#it has an interesting plot and complicated characters and interesting character dynamics

[simcardiac-arrested]

Go go go cutscene cutscene cutscene!!!

been thinking about one of my favorite undertale fics lately, it’s like. the best undertale fic to me if not the best fic on ao3 period. i liek it so much. it’s the scientist series by talkingsoup and i will Never stop talking about like i Know i have mentioned it before but i am physically incapable of shutting up about it. it’s so good. i once tried to get my best friend to read it even though she doesn’t know english but i tried to convince her to read it with google translate (it didn’t last long but it was worth the effort). it’s So Good. i discovered it in like 2018 or 2019 and have reread it at least two times since it’s just like AUEHGGHHH. gaster’s downfall and then him haunting the narrative … the exploration of sans’ backstory …… the characterizations ………. it’s all very well written and also very dark and traumatic. They make Shit happen to these characters. but it gets better. i think ? i have never finished the series because iirc it only finished around a year ago and i haven’t reread it since. but i am Thinking about it. it’ll probably take me months because 1. i have to come to terms with the fact that one of my favorite stories will be Finished(tm) 2. i have to hype myself up to reread it because it’s a very long series with like 400k words or something AND the second installment is verrrry dark and heavy considering it explores the whole reset bullshit and flowey is putting sans through 29263937 meatgrinders

[aroanthy]

i love how fraught and complicated discourse around various utena characters ‘dying’ is when anthy is literally stabbed to death eternally by a million swords imbued with human hatred. and then utena gets stabbed to death by them also. like. ‘death’ is incredibly interesting in rgu because most of the time it’s this ambiguous figurative thing that has interesting implications re: ohtori as a closed-off world one can escape. we are all trapped in our coffins. mamiya is the only named character with a grave. nemuro memorial hall functions as one all the same. ruka is implied to have died in the hospital— was he dead all along? who was the boy we saw for these two episodes? is this dead boy the same boy, or is this just another coincidence from the shadow girls, cutting like a knife? it’s heavily implied that akio and anthy murder kanae by poisoning her, adding to the previous implication that they were poisoning mr ohtori too, but there are no perceptible consequences of this. kanae’s absence is not felt. she’s fed an apple slice. what happens to the bodies? we know what happened to the 100 boys, but what about everyone else? and so on and so forth. ‘death’ is a tricky thing in utena, i think it’s constantly functioning on figurative and literal levels in very different ways for very different purposes. dios died. dios was dying. dios didn’t die. he grew up. etc etc

[eternal-reverie]

finishing love between fairy and devil reminded that I had another c-drama (Love like the Galway) that I had paused watching and now that I resumed it, uhh I think I lost track of the ongoing plot and character motivations/backstories 😬

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

The Lorax:

Spider-Man: Into the Spider-Verse:

It had a very big impact on meme culture. And a really catchy soundtrack. Plus it has the silly sexy green man. What more could you want from a film.*

The Once-ler and the let it die song. This movie is glorious.

It is legit the mother of all great animated movies nowadays. From Mitchells vs the machines to the new mutant mayhem movie! The plot is so good and you can really see character development from almost all of the characters, plus the designs are BANGER.

THE MUSIC?? TOP FUCKING TIER. THE CASUAL DIVERSITY? IT ALSO HAS LITERALLY THE BEST SHOT IN CINEMATIC HISTORY (Miles rising after taking his leap of faith)

BRO THE ANIMATION IS SO SICK. The amount of sheer effort put into this movie is insane. The character growth was so amazing to watch and such a great movie to analyze. Best scenes are obviously the leap of faith. Actually gorgeous. And also the scene where aunt May sees Peter b after her Peter died. Her “you look tired, Peter” is just so heartfelt

Where the hell do I even start. The visuals are incredible and the plot is engaging. Every scene is perfect.

This film has EVERYTHING. Humor, action, inspirational scenes, kickass music, absolutely killer animation, an art style that is an homage to comic books, loveable characters, a talking pig, DR OLIVIA OCTAVIUS, I could go on

This is the best superhero movie ever made, the leap of faith is one of the best movie scenes of ever

The animation style is better than all the others, and makes the movie funnier too! The representation is also good, and the romantic storyline isn't too prevalent in the movie. Probably the best animation Marvel has made. My favorite scene is when the villains show up to Aunt May's house -- its my favorite fight scene!

