, because arc-wise, she is the one who lost the most in the book to screen adaptation. As before, let’s take a look at Meg’s major scenes:

Meg is invited to spend several weeks with her rich friends and she allows them to parade her around and turn her into someone she’s not (even if she wants to be.)

After Laurie sees her in at the party with her friends he judges her, then apologizes, and then they dance and he treats her like a lady.

When the sisters go with Laurie and company to the beach, John Brooke flirts with her, which she reciprocates.

Later on, John volunteers to go with Marmee to take care of Mr. March, and Meg kisses him on the cheek.

Before her wedding to John, Jo asks Meg to run away with her, and Meg responds that “Just because my dreams aren’t as big as yours doesn’t mean they aren’t important.”

Meg’s rich friend Sally convinces her to buy a length of expensive silk to have a dress made.

After purchasing the silk, we see Meg regretful outside her home, and she hugs her twin children.

Meg and John have a conversation about the silk, in which she tells him that she “is so tired of being poor.” When John looks hurt, she apologizes.

John comes to the March household to tell Meg that she should have her dress made. She tells him that she’s already sold it to Sally, and they make up. 

Meg definitely has more focused scenes in this movie than Beth does, which makes sense, as she is clearly a more prominent character than Beth is. In the book, Meg has a total of eight focused chapters, to Beth’s five. However, proportionately, the ratio of Meg’s focused scenes to Beth’s is considerably less than the ratio of Meg’s focused chapter’s to Beth’s. This is because for whatever reason, many of the scenes that dealt heavily with Meg’s character, particularly in the second half of the book, were done away with in the movie. Meg’s lifelong dream in both the novel and the movie was to be a wife and mother, and she has an entire arc in the book that centers around that. In the movie, however, it was entirely cut out.

Look. I’m not here to pass judgements on the merits of Meg’s lifelong goal from a feminist perspective. Meg is allowed to have her dream just as Jo is. In the movie, Meg has a wonderful line right before her wedding, when Jo suggests that they run away together. “Just because my dreams are different than yours doesn’t mean they’re less important.” This is a lovely, sentimental, and even feminist take on Meg’s hopes. Desiring to be mother to a man and mother to children is not necessarily a feminist dream, but she is entitled to it just the same. Following that same logic, if you are going to go out of your way to include a line about how Meg and Jo’s dreams are equally important, they should be treated so in the narrative. At the bare minimum, Meg’s arc should be on par with the source material, but it simply isn’t.

In the second half of Little Women, Meg has several focused chapters where she learns to manage a household, comes to terms with being the wife of a poor man, and how to balance having children with having a husband. She has several important discussions with Marmee and with John that are entirely cut from the movie, and we only see her children, Daisy and Demi, twice.

To reiterate, none of this is bad filmmaking, per se. If Greta Gerwig set out to make an adaptation of Little Women that is more focused on centering Jo as the protagonist than the novel, that is perfectly fine. The problem is that Gerwig seems to think she made a more balanced adaptation than the source material, and so does everybody else.

[diveronarpg]

Congratulations, CHARLIE! You’ve been accepted for the role of CORIOLANUS. Admin Jen: There are no words to describe how floored I was by the stellar portrayal you've presented to us, Charlie. With two very strong applications, we were given quite a difficult decision, but ultimately you showed us not only Coriolanus, but Cyrus, flaws and all. There is so much depth and nuance to Cyrus that it makes him not quite an easy character to grasp, but as I read your app, I could see all of it, small details and broad concepts alike, plucked and arranged in front of me in an alluring, mischievous array. You captured every aspect of Cyrus that is distinct and unique to him and him alone, from the various paths that his journey in Verona could take, to the tragic, painfully human starting point that paved the way for it, to his mannerisms and devious charm. He's going to be an absolute menace on the dash and I can't wait to see it! Please read over the checklist and send in your blog within 24 hours.

WELCOME TO THE MOB.

OUT OF CHARACTER

Alias | Charlie

Age | 23 in less than a month!

Preferred Pronouns | she/her

Activity Level | 5-8. I think we all know how chaotic everything gets at the moment and that’s also mirrored in my activity. On the one hand, I have A LOT of free time on my hands right now and a very high motivation to write, at the same time, my mood is also very fickle throughout the day and can quickly jump from feeling like writing a novel to not even wanting to touch my laptop. However, I’m around for plotting basically 24/7 and have established in the past that queuing my replies works very well for me, so I’d be able to deliver replies on a regular basis.

Timezone | GMT+1/CET 

How did you find the rp?  | I’ve been a part of DV before.

Current/Past RP Accounts | https://ofduval.tumblr.com/

IN CHARACTER

Character | Cyrus Sloane

What drew you to this character? |

When I knew I wanted to rejoin Diverona, I also realized that I wanted to write a character, who challenges me as a writer, this time around and thus, started looking at characters I’ve never paid any real attention before as they’re not my go-to kinds of characters.

And then I stumbled across Cyrus bio and, for the first time ever since I stumbled across the group two years ago, truly read it. And what can I say, I fell in love.

He’s darkness combined with the charm and holiness of an angel, a paradox in itself. He’s like Lucifer, the one who shined brightest of all only to fall deeper than all the other angels. And just like Lucifer, he’d rather reign in Hell than serve in Heaven. He’ll do whatever it takes to build his own kingdom. Flectere si nequeo superos, acheronta movebo; if I cannot bend heaven, I’ll raise hell. 

Like the most poisonous flowers, he’s as beautiful as they come and will kill you softly from inside. Cyrus Sloane isn’t handsome nor attractive, he’s beautiful and that’s precisely what makes him so dangerous. To quote The Secret History: ‘Beauty is terror. Whatever we call beautiful, we quiver before it.’ You’ll fear his name and yet, you also won’t help but feel drawn to it, almost like a fly to a Venus flytrap.

Also, his relationship with Vivianne? W o w is all I have to say about that. No, seriously, I’m so emo over this connection, you wouldn’t believe it. There is just so much potential in there, so much tragedy, so much angst, anger, chaos, and destruction that still deserves to unfold. And I yearn to be the one who gets the chance to do that. 

From reading up on past plot drops and my personal experience within the group (which might be totally wrong, it’s just my subjective perception!), I feel like, so far, Cyrus hasn’t really had the chance to play a key role, to go through the character development he deserves, to matter as much as he should. And I want to give this character, that has grown to be so near and dear to my heart in the past days, the chance to shine that he deserves. For the first time in forever, I can’t even bring myself to truly stress out over the application process as I normally do because this app simply needed to be written, I needed to write Cyrus at least once, even if it’s just in this app. 

Because he does things with me, I myself don’t quite understand just yet. To be frank, Cyrus Sloane gives me a freaking headache, I’m not gonna lie about that. He’s so much and so different from what I’m used to. But still, I just can’t help coming back for more. Which I feel is exactly what Cyrus does? No matter if he hurts you or puts you in uncomfortable situations, you’ll come back craving more. 

And I’m definitely craving more of him.

What future plot idea you have in mind for the character? |

mother dearest.

Did she weep when she abandoned him? It’s a question he stopped asking himself a long time ago and yet, it still haunts him. He doesn’t want it to, has done everything in his power to stop caring about it and yet, it’s ingrained so deeply in his bones that even breaking them wouldn’t make him forget it.

Cyrus’ questions of what he did wrong to deserve such a fate turned into hatred for the woman, who is to blame for it all years ago. And still, there is still this childlike curiosity, this desire, so suppressed and ignored that even he believes he’s actually forgotten it, to find out why. 

The dynamic between Vivianne and Cyrus is a very delicate, very intriguing one and I’d love to explore it further. I’m not sure how much has happened there yet as it’s something that needed to be discussed with Lina, but I’d love for Cyrus to get those answers he tells himself he doesn’t even want to know anymore somewhere down the line. Maybe at one point, he might even downright confront her and demand to get them, though this roughness and lack of subtlety would have to be provoked in some way as it’s not his usual style. Nor does he really want her to know that he cares, or acknowledge that himself for that matter. 

I highly doubt that the knowledge of why will be enough to ease the hatred, the pain of the still aching wound that never healed. Finding out what happened, most likely won’t change anything about his determination to see her kingdom come undone as I imagine him being too far down this path for redemption. And yet, it’d be fun to see this already so complex dynamic filled with even more layers. 

see it all burn to ashes.

The tale of a mother abandoning her son, throwing him to the wolves is one as old as time.  The fatal consequences this act of cruelty can bring with it are just as well known. 

And yet, Cyrus intends to outdo them all. 

Considering how I feel like it’s his main character arch, I’m not going to be very concrete here as I think it’s something that needs to be plotted out together with other writers, not to mention that there are so many different routes that this arch could go. After all, all roads lead to Rome. 

One interesting option would be attempting to destroy the Capulets from within. For that, he’d have to make himself irreplaceable. 

This could go hand in hand together with the plot mentioned further below regarding him following into Cassian’s footsteps so I’m not going to delve into that here.

Additionally, In a city like Verona, secrets are a currency more valuable than money, as is information. Mona Chen is a perfect example of the importance of secrets just as the dead witches were. Considering how Mona now not only doesn’t work exclusively for the Capulets any longer but also charges them a heavier price than she used to, it’d be in the Capulets’ interests to replace her with somebody who works exclusively for them, who gives them the information they want for free. I’m not entirely sure of the concrete way to achieve it just yet, but I imagine somebody as charming and talented at manipulations as Cyrus is would be capable of eliciting secrets out of people without them truly realizing what they’re giving up. He might even build his own network of spies to take over that ‘vacant’ position. 

Secondly, he could attempt to set the Capulet empire aflame with the help of the Montagues, after all, there is some truth in the saying “the enemy of my enemy is my friend”. I’m also be going into more detail about that idea in a further plot point.

Whatever route, Cyrus will take in the end, I do want him to make a mark. To do some damage at least. Even though he’s young, he couldn’t have ever crowned himself king of Cape Town if he didn’t know how to gain power. 

the old king is dead, long live the king.

I feel like with Cassian - his mentor - dead, Cyrus is going to strive towards stepping into his footsteps and taking over his role in politics within Verona. After all, it’s what he trained for, what he endured Cassian’s company for. Only that he’ll do a better job as Cassian could have. After all, who could not fall in love with his angelic smile and boyish charm?

Even in a city controlled by the mafia, the civilians still play an important role. Incur the people’s wrath and you’ll find yourself in a tough position. Thus, getting the general population under control is most certainly a way to rise to power (as proven multiple times in various European countries in the past). 

I want Cyrus to get (more) involved with Verona’s politics, attempting to earn the support and respect of members of the leading families of Verona. As mentioned above, secrets are an important currency within Verona and not only among members of the mob. The more respectable the family is, the darker the secrets often are and the more determined they are to keep them hidden from public knowledge. 

Using that to his advantage paired with his boyish charm nobody ever has truly been able to resist, could be his way into politics and subsequently turning Verona into his kingdom.

He managed to do it in Cape Town, why shouldn’t the people of Verona earn to praise his name as well?

maybe we’re just young gods.

Saying Bernadette Dupont and Cyrus Sloane bring out the worst in each other, is an understatement. They’re a match made not in heaven but hell.

I think it’s safe to say that while causing havoc and chaos is fun, it’s not enough for them. For Cyrus at least it isn’t, he’s dead set on pushing the Capulets from their throne and putting himself on it instead. With Bunny as the queen by his side. 

I'm the king of everything and you’re the queen. 

I want to explore their relationship further. How far are they willing to go for each other, what lengths will they go to for their own amusement and selfish goals? Might there even be more going on between them than just causing destruction together? Could mutual selfishness possibly be replaced by truly caring about each other?

the enemy of my enemy.

First of all, I don’t think that Cyrus will ever truly betray the Capulets to become a Montague. Is there a chance of him betraying the capulets? Definitely. However, not to become somebody else’s puppet. No, if he does so, only because it’s in his best interests, because it helps him build his own empire.

His connection to Lawrence, whom he serves as an informant, is already a very intriguing and promising one as it’s a way for him to get involved with the Montagues. No matter what Lawrence might think, they’re meeting as equals, Cyrus only gives him the information for a price that he sets and not because he feels obliged to do so or because Lawrence has something on him. 

Considering how Lawrence isn’t a taken character as of right now and I don’t think he’s the only connection of this sort Cyrus has, I’d love to find a taken character with whom he’s entered a similar symbiosis. 

It’d be the perfect way into getting more power by slowly breaking down the Capulet kingdom piece by piece.

flying to close to the sun. 

Just like Icarus, Cyrus has built his own wings, yearning to fly, to become a god. And just like Icarus, at one point he’s bound to get too close to the sun, is going to get burned and plum into a yet unknown depth. 

Verona isn’t Cape Town and while he made himself a king there, while he built his own empire on another continent, this new playing field calls for stakes higher than any he’s ever known. He turned himself into a shark in a tank of guppies back then, how will he thrive in a tank full of sharks, all bigger and more experienced than him? 

The tragedy of striving to have everything is that you have all the more to lose. The higher you fly, the deeper you can fall. And it’d be such bittersweet irony if his ambition, his thirst to see his mother’s kingdom burned to ashes was the reason for him to get burned. 

I think, especially if I follow up on the previously mentioned plot of him getting more involved with the Montagues, that this has a good chance of getting him into serious trouble. After all, with Viola already being outed as a traitor to the Capulets, the stakes are higher than they’ve ever been before. After all, it only stands to reason the Capulets will be even more cautious now that they’ve found one mole in their midst. If there’s one, who says that there aren’t more? 

Are you comfortable with killing off your character? | Yes and no. It needs to be under the right circumstances and, to be perfectly honest, I don’t think I’d want to let him go for quite a while. In my eyes, it’d be a logical conclusion for him to die at some point as he’s just an arrogant boy throwing himself into a war against much older, more experienced people to burn everything his mother ever held dear down and rise as a god from the ashes. I wouldn’t be surprised if this hubris got him killed one day. However, I’d want him to make his mark first somehow. 

 IN DEPTH

muder tw, gore tw

Father, forgive me for I’ve sinned. 

Lips curl into the hint of a smirk as he lazily crosses his legs, right feet resting on his left thigh. The confessional box is just big enough for him to find a comfortable position and yet, his foot touches the dark wood of the wall separating him and the priest. And he cannot help but wonder if its main purpose is precisely that, making it almost impossible to find a comfortable position. 

If a god finds it necessary to intimidate his followers by forcing them to confess their sins in a state of uncomfortableness, he cannot be very intimidating in the first place, can he? 

“I’m afraid I didn’t get your question, padre, mi dispiace.” The words leave his mouth with honey-laced innocence, and while there is not a single hint of doubt in his mind that the priest will buy it right up, the curl of his lips colors their sincerity a lie. It’s almost a shame really, how the insincerity of this show is carefully concealed by the wood in between them, the small openings leaving just enough space for words to transfer back and forth between the two sections. 

Then again, what fun is it if you jump right to the end?

He has a grim business ahead one him, a gruesome duty, one he tells himself he doesn’t necessarily enjoy (except you do, a tiny voice whispers in the back of his mind, he chooses to ignore it). It’s something he needs to do. Betray him and you’ll pay the price, it’s a rule as simple as it can be and yet, one he’d enforce no matter what it’d take. Growing up with catholic foster parents, religion has always played a part in his life. He grew up to follow the Christian beliefs, to respect God and all his messengers on Earth. And yet, doing the Lord’s work won’t save the priest. His treason won’t go unpunished. 

For there is only one god in Cape Town and his name is Cyrus Sloane. 

“Tell me, son, do you regret your sins?” 

The priest’s voice is calm, patient, almost gentle. And yet, it causes him to flinch just slightly. For a small moment, so short and fleeting that it has passed in the blink of an eye, hesitation and doubt shadow his mind. Maybe he shouldn’t go on. If he takes this next step, there’s no turning back. He’ll cross a line drawn so deeply into the ground that it’s almost a canyon. If he crosses that line, he’ll truly be the monster some bold voices already call him out to be in hushed whispers behind his back.

Instinctively, he pushes his chin out just a little, jaw muscles tensing in defiance of the thought, 

Maybe if they didn’t want him to turn into a monster, they shouldn’t have crossed the simple rules he put up. Maybe they should have been smart enough to not try to bury a dagger in his back in the hope of hitting his heart.

Don’t they already know that it’s nothing but rotten flesh anyway? 

“Which one? The ones I’ve already committed or the ones I’ll still commit?” Casual yet empathetic words leave sensual lips with just a hint of amusement lying beneath. And yet, despite it all, there’s a kind of honesty, so sincere and authentic that it cannot be faked, to be found in them. Cyrus doesn’t regret the hard decisions he has to make nor the one he’ll still make in the future; power and the world as his kingdom are his birthrights, a god doesn’t care about the havoc that follows in his wake. And neither does he; if anything he opens it with open arms. And nonetheless, there were some lines that there were harder to cross as others.

The best lies and manipulations always have a ring of truth to them, but maybe that’s just another lie people tell themselves so they won’t have to be ashamed of their true feelings.  

“The ones you’ve already committed will do for now. Confess them and beg the Lord for His forgiveness so that with His grace I can grant you absolution for your sins and you can leave reborn in the light of His mercy.”