I’m sure this movie’s been submitted already because it’s arguably the greatest animated film of all time. I have a personal connection to it because I saw it in theaters on opening night with my late father, and we both loved it and I still do. The animation is revolutionary and it’s one of the only 3 movies that make me cry.

gsksvbsvsbsvs I love everything about it, I love the animations, the story, the soundtrack also the style of animation AAAAAA its so beautiful its art it belongs in a museum i get goosebumps everytime I rewatch it

It’s just so good. All the characters are amazing and I love Miles dad. It’s hilarious and sparked my love for spider-man. It’s such a sweet movie about finding yourslef and has such a powerful message. I totally recommend it so I’m not adding spoilers, but like. Ohhhh, it’s so good.

Interesting villains, well-developed character arcs, a fresh take on Spider-Man, unique use of animation, funny, good use of multiverse that adds to the nature of the story being told, complicated character dynamics

It's the best animated movie because A: it takes one of the most well known comic characters of all time, kills him off in the first few minutes, and then shows you every cooler version of him. B: Has a large amount of representation in its main cast, considering that they're all versions of Spiderman, and that requires a white guy by default. C: everything in it is so well done I can't pick a favorite scene, but the most iconic is the jump off the skyscraper window.

The animation is incredible, the movie has so much story and heart, and there’s a perfect balance between humor and seriousness. And the soundtrack slaps

This is probably the best animated film I've ever seen. The animation is definitely the highlight, the way they blend comic book art styles and 3D animation is an absolute joy to look at and is so overwhelmingly creative, every frame of this movie is gorgeous. The impact this had on the industry is undeniable, as we start to see more and more movies getting more creative with their animation styles. It's not just the animation though. All of the characters are entertaining, all of the jokes land and the story is really well done. It leaves me blown away every time I watch it.

This movie kind of changed the western animation industry from the ground up. Apart from being expertly written, funny, and heartfelt, it is also stellarly animated, with a unique visual style that takes direct inspiration from the comic books it adapts and mixes 2d- and 3d-animation in a way and to a degree that hadn't really been seen before in western mainstream. Its critical and monetary success paved the way for mainstream 3d animation to open up to new and excitingly stylised movies that were like a breath of fresh air between the generic Pixar-style animation that had been the largely unchanged norm in the industry since Toy Story circa twenty years earlier**. ITSV divides the screen like panels on a comic page, it uses dots and lines for shading and gradients, doesn't shy away from lowering framerates for stylisation, and makes liberal use of onomatopoeia, both to comedic and dramatic impact. Impact frames and SFX are often hand-drawn and stunningly colourful, and even the simple dialogue scenes astonish with an expressiveness and realism in their depiction of emotions that makes me rewatch a two-second scene of Miles laughing fifteen times in a row. My favourite scene has to be the What's Up Danger scene, the emotional climax of the movie. Set to an absolute banger of a song, it is the moment the entire film has been building up to. I won't spoil anything plot-wise in case you somehow haven't seen this movie, but both from an emotional and a visual standpoint it is Fucking Dope. Conclusion: Spider-Man: Into the Spiderverse is my favourite movie of all time and I could talk about it for hours. If you haven't seen it, go watch it. Thank you.

Have you SEEN the Whats Up Danger/rising and falling scene? it's a work of art that makes me fall in love with storytelling all over again whenever I see it. Also the impact that it's had on animated film is absolutely being felt at current, if incrementally. Incredible film.

It has an amazing art style based on comics and mixed up due to genre differences. It's really fun and the characters are great, even the side ones. The story line is great and I love Miles and his family.

*Mod note: errr, quite a lot more than memes and music actually

**Mod note: amen

[leoserblog]

Ok this might be an unpopular opinion but someones gotta say it...

Cassandra is a better Casey Jones than Casey Jr

Ive gotta be honest... i think casey jr is a kinda mid and i dont particularly think all the fanfare about him is warranted LOL

I want to note real quick that i dont DISLIKE him! He is a good character who only got as much development that a 2 hour movie could give him, and he filled and satisfied the role he needed to play in the movie, but the way the fandom latched onto him over the og casey... kinda makes me raise a brow

(Essay/rant about the prioritization of casey jr vs og casey under the cut :P)

Fandom spaces love a traumatized boy from the future, and believe me i do too! But the amount of attention given to casey jr after being revealed as casey is a wild amount compared to the amount of attention the original casey gets. Maybe its just me getting into rottmnt after the movie aired, but this seems a little baised?