A soft chuckle, so full of light it’d put angels to shame, rings through the air, fingers brushing through golden curls lazily, head resting against the wall behind him. “I’m afraid those are more than I can count. If I recall them all, we’ll still sit here tomorrow and your god’s ears will bleed in terror.” 

But then again, the same god stood by and did nothing when his own mother abandoned him so maybe he’s crueler than he’d give him credit for.

Though he tries not to show it, in fact, tries his best to gloss over the priest’s patience is starting to grow thinner and thinner, no longer a sturdy thread of wool but more a silk thread hanging dangerously thin in the air. It’s as obvious to him like blood in the water to a shark, Cyrus feels just as drawn to it. Charm is his weapon of choice, an automatism if he dare say, and yet, there’s nothing quite as satisfying as seeing a grown man slowly but surely come undone. 

Figuratively as well as literally. 

“Do you regret them at least?”

For a moment there is silence, only the damp, cold air only filled by the soft sounds of quiet breathing. Cyrus takes a moment to answer, the tension growing thicker with every passing blink until it’s thick enough to cut. Feet light like a gazelle he stands up and with two decisive steps, long legs moving gracefully, he bridges the distance between them.

“Not really, no”, he says, looking down into the priest’s puzzled face, lips curled into an angelic smile.

It’s the same smile Lucifer must have worn when he stood in front of his creator, so terrifyingly beautiful it could kill the weak of heart.

“I’m afraid I’ll have to confess that I don’t regret any of them”, the smile still locked onto the priest like sharp shooter’s sight on his next target, he calmly pulls the knife out of its sheath carefully hidden by the backside of his Armani jumper and dark jeans. Though it becomes more obvious with every passing second what he’s intending to do, every movement is done in accurate precision without any hurry. 

He rules this town, there’s no need to hurry. Especially not considering how the priest stares at him like a fly caught in a spider net might at the slowly but surely approaching spider, fangs opening wider with every step it takes. 

“I’m not sure if there’s anything I need to confess”, he adds, posture straight and balanced like the king he was born to be, tone as charming as ever. If anybody was looking for a spark of lunacy in his dark eyes, they’d have to look forever for there is none. Cyrus Sloane isn’t crazy, this isn’t the act of an insane person who’s lost touch with all rationality. No, he knows exactly what he’s doing and doesn’t do it despite it but because of it. 

Head slightly cocked to the right, his gaze wanders over the priest’s face once more, soaking up the slowly rising panic like another might the smell of freshly baked cookies. 

It tastes just as sweet in his mouth.

“Che mi dici di te, padre? Is there anything you’d like to confess in front of your god?” 

Be it the one hanging on the cross at the other end up the church or the one standing right in front of him. 

His words leave a sense of finality in their wake, he knows they both can feel it. Good. As exhilarating as this little situation is, there’s only a small line between exhilarating and boring. 

The priest’s eyes open so wide that Cyrus is a little afraid they’re gonna burst. Now that would be mess he wouldn’t envy his dry cleaner having to get it out of his clothes again.  

“I’m sorry”, he starts to blather, regressing to a man half his size and age, eyes full of not yet spoken pleas for mercy. Mercy that won’t be granted, but he doesn’t know that, at least not yet. Soon he’ll find out while taking his dying breaths that this town has no mercy for those betraying its king. “I didn’t mean to…”

Before the old priest can finish his sentence, Cyrus cuts his throat with one swift, determined motion, blood bursting out like air out of a ballon as soon as the cut is made, spraying his formerly clean clothes.

He couldn’t care less.

Carefully, he wipes the blade clean with a handkerchief, the one innocent white cloth now tainted by the crimson red of treason, of revenge. He tucks it back into his pocket before stepping over the lifeless body without giving it another look, his face as unreadable as a dark, cloudy sky.

Father, forgive me for I’ve sinned. For deep down, I know I’ll do it again if I have to. Without any shame or regret. 

 Extras: You can find a pinterest board here.

[thefirstmortal]

World Building

So for those not aware, Kaa is eventually going to the the main character in a series of novels I am working on. The concept in question is a modern urban fantasy, examining our world if the myths and magic of our various cultures and dreams were tangible and real.

I’m creating a world where vampires serve in congress, fae created the Tooth Fairy as propaganda and the elves of legend live in a secret world outside our own. Real life demons and angels wage war for the soul of humanity, and magic is taught in school.

Below will be a series of information on this world so that people who wish to rp in this setting with me can reference it. If you have questions about something not here, ask, and I’ll come up with an answer to add here as well. 

This post is very much still under construction, but will always be evolving as I write.

Magic

Magic is a powerful force in this setting, and while nearly all human beings are capable of using magic not all of them do. For humans, magic is concrete and operates within the laws of physics. This is because magic is about perception and the majority of humans are fairly limited in their perception. Humans can create zombies, but cannot perform true resurrection. This is because the rules of death are set in stone in our minds. As much as we might wish to see our dead loved ones alive again, we understand death as inevitable. We cannot undo it.

Spellcasting requires great focus, and while many learn simple magic very few can truly consider themselves magicians. Perhaps your mother gardens, and learned a spell from her mother to sing to the flowers so that they grow in unusual colors. 

Magic is like automotive work, or computer work. Almost everyone can drive or use a phone. Some people can even take them apart and figure out whats wrong with them. Very few of us can build a computer from scratch. The same is true for magic. Many learn basic magic, or how to do simple spells in High School. Very few people master the arts of magic.

There are dangers in casting spells. If your focus is not adamant or if you are not skilled enough there may be magical backlash. For this reason many people use an arcane focus; any sort of specially enchanted object which takes the backlash for you if your spell were to go wrong. 

Beings

Vampires: As diverse as humanity itself, vampires come from every culture and region. While in ancient times they were considered evil monsters, vampires have since used marketing and good publicity to paint themselves as benevolent and kind.

Vampires have their own culture, which has adapted well to the modern world. Vampires tend to have a preference on their food, though they actively deny that they see humans this way. Most are fed through specialized blood banks. Though many vampires still feed from willing hosts, having created a societal fantasy of vampires as romantic and beautiful.

Vampires were the primary ruling class during the height of the Roman Empire, and Kaa had made it his singular mission to put an end to their clans. He lead a revolution against the vampire elders, and in order to survive they agreed to disband their clans and never again hold so much power.

Werewolves: cursed with lycanthropy, werewolves change during the nights of the full moon. They have no control over the beast, and most with the affliction quarantine themselves during this time. There is a great deal of stigma surrounding the condition, and even more false information. 

Fae: fae are dangerous and secretive. Nothing is known about their home, as they never allow humans there. Their magic is mutable and transformation is common. It is often said that they know when they aren’t wanted, and that is why they show up.

Fae are small beings, rarely standing taller than a foot in height and frequently smaller. They are humanoid, but have insectoid and flower traits, as well. Relentless tricksters, they often play pranks on humans. It’s said that they use these to judge the character of men and women, and those with a good sense of humor may find a powerful ally in the fair folk.

Elves: the elves live in a mythical Other World named Tir Na Nog, which is only accessible during certain celestial events. The portals to this world exist in modern day Ireland, and the days of these portals are celebrated. They are the Wiccan Sabbats. Elves are magically powerful and skilled, and the mutable nature of their biology means that they practice magic much differently from humans.

In Tir Na Nog they are able to change their forms at will, based on what they need at any given time. Should they need to fly, they have wings. Should they need to swim, they have gills. It is unknown to humans if they change to their humanoid form intentionally to make their mortal cousins feel comfortable or if the human form is their natural state in our world.

Pop Culture

Shows like Ghost Hunters are much more interesting, because sometimes there are real ghosts. Though taunting them rarely ends well. Ghosts don’t like being mocked.

Cultural Relativism 

g

Creation

g

Misc

The Battle Saint, Beloved Of Angels 

[okimargarvez]

JUST RUB MY LAMP

Original title: Just rub my lamp.

Prompt: JJ wants to know the truth about Penelope’ joke.

Warning: none.

Genre: funny, friendship.

Characters: Luke Alvez, Jennifer Jareau, Penelope Garcia.

Pairing: Garvez.

Note: part 84 in Garvez canon Life.

Legend: 💏.

Song mentioned: none.

GARVEZ STORIES

JUST RUB MY LAMP

 -Owners of a green pickup... I have three names.- Penelope's rich nuanced voice fills the car's interior. -You are the closest to the second home.- an imperceptible pause. -I have already sent you the address on the GPS of the car.- and in fact, here, it appears. Luke is quick to follow the new path. A slight, slight smile on the lips. Of satisfaction. If she is so great, it's also thanks to him, at least in the last two years, isn't it? After all, it is he who makes her smile, it is he who is responsible for keeping her happy. Of course, he never told her about. And he never will.

The blonde woman sitting in the passenger seat smiles back, certainly in a less stupid way. -Thanks, Garcia.- she comments. It is always strange for him to hear his girl called by last name. He also does it, to be more professional, not to upset his superiors (not Emily, but not even Cruz, they speak of pure bureaucrats like Barnes...). But for him, she is mainly Penelope. -You are the best.- she adds. The compliments come spontaneously with someone like her. But she gives everyone a weight.

-I'm here to serve you, just rub my lamp.- she concludes, not missing the opportunity for a joke. Luke continues to drive, focused on work and the goal, his face practically expressionless. But he feels the weight of the colleague's gaze on himself.

When JJ snorts, he understands how she can't take it anymore, and he laughs; but only within himself. -Seriously, tell me.- in fact, she says, looking directly at him. -Is there any other meaning behind such phrases?- it is clear that she refers to the rubbing the lamp, which in fact, can easily be interpreted in another sense. But Garcia did the exact same joke with Morgan, the green monster (ever smaller, but still present) makes him remember, clasping his heart. And this was the main reason if, the first time she had run away that sentence in his presence, she had hastened to withdraw it, to deny it. They had talked about it; she had told him. It was so strange, to say something that was a joke, much more innocent than anyone had ever thought, to tell it to a man who wasn’t Derek, a man to whom I would have gladly allowed to rub my lamp... and also the candlestick, the chandelier, the bedside lamp... They had laughed about it, although Luke had understood the implications at the time: she didn't just want to have sex with him.

Despite all the thoughts and memories that swirl through his mind, the man replies with a short and concise sentence. -My mouth is shut.- taking advantage of a stop, he also makes the gesture of closing one's lips with a zipper. But this time he also smiles externally.

JJ evaluates what the best strategy is. They don’t have much to do, until they reach the suspect's house, and they aren’t particularly close, because of the traffic, which, despite the siren, they aren't able to pass. -Luke, please.- she opts for a slightly appealing tone. -We're friends.- she reminds him, with those maternal nuances that work so well with an accused. -I won't tell the others.- she adds.

Luke holds himself back so as not to laugh at her. She would be so offended, like Penelope, probably. Emily would give him a dozen more paperwork to compile, Tara a slap behind the head (encouraged by Matt and Rossi), but JJ... she's like Penelope. -I believe you, but I have nothing to say.- he then comments, focusing on the turning point. Garcia has thought of everything, so here they are facing a series of hairpin bends on an alternative route of the city.

-It's tough, eh?- she replies the blonde, a little annoyed, holding on to the handle. -I bet you're afraid Penelope will punish you.- but her provocations don't seem to have any ef-fect on man. -So? You are not the only ones who know how to use double meanings.- the Latin agrees, tilting his head slightly.

That smile again. His girlfriend is not the only one who knows how to read it. -I don't doubt a woman married...- he stops, braking not too sharply, to let cross the street an old man who pushes a cart loaded with firewood.

-Nearly nine years.- JJ helps him, giving him the missing information.

-Thanks.- he replies, polite and gentleman, like mama and abuela raised him . -And with two children.- he likes to specify, with a slight hint of malice. -But you don't always have to think badly.- he decides to be magnanimous and grant her a kind of answer. -Garcia has always made this kind of jokes, with everyone.- he reminds her. -Why should it be special now?- special implies different.

JJ doesn’t waste any time. -Are you kidding me or do you take me for stupid?- that tone foreshadowing a laugh. -You're together, you're her boyfriend. You two make... things.- she rolls her eyes and Luke can easily imagine that it's because, as much as she loves both of them, she doesn't want to visualize them in certain roles and situations. Not concretely, not outside of scenes from romance novels or theatrical comedies.

-Even you and Will, make "things".- he replies promptly.

JJ slaps her leg. -Oh, okay, I give up.- it took less than with his girlfriend, but you know... they like to play and challenge too much. -You have won.- it hardly ever counts which of the two gets the best, as they say, counts the journey and not where you arrive. -Keep your secrets, Fort Knox.- she crosses her arms and looks out the window. The GPS says that they are about five minutes to the target.

He gives her a quick glance. -JJ, the technique of making people feel bad, really?- he asks.

-With Garcia it works.- she replies, chuckling and he imitates her. Then, that ring.

-Speak about the devil. Hey, Garcia, we're almost to the suspect's house but we're not there yet.- he replies, exaggerating the professional way for annoy his friend, who rolls her eyes.

-You can also go back.- the IT technician replies in the same tone. -Tara and Rossi took him.- she communicates. -It's our man.- she adds. -It’s alive.- the voice of when everything went well and knows that this means that she will soon see her family again.

-Great. Thanks for letting us know.- JJ answers.

-You’re welcome.- she replies, but doesn’t hang up. -Oh, Jennifer.- the mere fact that she called her that, should make her worry.

-What?- she merely asks, while Luke looks at her, with slyly way.

-Stop tormenting him, poor baby.- but it doesn't seem a real reproach. -Of course, there is a double meaning. You know I like them a lot. I also used them with Morgan and rarely with others.- she explains. -But the real difference is that with Luke I don't just tease.- theatrical break. -I hit the target.- JJ blushes.

-Fuck, love, if you continue with this tone, I'll be forced to drive the jet.- says Luke.

-But as you did to...- JJ fits between the two lovebirds, curious and still shocked.

-A magician never reveals his tricks.- she answers, seriously. -I’m kidding. Next time check that you have hung up!-

------------------------------------------------------

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[justalittlelitnerd]

Angry God by L.J. Shen

Man this book was a wild ride from start to finish. I knew from Pretty Reckless and Broken Knight that Vaughn had issues that were borderline sociopathic (all of the main characters in the previous books comment on his weird habits and lack of emotions) but nothing prepared me for his almost psychotic behavior. 

The book starts with the history of Vaughn and Lenora’s relationship which began on a family trip where he killed jellyfish and they bonded over a brownie. It then continued to them both attending a summer art program at Lenora’s father’s academy in London when they were preteens and Lenora witnesses Vaughn in a compromising position. A 13-year-old Vaughn breaks into Lenora’s room, darkly threatening her if she breathes a word of what she saw. 

Five years later, they haven’t seen each other since that night, Lenora’s mom has died, her father and sister have moved to the US to they very place where Vaughn attends high school, and prior to her senior year they convince her to join them. Neither of them are the same, both darker and damaged by their teenage years. Lenora swears she won’t let Vaughn rattle her even as he makes it his mission to make her life a living hell. Between stalking her, breaking into her house, making her stitch him up when he’s been low-key (I say low-key because it wasn’t fully intentional) stabbed, drawing the wrath of all the mean girls to her, and a million other things that are absolutely insane they keep getting drawn together by a sort of unhealthy possessiveness & obsession.

This book was by far my least favorite of the three and that was in part to the lack of a clear trigger warning. I knew based on the previous books that the family dynamics would be complex and the characters would have an unexpected darkness to them. But nothing prepared me for the violence, the public sex acts (though it was mentioned in the previous novels), the BLOOD PLAY (just really not my thing), and the graphic sexual assault/molestation. I had a feeling going into this book that something happened to Vaughn when he was younger to create his issues with sex and intimacy, but I was by no means expecting it to be graphicly depicted. Talking about the psychological effects of molestation is one thing (it still needs a trigger warning, but it’s important to discuss) but actually showing the acts is completely another. As soon as I realized what was happening I skimmed the retelling because it was just too hard to read and I couldn’t imagine how someone would feel if they had similar experiences. 

So basically approach this book with caution.     

Keep reading for my favorite quotes from this crazy novel.

Ars Longa, Vita Brevis. Art is long, life is short. The message was clear: the only way to immortality was through art. Mediocrity was profanity. It was a dog-eat-dog world, and we were leashed upon each other, hungry, desperate, and blindly idealistic.

We had the talent, the status, the money, and the opportunity. But if we were silver, Vaughn Spencer was gold. If we were good, he was brilliant. And when we shone? He gleamed with the force of a thousand suns, charring everything around him. It was like God had carved him differently, paid extra attention to detail while creating him. His cheekbones were sharper than scalpel blades, his eyes the palest shade of blue in nature, his hair the inkiest black. He was so white I could see the veins under his skin,  but his mouth was red as fresh blood—warm, alive, and deceiving.

Lenora didn’t strike me as a party girl. She had the strange gene, the one that made her stick out like a sore thumb wherever she went, even without the Maleficent wardrobe. I could tell because I had it, too. We were weeds, rising from the concrete, ruining the generic landscape of this yacht club town.