Not only that, but the amount of... idk the best way i can think to describe it is infantilization of casey jrs character isnt helping my opinion of him. It feels like most content surrounding him babify him and reduce him only to his trauma post movie. I understand that it can be interesting to explore his trauma now that he no longer lives in the literal apocalypse, but it feels strange to see him reduced to someone who cant get around on his own and lives with the turtles when the original pitch for the movies ending has him leave to explore the world, which i feel is very appropriate for him and wish they had kept it in

In the movie when april shows us where the og casey has been and what shes been doing throughout the film, it tells us that casey is friends april which in theory, shouldve also shown us that she and the turtles are friends to some degree as well and should already have her place established within the group as this generations casey jones

However the final shot of the movie is a group shot of the family+casey jr, which subtlety implies that he's the new casey instead, and that this is the main cast moving forward (should it move forward *sob*). While both caseys being considered in the main cast could be true, it does strike me as a little odd that this was the final direction the rot team decided on for the official ending versus the scrapped ending, especially because it complicates the pre-established canon. It wouldve been one thing if our og casey was a different character, but that isnt the case.. y... (<_<)

Casey jr is an interesting character though! And i can understand why he appeals to fans, especially as his character post movie is fun to expand on aswell as developing his past involved with future versions of the main5, but one (me lol) could argue that the og casey is just as interesting of a character to delve into as she was involved, when you boil it down, a cult most of her life, and that concept, as well as the guilt she could hold for working with the foot and releasing the shredder, ontop of trying to befriend and gain the turtles and aprils trust are also intriguing concepts that could be explored, yet finding content that mentions her at all beyond her relation to casey jr is scarce

It feels as though shes been reduced to a background character within the fandom despite being a reoccuring character for the entire show.

For the two seasons of rottmnt that we did get, we are shown just what kind of character casey is and her possible dynamics with the turtles+april. Shes passionate and powerful and beyond determined to prove her worth and reach her goals. Shes also playful and reckless, a side that fits well with the main cast and their humor and, if the show was given more time, couldve developed naturally as the newest addition to the family as most caseys are. I could also argue that her characterization fits that of previous caseys more than casey jrs does (though i will admit that considering the plot of the movie, i cant positively say what hed be like outside of life or death scenarios, but i also cant imagine hes going to make a 180 in personality without it feeling jarring and ooc)

Now, i wont ignore the fact that her arc was cut horribly short and her involvement in the movie was quite literally a brief mention, both of which definitely play into how under appreciated she is. But at the same time it almost feels like everyone, including the show runners, have willingly pushed her aside for this new boy version to fill the role of casey jones. Hell, even when you look up rottmnt casey jones, cassandra barely shows up. Its casey jr which further proves my point

Idk, TLDR im pretty disappointed that despite being a consistent character for the entire show, no one seems to write or acknowledge her and if she is mentioned, its only relevant to push forward casey jrs character development or a brief cameo. As much as i do love casey jr (i can feel like hes mid and i can like him!) it seems like most people forget about the original casey, or favor casey jr in her place and she deserves more love and credit than shes given!

[trans-cuchulainn]

let's be more positive about books for a while! here are some queer historical romance novels that i've been rereading recently that i think do something interesting with making characters feel historical in their mindset and worldview, but are also fairly progressive, diverse queer books that are, frankly, a delight to read

this is by no means exhaustive and to be honest i could put almost anything by cat sebastian or kj charles on a list like this so this is purely the highlights of what i've reread in the past week to take my mind off work, and why i think they're interesting from this specific angle

cat sebastian, the ruin of a rake (turners #3)

this is technically the third in a trilogy but they're only very loosely connected, so you don't need to have read the others if you don't care about knowing who all the background characters are. the others are also good though

why it's interesting: features a character who has had to painstakingly study and learn the rules of polite society in order to claw his way up to respectability, and is now deploying those skills to help another man repair his reputation. shows the complexity of those rules, the social purposes they serve, and the work that goes into living by them, as well as the consequences of breaking them. also explores some of the financial side of aristocracy, and features a character with chronic illness (recurring malaria following repeated infections as a child in india) whose feelings about his illness are very relatable without feeling overly modern.

kj charles, society of gentlemen series.

this trilogy is closely related plot-wise and best read in order. all three explore cross-class romances and characters struggling to reconcile their political views and personal ethics with their desires, in the aftermath of the peterloo massacre, with a strong focus on the political role of the written word. first book is long-lost gentleman raised by seditionists / fashion-minded dandy teaching him to behave in society; second book is tory nobleman submissive / seditious pamphleteer dominant who've been fucking for a year without knowing the other's identity; third book is lord / valet and all the complicated dynamics of consent there with a generous side-helping of crime.