Watching her react to me was like feeling the first rays of sun after a long winter.

“Y’all gonna slow-dance to a Billy Joel song? If so, don’t forget to leave room for Jesus. And Moses. And Muhammad. And also Post Malone, because hey, he’s kind of a religion now, too.”

My heart accelerated to a dangerous speed, fireflies bursting forth as though escaping a Mason jar. Kissing him was like standing on the edge of a cliff. Nice view, but you knew it was deadly. Still, a stupid, irrational, dangerously alive part of you still wanted to hurl yourself down to meet your own demise. I felt his lips on more than just my lips. I felt them in my fingertips, all the way down to my toes. I felt them when my skin broke into goosebumps.

Heartbreak was a mystical, double-edged sword from where I was standing. And I had no desire to experience the full range of emotions in a car crash of feelings. Not ever going there.

“I don’t believe you, but I’ll still catch you,” he said. “I will always catch you, the fucking dumbass that I am.” “What do you mean?” “You soften me.” “Why?” “Because I don’t want to fucking kill you! You’re too fun to fuck with. Now Get. The. Hell. Down.”

There was nothing more beautiful than watching Vaughn Spencer let go.

I said nothing, not really in the mood to correct her and tell her I hadn’t asked whether she believed in ghosts or not because I knew the answer already. It was what made her presence bearable. When we were in a room together, all our ghosts were waiting on the other side of the door. I could hear them.

Strong words, but time, I found, had two opposite effects. Either it made the pain dull and evaporated the anger or it allowed you to stew in your fury, multiplying your rage.

"Don’t take this the wrong way, but you are a bit unhinged.” He said “a bit” for the sake of civility. Truth was, you couldn’t be a bit unhinged, just like you couldn’t be “a bit” dead. Being crazy demanded commitment, which I certainly showed.

He came to her room every night. Not that I was keeping tabs or anything. I was just in the neighborhood when it happened. And by in “the neighborhood,” I mean in her hallway, lurking. And by “in her hallway, lurking,” I mean clearly I needed professional help, an intervention, and a fucking life. I found myself standing behind a Louise Bourgeois statue for hours daily, waiting like some kind of a rabid Belieber.

I pushed the door open, hoping to find her working or reading or converting to a religion where she could only have sex with people named Vaughn Spencer.

I knew Vaughn was incapable of falling in love, but I wanted to steal pieces of him. His time. His talent. His words. His smiles. And yes, his virginity, too. I was a thief of everything Vaughn Spencer. 

“I am hell bound, and you are heaven sent. You’re the first girl I ever looked at and thought…I want to kiss her. I want to own her. I wanted you to look at me the way you look at your fantasy book—with a mixture of awe, anticipation, and warmth. I gave you a brownie, hoping you’d remember me sweetly, praying the sugar rush would spin a positive feel around that vacation. I remember how you looked at me when you saw me killing jellyfish. I never wanted you to look at me like that ever again.”

At nineteen, I no longer had a beating heart. I wore a death mask everywhere I went, and I was thirsty for revenge. For his blood. There was just one, tiny problem that did not occur to me beforehand. Namely, his niece, Lenora, who’d shoved a heart back into my chest. Now that it was beating again, I didn’t know what to do.

We were an unfinished business, personal and always walking the tightrope between love and hate. But we were always something, Len. We will always be something. You might move on and marry someone else, have his children and get your happily ever after, but you will never be completely done with me. And that’s the small chunk of mirth I allow myself. That’s my half of the brownie. That’s my one, perfect summer moment in the South of France, watching the face of the girl I will love forever for the very first time. Because, Lenora Astalis, this is love. It’s always been love. Love with many masquerade masks, twisted turns, and ugly truths. I don’t know where I’ll go from here, but I’ll be wishing you were there...It is worthy and beautiful, just like you. I wish I were strong enough not to do what I need to do. I wish I could get the girl. Because, Len, you are her. You are that girl. My safe place. My asymmetric happiness. My Edgar Allan Poe poem. You are my Smiths, and my favorite fantasy book, my brownie, and summer vacations in lush places. There will never be anyone else like you. And that’s exactly why you deserve someone better than me. Love, Vaughn

He just hung in the pregnant air, suspended by strings of cruel hope and tragic impossibility. Heartbreak had a taste, and it exploded in my mouth every time I tried to smile.

“You saw what I wanted you to see. I think I always had this idea that you should be my savior, but naturally, the stubborn ass that I am, I didn’t understand it. Now I do. I want you to save me today, and tomorrow, and in a month, and in a year, and in a decade. Save me. Give me your best and your worst and everything in between. I’ve always watched my dad loving my mom and thought he was stuck in a state of insanity. But he wasn’t. Turns out, love really can be that fucking intense.”

[theyearoftheking]

Book Sixteen: The Talisman

If there were ever the time to lose yourself in a dense, chonky fantasy novel... this is the time. I don’t want to admit how many hours were spent cuddling with my dogs and reading The Talisman this week. It was my favorite way to escape the insanity of the world right now.

To be clear, I don’t believe social distancing, and the cancelling of the entire world is insane. I’m speaking more to the people with their bunkers full of toilet paper and canned pears; stocking up on ammo, preparing to fight their governments. Just... stop. Color some pictures with your kid. Rake your yards. Have a beer and play Scrabble with your spouse. Crack open a book. Live your damn life without fear of what could happen next week! 

Ok, rant over. But seriously, keep washing those hands and social distancing yourselves. 

This was my second read of The Talisman, and it remains one of my all-time favorite books. Not just Steve books, but book-books in general. Like with The Stand, I’m going to give the most abridged, bastardized review ever... because there’s just too much to cram into one post. And I’m not ambitious enough to stretch it into two.  

Jack Sawyer (fun fact, the names of two of my favorite humans... Jack was my Grandfather, and Sawyer is my daughter) finds himself chilling at The Alhambra Inn and Gardens in New Hampshire with his mother, Queen of the B movies, Lily Sawyer. They’re on the run from the incessantly ringing phone, and constant calls from “Uncle” Morgan Sloat, who was Jack’s dead dad’s business partner. Spoiler: Uncle Morgan is a bad man. 

A word about The Alhambra... what initially pulled me into this book was the fact the old, abandoned hotel, beach, boardwalk and amusement park reminded me SO MUCH of Old Orchard Beach, Maine. When Steve (and Pete. I call him Pete) are describing the horses on the carousel, and the rickety old boardwalk, “This is where the world ends, right?” 

All the nostalgic feels of summers spend in OOB on the beach. Reading these pages, I could almost feel the crunchy beach towels, smell clam strips and fried dough, taste the cocktails I smuggle into my not-at-all suspicious Yeti mug... ALL THE FEELS!! 

And now a word about Lily Sawyer. One of the most memorable details about Lily is her “elementary martini,” which I will now describe for anyone who might need a cocktail during these challenging times. I’m pretending to be a homeschooling mom, so I’m going to take a hard pass. But we have Facetime Cocktail Time with friends tonight, so I might have to have one then. 

“Ice in a glass. Olive on ice. Tanqueray gin over olive... Then, you take a bottle of vermouth- any brand- and hold it against the glass. Then you put the vermouth back on the shelf and bring the glass to me.” 

Lily is spending a lot of time in bed, avoiding the phone, and fighting some kind of illness, which leaves Jack to his own devices. One day while Jack is out exploring, he makes the acquaintance of one Speedy Parker, the maintenance man at the amusement park. Speedy refers to Jack as, “Travelin’ Jack” which is what Jack’s dad used to call him when he was younger. But it’s more than just a cute nickname, it refers to the fact Jack can travel between our world, and The Territories, a Game of Thrones-esque medieval world. Speedy explains Laura DeLoessian, the Queen of the Territories is dying, and only Jack can save her by rescuing The Talisman. Laura is Lily Sawyer’s doppelganger, and if Jack saves Laura, he can also save his sick mother. Jack’s reluctant, but knows he has no other choice. Speedy hands him a vial of mysterious traveling juice that allows Jack to travel between worlds, and he’s off.

The journey is a long one, and filled with some of the best characters ever, as well as some of the worst baddies. And all their Territories doppelgangers. I’m not going to lie, it’s a lot of people to keep track of. No shade if you need to develop a spreadsheet to keep track of everyone. The OCD freak in me immediately regrets NOT creating a spreadsheet... 

My hands-down favorite character (other than Jack Sawyer) is Wolf, a well, Wolf, that Jack meets in The Territories. When they are under attack from Morgan Sloat’s Territories Twin, Jack flips him and Wolf into our world. Wolf does not adjust well. He hates the way everything smells, he can’t be in a confined space, and oh! I forgot to mention... he’s also a werewolf. I’ll talk more about Wolf’s character arch later on when I get to Sunshine Gardener. 