why they're interesting: close attention to the history of political printing and the impact of government censorship and repressive taxes on the freedom of the press; complex ideological disagreements that aren't handwaved as unimportant; examination of trust, consent, and social responsibility across class differences and in situations with problematic power dynamics; most of the characters are progressive for their time without feeling like they have modern attitudes. the second book, a seditious affair, deals most strongly with the revolutionary politics side of things, but all tackle it to some extent.

kj charles, band sinister.

look i'm probably biased because this might be my favourite KJC. it's a standalone about a pair of siblings: the sister wrote a gothic novel heavily inspired by their mysterious and scandalous neighbour whose older brother had an affair with their mum (causing scandal); the brother is a classics nerd. the sister breaks her leg on a ride through their neighbour's estate and can't be moved until she heals so they both have to stay at the house and find out if the neighbour is really as scandalous as he seems.

why it's interesting: discussion of atheism and new ideas about science and creation (very shocking to the brother, who is the viewpoint character); details of agriculture and estate management via main LI's attempt to grow sugar beet, as well as the economics of sugar (including references to slavery); "unexpurgated" latin and greek classics as queer reference points for a character who nevertheless hasn't quite figured out he's queer; material consequences of society scandal

bonus: wonderful sibling dynamic and a diverse cast including a portugese jewish character, which i don't think i've seen in a book before

i will add to this list as i continue to reread both of their backlists! (bc i have read them all enough times and in close enough succession that they blur together in my head unless i've read them very recently)

[nellasbookplanet]

Book recs: sapphic romance for people who like Hannibal and Interwiev with the Vampire, aka fucked up and toxic

Enemies to lovers, lovers to enemies, fucked up power imbalances, manipulations, plain bad people doing bad things - if you like your sapphics a little bit dark check out these books!

Some of these end happily, some tragically, some are more will-they-won’t-they than full on romance, some focus on healing while others focus on Getting Worse, but they’re all very juicy.

For details on the books, continue under the readmore

Feel free to recommend more books in tags and comments!

Othe book rec posts:

Really cool fantasy worldbuilding

Really cool sci-fi worldbuilding

Mermaid books

Vampire books

The Abyss Surrounds Us by Emily Skrutskie

Young Adult. tumblr classic back in the day! A trainer of sea monsters genetically engineered to protect ships from pirates is kidnapped by, you guessed it, pirates, one of whom happens to be very hot.

Escaping Exodus by Nicky Drayden

While my feelings on Escaping Exodus were mixed, it cannot be denied that the dynamic between the two leads and the way they go from childhood best friends to enemies on different sides of a class and power struggle is very delicious. It also features some really cool worldbuilding of living, alien generation spaceships and the human culture that has developed inside them.

The Stars are Legion by Kameron Hurley

This book fucked me up when I read it. It’s weird, it's gross, there’s So Much Viscera, there are literally no men, it has living spaceships and biotech but in the most horrific way imaginable. Had I to categorize it I would call it grimdark military sf. It’s an experience but not necessarily a pleasant one.

The Lumionus Dead by Caitlin Starling

Possibly one of the most unsettling books I've ever read, and definitely the most claustrophobic. Gyre, a caver on an alien planet, ventures into the dark and dangerous underground, guided only by a woman who has no compunctions on using and manipulating Gyre as she sees fit to obtain her secretive goals down in the caves.

The Jasmine Throne by Tasha Suri

On the less toxic and fucked up side of the spectrum, but still pretty juicy. A princess held captive by her own brother, who wants to see her dead, tries to trick a servant into helping her escape, but with undeniable attraction growing between them and the servant having her own goals things quickly get complicated.

Gideon the Ninth by Tamsyn Muir

Listen, if you're on tumblr I probably don't need to explain this book to you. Trust me when I say it's exactly as good as people claim. There are indeed lesbian necromancers in space (quite a few of them, actually), but also incredible worldbuilding that keeps growing with every new installment, interesting political commentary, morally complex characters with fucked up dynamics, and well-thought out plot that keeps you guessing until the last.

They Never Learn by Layne Fargo

Listen, sometimes you just want to read about a vicious bisexual lady professor who murders predatory men and falls for the woman trying to solve her crimes and that's okay.

Fingersmith by Sarah Waters

The source of not one but two movie adaptations, Fingersmith is a story of trickery and manipulation as a young conwoman works to gain the trust of a heiress. I don’t want to say much more because the twists are some of the best parts, but trust that it doesn’t take long for things to get real complicated between them.

The Unbroken by C.L. Clark

Tourraine, who was stolen as a child and trained as a soldier for the empire that conquered her home, is recruited by Luka, the future leader of the conquering country to route out a rebellion. A game of twisted loyalties and attraction is soon to develop.

This Is How You Lose the Time War by Amal El-Mohtar and Max Gladstone

Again, if you're on tumblr (or twitter, apparently) you have in all likelihood already heard of this one, too. Just like GtN it lives up to all expectations. It features two women on different sides of the titular time war, who starts leaving letters for the other to find as they chase each other through time. A quick read, slightly surreal, and absolutely beautiful, I cannot recommend this enough. Pretty mild on the fucked-up-scale.

House of Hunger by Alexis Henderson

In a world where the rich drink blood to preserve their health, Marion applies to a position as bloodmaid in a notorious noble house far from home. Suddenly showered with luxuries and debauchery, Marion soon gains the interest and favor of Lisavet, countess of the house. A fresh take on the idea of vampires.

Sorrowland by Rivers Solomon

A young pregnant woman flees a cult that left her body strange and changing in terrifying ways. Hidden from the world, she does her best to raise her children while trying to find out the truth of the cult and being pursued by a hunter in a dangerous game of cat and mouse. In no way a romance, but certainly has some fucked up sapphic shit going on.

The Traitor Baru Cormorant by Seth Dickinson

After her home was conquered by another land, Baru is determined to join their forces and climb the ladder until she’s in a position to free her people. To prove her loyalty, she’s sent to bring order and quell rebellion in another conqured region. Baru is set to succeed, but also has to struggle with her feelings for Tain Hu, a duchess of this region.

Ice Massacre (Mermaids of Eriana Kwai trilogy) by Tiana Warner

Young Adult. A small island is forced to defend itself against intruding forces of vicious mermaids. As all men trying to fight them get lured in by their siren song, a ship filled with warrior girls is sent instead. However one of them, Meela, had a complicated past with one of the mermaids, which is brought back to life when the two reunite on the battlefield. This one is also available as an ongoing webcomic!

Borderline (The Arcadia Project trilogy) by Mishell Baker

Urban fantasy mystery. Very much of the will-they-won’t-they variety, with a bisexual lead who has a male love interest as well as a female without falling into the typical pitfalls of a love triangle. Plays around with various fucked up power dynamics. A year after a failed suicide attempt that cost her both her legs, Millie is recruited by a secretive organisation that works to control traffic to and from Arcadia, the land of faries. Bear in mind that while the sapphic-ness is present throughout, it has a much smaller presence in book 1 than books 2 and 3.

Bonus AKA I haven't read these yet but they seem really cool

The Hunger by Whitley Strieber

Ancient vampire is on the hunt for a new partner, none of which tend to last long.

Codename Villanelle by Luke Jennings

Precursor of the famous Killing Eve tv series. While I don’t know much of the books, I did enough research to know this: their endings differ.

[cheshiresense]

Hi Cheshire! Thank you so much for the Yuzu snippet! It was SO great. I LOVE how fucked up the Kurosaki family is (wonder what Isshin thinks of this? We saw a glimpse but like... Is he an outsider and tolerated because he's the Only Adult Around?). I! LOVE! Poison!Yuzu! It's so great, makes so much sense. Also the easy way everybody was like "Ah, yes, OF COURSE the bowls are poisoned." So Neat. So Fucked Up. Being real I came for the ShinIchi but the UraShinIchi is The Best Trio and I am SO here for it. The fact Ichigo has NO idea he likes Urahara? Amazing. The fact that Shinji is SO LONG the favorite? ALSO amazing. Usuallly with the trio it's almost always the other way around or UraShin incorporating Ichigo later, so It'd be nice to see how this mechanic develops.

I also love "Mizuiro-niisan." Cute and terrifying. I wanna know what you have prepared regarding Mizuiro, he was always one of the most fascinating characters in Bleach taht wasn't 'part of the plot' so to speak (c'mon, dude knows how to make a fucking Pipe Bomb and has a harem of older women. There's A Story. (Also does he still have the 'harem' here or...?))