Everyone loves an evil character, and The Talisman has no shortage of them. My favorite Talisman baddies included Smokey Updike and Sunshine Gardener, 

Smokey owns Updike’s Oatley Tap, and hires Jack to come and work for him. Jack is on the move across the country, and needs some cash in his pocket for food and shoes... because he’s been wearing them out an alarming rate. Walking across the country will do that to you. But the fact Smokey would hire a CHILD to haul beer kegs, and mop up vomit in bathrooms pretty much tells you what kind of winner he really is. To add to his charm, he has Jack sleep on a concrete floor, slaps him around, and deducts room and board from the meager amount he pays him every week. And he threatens Jack with calling the cops and reporting him as a runaway if he tries to leave. Jack can’t have that happen. His evil Uncle Morgan knows he’s flipping between worlds, and doesn’t want Jack to get The Talisman, so he’s in pursuit of his quasi-nephew. Sooo basically Smokey’s got Jack as an indentured servant. He’s charming. One night, Jack can’t take the vomit coated floors anymore, and takes off into the night, with the help of Speedy’s traveling juice. Adios, Oatley! 

Sunshine Gardener... there’s a villain who makes Smokey look like someone’s cuddly uncle. Sunshine is a televangelist who also runs Sunlight Home for wayward boys. Sunshine has a sweet deal going: local cops pick up runaway boys, and the judge sentences them to a stay at Sunlight Home. They get paid under the table for adding to the flock, and Sunshine gets to write it off on his taxes every year. Or something like that. He’s obsessed with Jack, and swears they’ve met before (they have. In The Territories. But Jack isn’t about to tell him that). He (and his little band of assholes) proceed to torture Jack, and try to get the truth out of him. Jack resists. Eventually, he and Wolf are caught in the bathrooms, trying to flip over to The Territories. They put Wolf in a coffin-like box in the backyard, where he eventually transforms into a werewolf and kills (almost) everyone in a bloody rage, before he’s shot. I’m not ashamed to admit I cried as Wolf died in Jack’s arms, telling him, “I...kept...my...herd...safe...” 

Yep, I’m bawling all over again. The concept of keeping the herd safe is so important right now. I want to kill these asshole kids on spring break, wanting to live their best life ever. Stop it, you entitled little bitches! Help to keep your herd safe! Social distancing won’t kill you! As my little family is tucked in with a refrigerator and freezer full of food, board games and books on the shelves, and a full wine cellar, all I can think about is keeping my herd safe. Ain’t nothing bringing me out of my house! Except my asshole beagle, who needs two walks a day, to prevent her from eating my dresser. 

Ultimately, Jack outsmarts his Uncle Morgan, gets The Talisman, this glowing ball of light from The Black Hotel; all the baddies get theirs, and Jack heals both his mother and Laura. And they all live happily ever after. Well, until Black House. But that’s a long ways off. 

The entire book is brilliant, and exactly the escape I needed. Steve and Pete are a lethal combination; they successfully weave together horror and fantasy, making you feel Jack’s struggle as if it were your own. You can tell they’re both students of the great Ray Bradbury, they write about the echos between worlds, which mirrored A Sound of Thunder. “...it suggested that just by being over here he could be doing something terrible in the other world. Starting World War III? No, probably not. He hadn’t assassinated any kings lately, young or old. But how much had it taken to set up the echo?” 

Also, their author photo cracks me up. It looks like an IBM promotional shot from the 1980′s or something. 

There were no Wisconsin references, but the book was one, big, underlying Dark Tower reference. There was talk of trains (Blaine, y’all!). Jake and his friend Richard refer to each other as chums (lobstrosities... shudder!). A building named Rainbird Towers collapses (collapsing towers. Duh). I can’t wait to get to the other books in the series. 

Total Wisconsin Mentions: 14

Total Dark Tower References: 10

Book Grade: A+

Rebecca’s Definitive Ranking of Stephen King Books

The Talisman: A+

Different Seasons: A+

The Shining: A-

The Stand: A-

The Dead Zone: B+

‘Salem’s Lot: B+

Carrie: B+

Creepshow: B+

Cycle of the Werewolf: B-

Danse Macabre: B-

The Gunslinger: C+

Pet Sematary: C+

Firestarter: C+

Cujo: C-

Nightshift: C-

Christine: D

Next up is Skeleton Crew. We all know how I feel about short stories, but it might be a nice palate cleanser after the denseness (is that a word? Spellcheck didn’t flag it, so we’re going to go with YES) that was The Talisman. 

Long Days & Pleasant Nights, Rebecca

[x0401x]

Animate Times Interview with Jin

An interview about Jin’s third album after five and a half years – in this album, there is nothing but “people cannot live alone” as the theme.

The third album of the artist Jin-san, “Mekakucity Reload”, hit the shelves on November 7th 2018. The latest album was announced about five years and six months after the release of the second album, “Mekakucity Records”, so it gathered a great amount of expectations and attention from the fans.

We have carried out an interview with Jin-san! We asked him about the feelings he has put into each composition, about what to pay mind to when listening to the songs, and about episodes that ensued during the recordings. This has turned into a interview in which Jin-san’s peculiar sense and thoughts, as well as his strong emotions towards his fans, can be felt.

Translations Index >>

Approaching Jin-san’s void of five and a half years.

――A period of five years and six months passed between the release of the second album “Mekakucity Records” and third album “Mekakucity Reload”.

Jin-san (henceforth “Jin”): To begin with, Kagerou Project were songs that I made for people fretting over friendships. When delivering my works to these people, I had this feeling that I didn’t want to create compositions while I was at a loss, you see. I didn’t want to lie to the fans.

――What exactly does your “not wanting to lie” mean?

Jin: For example, I don’t want to make songs that go, “It’s fun to be alive!” when I’m actually thinking that I don’t want to do anything. I believe talking and laughing with people in the times when I don’t feel like saying anything or seeing anyone is the same as lying.

From that point onward, I thought of displaying the righteousness that I have in mind and did my best to try writing the novels. Lately, I’m also in this flow of meeting people that I want to make music with, getting enthusiasm from them and tackling my song compositions.

――Meaning that, rather than obsessing over a new shape, you wanted to do what you hadn’t been able to?

Jin: That’s right. The models I used to make in elementary school look completely different from the ones I make now, but it’s almost like there was no change at all to what I’m doing. In the past, I got dismissed when I talked about what I wanted to do, like, “But this is that kind of thing”, and the frustration from it might have been what created this album.

What I thought while making this album was, “Serves you right; I could do it after all!” (laughs). I’m confident that I became capable of creating works that are even more powered-up than the previous ones.

――Jin-san, what was the biggest reason for your motivation to rise?

Jin: It’s gotta be my encounters with people. Meeting people that had me going, “What would happen if I made something together with them?” was a big deal.

――I think that “relationships between one person and another” is included in Kagerou Project’s themes, but this album was something born from these relationships, wasn’t it?

Jin: There’s relationships between people in it too, but this album has nothing other than “people can’t live alone” as theme. Its appearance is complex, but I think it’s essentially a simple theme. I believed that, if I were honest with myself, I’d be able to make something positive. I think it’s a good theme, if I do say so myself (laughs).

The feelings comprised in the word “reload”.

――Please tell us the concept of this album.

Jin: There’s a composition called “Shissou Word” that I uploaded prior to the sale of the album, and within the song, I sing that “it’s strange how normal things are so difficult”.

Things that I feel to be extremely hard are like breathing to certain people, and they will ask me, “Why can’t you do normal things?”. Understanding the difference in values from being asked something like this was an experience that came across as very difficult.

I also uploaded a song called “Additional Memory” too, and it sings, “I didn’t want to become friends (with you)”. When the protagonist of it must part ways with a certain person, she resents it, like, “I should have done that one thing; why didn’t I say it back then?”

Themes like these are included in all of the songs, and they’re connected to the theme “involvement with people”. There might not have been this kind of concreteness residing in them at first, though.

――Either way, you had the feeling that you wanted to make music lately, right?

Jin: It’s not like I declared, “This time, I want to make an album that will have involvement with people as the theme!” and made it just like that. It feels like, when I actually tried making it, I realized the idenity of something burning within me. When I turn around and look back, I feel that thinking of wanting to make these songs was thanks to my meetings with many people.

――Please tell us the meaning behind the title “Mekakucity Reload”.

Jin: As expected, it would be too shallow a reason if I said that... the word was simply cool (laughs). The word “reload” means “to charge one more time” and “to redo”. There were lots of things left undone in the previous album, so this time, I wanted to make something that definitely wouldn’t leave behind any lingering attachments.

The title “Mekakucity Reload” is close to a revenge of my creative viewpoint. There’s also the fact that I’d wanted to face my highly fervorous pieces once again and make this into a work in which I was fighting my past self.

I want each person to think of what meaning the word “reload” carries from the values, world-building and story of this work.

――Jin-san, to you, this album turned out as a work for kids and teens, didn’t it?

Jin: That’s right. It’s really a work packed with heat, and to me, these compositions make one think that they’re really meaningful, so I’d like people to prepare themselves when listening to them.

He wants to aim for the depiction of “something like the fourth grade of elementary school” instead of second year of middle school.

――What kind of relationship does this album have with “Kagerou Project”?

Jin: I think that the newest philosophies that I didn’t manage to portray in the other stories have been inserted into it in a raw way. My manner of depiction has also changed in comparison to before, so I think the accuracy and strength of my music has stood out as well.

I wonder if I was able to express with great fervor the hidden feelings of each Kagerou Project character through this. In particular, we have the theme of “future” this time as well, and the characters are gradually growing into adults.

――It’s been five and a half years since the last album, after all.

Jin: As a story, it was a tale about children who fought in the summer, but I’m in this trend of starting to contemplate positive themes such as “the future”, and that’s also linked to quitting being a child. As they grow up, it almost feels like they cease to be the main characters of the story.

When I uploaded the songs, I had the impression that they resonated very vividly with the fans. Seeing those reactions, I was relieved that this album turned out as the driving content of Kagerou Project.

――If the characters end up becoming adults, will they lose the “chuunibyou-ish” coolness that they’ve had until now?

Jin: I’m often told that my songs are chuunibyou-like, but I actually want to be told that they’re “like fourth grade of elementary school” (laughs). I don’t want them to be thought of as the second year of middle school, but as something younger.

My use of a chuunibyou-ish portrayal is a metaphor in a way, because when I try to picture the aspects of becoming an adult, it turns out feeling like the second year of middle school no matter what.

The sense of children becoming adults and of youth coming to an end has properly resonated with the fans. I think that the emotional of someone turning into adult gains empathy in deep portions.

――I see. I’m looking forward to how Kagerou Project will develop from now on.

Jin: I think that, as the fans also become adults, their way of reading and interpreting the lyrics gradually changes. Growing into an adult means that there’s a possibility of new people coming along, and from now on, I’m thinking of continuing Kagerou Project as a story of children too.

I believe that, through the appearances of new characters, the viewpoint of Kagerou Project will become one that I hadn’t been able to depict until now.

His song-making does not deliberately tell everything, leaving room for imagination.

――What kind of song is the lead song “Additional Memory”?

Jin: I’d wanted to write about passionate sentiments in a way that would vividly pierce through people. This is also one of the things I hadn’t been able to portray in my past works.

――The production of the piano performance and the sounds strummed by the electric guitar approaching each other in alternation was impresive.

Jin: I myself had the feeling that I managed to apply my ideas to this production smoothly. Comparing to before, rather than saying I earned a new technique, I worried with all my might about how I’d express my sound. I made Additional Memory by prodding into a vivid form of expression nore thoroughly than in the past. Even if I compare it to all my compositions of until now, this was the one that took most time to create.

Also, the one who shows up in this song is the character named Ayano, and I was able to depict in it her inner thoughts, which I hadn’t managed to describe with any of the other Kagerou Project lyrics up to this point.

――What does that mean?

Jin: Until now, if I wanted to talk about ten things, I’d say ten things. But, in this song, in order to convey ten things, I only talked of about six. However, I think that the passionate sentiments comprehended in the song are being transmitted to the fans.

I was thinking that the piercing feelings and regret, as well as the moratorium swirling throughout the environment that surrounds the protagonist, looked intense. I want to expose six things instead of talking about ten, and let people imagine the other four.

――Was it not difficult to make a song without saying everything?

Jin: It’s difficult and takes time, and I also needed a period to cool myself down for it. Amongst the albums, I have the feeling I made a song that thrusts in a great amount of regret and moratoriums. It’s also a song that pictures an aspect of the story that I hadn’t been able to write about until now, so I think it’s easy to sympathize with the emotions in it.

His desire not to betray the fans was what led the album to completion.

――There’s an original manga with a story written by you, Jin-san, in this album’s Limited Edition A, right?

Jin: It’s a story in which the character named Kokonose Haruka goes around asking his companions, “What are friends?”. The mangaka Saiyuki-sensei is in charge of the art, and I consider this person to be one of the important friends that I met in these last five years. Meeting him became one of the triggers for me to think that I wanted to make this album.

That’s why, if you ask me why the special edition comes with a manga, I’d say it’s largely because I’d wanted to create something together with him. I wonder if my and Saiyuki-sensei’s portrayal managed to turn into a work that will shake everyone’s hearts. It’s a must-read content.

――The Limited Edition B has accoustic versions of four songs played and sung by you, but what songs are these?

Jin: They’re Shissou Word, Lost Day Hour, Remind Blue and Wasurete Shimatta Natsu no Owari ni. Of course, there’s the fact that they match my own voice and synergy, but I think these four songs feel good to listen to when I sing to my accompainments.

――How was singing them yourself?

Jin: It was my first time singing to while playing, and even as I myself listened to the finished songs, I couldn’t find the right answer. If you ask me why I sang them then, it’s because I’ve met people whom I believe I can entrust my songs to. I was happy that they would ask me, “Isn’t it fine to deliver it like that?”, so I have the feeling that, as I thought, my connections with people were a big deal in this.

――The second season of the TV anime Mekakucity Actors was announced back in 2016, so how will this album work with it from now on?

Jin: Just like with the music, I have this thinking that I don’t want to do things half-assedly. I also met people that made me think, “I want to do it with this team”, so I hope the fans can wait with high expectations.

Also, from now on, I believe I’ll be able to convey new things to everyone through manga and novels for Kagerou Project. It looks like I’m coming up with stuff leisurely since I took a few years’ time, but I’m surprisingly producing them in a hurry (laughs).

I took this time in order to make it into a good work, and I think I’ll be able to release works in a quicker span next time. I’d be happy if you could look forward to them.

――Meaning that, for the fans, it was worth the wait.

Jin: I think children are fighting right now. In this album is my desire for it to be a trigger so that these kids will carry the feeling of never giving up. I’ll be happy if this work can make the people who listen to it smile.

I took a long while until I was able to release a work that I could proceed with by not lying to myself. I want you to have faith in this album and listen to it.

――Thank you very much.

[septembercfawkes]

Breaking Writing Rules Right: "Only One Impossibility"

You may have heard of the "one impossibility rule," the idea that the audience's suspension of disbelief can only handle one impossible thing. In this article, I'm going to talk about what the rule is, why it's a rule, and when and how to break it.

What's the Rule?

When we write, we invite the audience into our fictive universe. In order to take part, the audience must have what's called a "willing suspension of disbelief," meaning that they are willing to enjoy the story even though it's not real.

For example, maybe your story has fairies in it. But fairies aren't real. However, the audience is willing to accept that for the story.

The Rule:

In a story, only one impossibility can exist.

Why It's a Rule

Most audiences can only take in so much impossibility before their suspension of disbelief is no longer . . . suspended.

They might accept with the premise of the story that there are fairies. But if your story has not only fairies but also aliens invading the planet, there is going to be a problem.

That's two different impossibilities.

And they don't go together.

Take that a step further and add the fact that in your fictive universe, dogs have overcome humans in the species hierarchy, so they are the ones running society--and now we have three impossibilities.

It's too much. Every time you add an impossibility, you narrow your audience. With these three, I've really narrowed audience.  

My examples are a bit exaggerated, but these are the sorts of things that the one impossibility rule is referring to.

However, it can sometimes be used in other situations.

One thing the audience has very little tolerance for is when human behavior doesn't make sense. Maybe your protagonist's mom dies, and he doesn't even grieve. That seems impossible. And the more you stack on unlikely human behavior, the more the audience's suspension of disbelief wanes.

For more on problems with unbelievability, see "Inconceivable! Dealing with Problems of Unbelievability."

How to Break It

By now you may have thought of one or more stories that clearly have more than "one impossibility." In a high fantasy, you may have fairies and dragons and dwarves and elves and centaurs . . . the list goes on.

Or maybe you thought of a rarer rule break, like a story that deals with both an alien invasion and restoring faith in God. Putting a belief of God in can be considered a big no-no in the industry when writing science fiction. From one perspective, you are dealing with two impossibilities. (I'm not saying I feel this way, I'm just talking about the industry.)

Or maybe you thought of something stranger still, a story where part of your soul lives outside your body in the form of an animal, where one of the intelligent species are (randomly) bears, where there is a clan witches, and some of the main characters are quite literally at war with God.

Clearly this rule can and has been broken. So let's talk about how to do that.

1. Use an Umbrella

The reason high fantasy gets away with so many impossibilities is because everything actually fits under one big impossibility: an imaginary world.

Sure, in our reality dragons and elves and dwarves don't exist.

But in a completely fictional world, like Middle-earth, all of them do, and more.

Tolkien, like basically all high fantasy writers, gets away with so much impossibility by lumping them together under one big one. Other examples include Alice in Wonderland, The Chronicles of Narnia, and even Star Wars (in a galaxy far, far away).

Even though Harry Potter includes the real world, it does this same thing--everything impossible comes from a magic society within our world, that's the umbrella.

The umbrella does not even necessarily need to be a world or society. Those are just the obvious examples. It could be an origin, history, or something else. The idea is that the one impossibility encompasses and explains all others.

2. Make Connections

Similarly, the audience is more likely to take in more than one impossibility if they connect in some way. Maybe you are reading a novel that has vampires in the real world. Then the second book in the series deals with werewolves. What?

But it's okay, because Stephenie Meyer made them connect by explaining that werewolves exist because of the vampires--they are the natural predators of vampires (yes, I just used Twilight as an example) (yes, I know other stories put vampires and werewolves together as enemies).

When you use this method, you usually want to build off what the audience already knows. They already know about the vampires, great. So when you explain the werewolves, make sure to relate it to the vampires. This will make it easier for the audience to swallow.

Of course, there are some stories that don't do that. Usually in those cases, the writer may introduce them as two separate things and explain the connection later. If you chose to do this, you should know that it's more difficult to pull off, and it will likely narrow your audience, because people might be rolling their eyes and stop reading before they get to the connection. However it has and can be done.

In rare occasions, the connections may not be concretely obvious, but instead thematic. What do invading aliens have to do with regaining faith in God? Well, nothing, directly. Except that it works together thematically in a beautiful way in Signs. Keep in mind, though, that this is one of the reasons some people hate that movie. So for some people, it did not work--in other words, it narrowed the audience. That's fine, if you are willing to pay that cost and take that risk.

3. Shift Context

Sometimes you can get away with multiple impossibilities if you don't present them as all impossibilities to begin with. In Interstellar, we are dealing with some pretty heavy science fiction, but then on the other hand, one of the main characters believes there is a ghost in her room.

I would hazard a guess though, that most of the audience didn't believe there was a real ghost in the room. Instead we can accept that the character believes that. As we get more information and the context shifts, we realize the "ghost" really was a person.

Though worth noting is that it is still ultimately explained by science, so the movie also connects it the other impossibilities.

But my point is, you may be able to do something similar. Maybe we think the second impossibility is something other than it actually is, and it's truly explained later.

4. Foreshadow

Sometimes you can get away with more than one impossibility if you foreshadow it right.

I know a writer who saw Arrival and loved it up until the ending, where the entire story was "ruined" because it "broke the one impossibility rule."

I'm going to have to agree to disagree with that. All of the impossibilities, especially the last, were foreshadowed from the beginning, so when I encountered them, as an audience member, I was prepared.

Also notice how that movie also incorporates context shifts and connections.

The story essential has three impossibilities in it, but in my opinion, they pulled them off stunningly.

However, it didn't work for that one writer, so, like I said above, you are always taking that risk.

But then there are people like me and my family, who loved the story even more and were brought to tears because of how it incorporated three impossibilities.

Basically if you are breaking the one impossibility rule, you are probably polarizing your audience, which is sometimes a good thing, if you want word-of-mouth advertising.

5. Utilize Tone

Tone can go a long way in letting you get away with the impossible. This is especially the case with what are called "unreality" stories.

Unreality stories take place in what's recognized as the real world . . . but it isn't. It's an unreality. It's best explained through examples. Here are some unreality stories:

A Series of Unfortunate Events

Charlie and the Chocolate Factory

Matilda

Monty Python and the Holy Grail

Edward Scissorhands

The Secret Life of Walter Mitty

Like I talked about in the last section, you may realize that unreality stories can be very polarizing: You either love it, or you hate it.

Notice how all of the examples I gave have more than one impossibility (sometimes completely unconnected), but for audiences okay with the unreality genre, that's not a problem. (Which reminds me, it's also worth noting genre does play a role in what you can get away with).

If you establish the right tone, you can get away with almost anything.

6. Acknowledge the Impossibility

In some cases, you can get away with multiple impossibilities if you validate to the audience how impossible, unlikely, or strange it is, on the page. Since I have two posts that go into this, I'm not going to reiterate everything, but you can read more here and here.

7. Keep the Reader Hooked and Invested

Sometimes you can get away with more than one impossibility if the reader is already deeply invested in the story. They may be so hooked, so pulled in, that adding a second impossibility isn't going to ruin it--as long as you don't do anything too crazy.

Ask yourself (and maybe your beta-readers), is adding this one impossibility really going to stop the reader from reading and enjoying the story? It might give them pause, but you might be able to get away with it. After all, it is a story.

8.  Start with the Most Familiar Impossibility

Everyone knows what a dragon is, even if they aren't real. So it's easier for the audience to accept that.

In Spider-verse we are dealing with two impossibilities that don't . . . really even connect . . . or fit under an umbrella. 1 - that radioactive spiders can bite people and turn them superhuman. 2 - that there are parallel realities. Those are both impossibilities, and they don't actually go together.

But the audience is willing to accept it, because they are so familiar with Spider-man and superhero movies. Adding parallel universes to it isn't a big deal. (Not to mention that parallel universes have been long established as part of the comic book world.)

The more familiar something is, the easier it is for the audience to accept and digest it.

Kitchen Sink Stories

There is a term in the industry called "kitchen sink." It's the basic idea that a writer has a lot of ideas, but they are throwing them all into one story. It's like a kitchen sink. It has a bit of this and a bit of that. A scrap of old pizza, an onion peel, a soggy fry. Sometimes when writers are trying to include a lot of impossibilities, it turns into a kitchen sink story. In some cases, you may definitely need to divvy out ideas into different stories. But in other cases, it's amazing which seemingly unrelated ideas you can make work, especially using these methods I outlined.

It's hard for me to tell everyone that their "kitchen sink story" isn't going to work. Because it might.

I feel like the best example of this is His Dark Materials. It has everything, and the kitchen sink. But in England, it became a hugely successful series. Yet so many of the concepts don't seem to belong in one story.

- Parts of people's souls live outside their bodies in animal forms.

- There is an intelligent species of bears (bears?? Why? That's so random!)

- Oh yeah, and there are also witches. (oookay . . .)

- And angels

- By the way, there is also a religion reminiscent of Christianity, but it's antagonistic

- Also, God is in it

- And there is this device that allows the user to know all truth

- It takes place in England . . . but it's sort of . . . somewhat . . . steam-punky

- Oh yeah, also, not only is this fantasy, but it's also science fiction. We will definitely be talking about dark matter and running experiments with computers

- Also, surprise, I know you didn't know this from the first book, but our world, the real world, is actually part of this same universe

- Aaaand there are spectors

- We'll also be following people into the afterlife. . . .

Okay, seriously, that whole series is a kitchen sink story!

. . . which is also why it was so revolutionary. It was unprecedented.

So . . . while it's very difficult to pull off . . . it's not impossible.

You might be thinking, "but everything fits under the umbrella of a parallel world." Dude, it doesn't. We don't even know parallel worlds exist until the second book.

It's a kitchen sink.

You Can Break the One Impossibility Rule . . . with These Risks and Consequences

Depending on what impossibilities you decide to use and how you implement them, you run these risks:

- Ruining the suspension of disbelief

Your audience may still not be able to accept your impossibilities. In truth, some readers are unwilling to even accept one. So they may stop reading.

- Narrowing your audience

This may lead to a narrower audience. Maybe most people don't like M. Night Shyamalan's movies (he breaks a lot of writing and film rules). That's okay. Enough people like him, and he obviously isn't trying to appeal to the masses.

- Polarizing your audience

Some people will absolutely hate stories that use multiple impossibilities. But other people love them. Polarizing your audience isn't actually necessarily a bad or good thing in and of itself--it depends on your goals.

These are risks and consequences, but they do not necessarily influence success. Some people cannot read any fantasy, yet it's one of the most popular genres. Not everyone likes Charlie and the Chocolate Factory, but it's now a children's classic. Even a kitchen sink story has been highly successful.

Can you break the one impossibility rule? Yes! But like breaking any rule, it can be tricky.

Next week I'll be talking about critique letters and editorial letters, and how I write one. See you then!