Anyway thank you for the chapter

Thank you, I'm glad you liked it! Lol Isshin is very much the outsider to his own family after Ichigo neutralized him, they're basically like two strangers who happen to live in the same house, and even then, Ichigo went and got his own apartment once he had the contacts for it. I wouldn't say he set out to alienate his sisters from Isshin, so long as Isshin wasn't hitting them too, he doesn't really care what their relationship is like, but considering Ichigo's also been pretty much raising them single-handedly for the past 6+ years, they're bound to learn from him when it comes to Isshin too. Plus they do remember the way Isshin used to smack Ichigo around before Ichigo put a stop to it. So anyway, the twins still talk to Isshin and let him be his loud dramatic self around them but there isn't really any love coming from their end when it comes down to it, and they live with their brother at the apartment half the time anyway. As for Ichigo, he actually doesn't hate Isshin or anything either after the man left him to his own devices and doesn't bother him anymore. And yeah, the fact that he's the nominal adult of the house is still useful since Ichigo's still underage. It's just that he also very much wouldn't care if Isshin kicked the bucket tomorrow.

The Urahara/Ichigo/Shinji is also a surprise to me lol. Tbh, I didn't really have a ship in mind when I first started this AU, but UraIchi is my otp so naturally if there is a ship, I'd go for that. But then I wrote Shinji, and suddenly ShinIchi became a lot more probable, and then I wrote the Yuzu POV and Urahara elbowed his way back into the race. So the most likely ship now would be UraIchiShin lol.

The UraIchi dynamic actually turned out pretty interesting in this 'verse cuz this Ichigo is the type to get rid of anything that irritates him. If it's annoying and cuts into his time, he's not the sort to put up with it. And yeah, Kisuke's strong enough with enough connections that if Ichigo wanted to off him or even just threaten him like he did Isshin, it would be really difficult at the moment, but at the very least, he'd still work towards it, and he wouldn't spend any time with the guy. But here he is inviting him over for dinner and letting him properly meet the twins and just generally tolerating his presence, something he's never done with anyone else before, and it's a toss-up whether he's even really aware of the exception he's making. And on Kisuke's part, he doesn't know Ichigo well enough yet to realize how much leeway Ichigo's given him.

This Ichigo is just Grudgingly Fascinatedᵀᴹ by this cryptic bastard making his life a lot more complicated than he'd like, but is also strong and smart and offered his life up on a platter the moment Ichigo asked for it like it's tradeable currency so whatever he wants Ichigo to do in exchange has to be something even Urahara can't do himself, and Ichigo has just enough curiosity for that to add to the fascination pile just as much as it adds to the annoying asshole pile. Meanwhile, Shinji's just chilling with his poison rice, and Sakanade thinks Ichigo is yum with an adorable kitten for a sister. TLDR they're a trainwreck in the making but a pretty entertaining one.

I'm not sure what I really want to do with Mizuiro here yet but I'm definitely giving him a powerup in the future, he's Ichigo's best friend here, as much as Ichigo or even Mizuiro can have friends, and Mizuiro is absolutely ride or die enough to invade Soul Society with him. Plus I'd like to see what I can do with a character who's not exactly a frontline fighter but not a healer either like Ichigo's canon friends.

[lemon-natalia]

Gideon the Ninth Reaction - Review

some final thoughts:

i have some (very) minor nitpicks that i want to get out the way first, simply because the rest of my opinions are really positive: i felt like there were some minor pacing issues, particularly near the beginning where the actual main plot took a pretty long time to get going - but overall it was a real whirlwind of a book and Muir is very good at dramatic cliffhangers that kept the energy up and made me want to read more. the big fight in the final chapter also felt a little repetitive at points, i think it could have been shortened down just a tad?

that out the way, overall i really loved it!! i’d heard good things and had high expectations to be fair, but it definitely lived up to them, this is probably one of my favourite books i’ve read in a while. it managed to be macabre and hilarious and heartbreaking all at once, and balanced the humour & horror elements well. the mystery aspects and plot twists also felt pretty well written, having both plenty of foreshadowing while not being immediately obvious.

another big strength is the remarkably compelling characters. despite there being a pretty large cast, and obviously some characters being more major than others, all of the Houses felt fleshed out and unique and had their own moments to shine. i also mentioned before reading I wasn’t sure how I felt about the idea of Gideon & Harrow’s relationship, but i ended up absolutely loving their complicated dynamic - it developed very naturally, and even when they came into conflict later in the book, it never felt contrived.

tldr; i cried a lot. amazing! 10/10. i think reading this has fundamentally altered my brain chemistry

(Fun fact: not including this post, i’ve written approximately 12,400 words about Gideon the Ninth in these liveblogs. that’s longer than the undergrad dissertation that I was supposed to be doing instead of this)

also thank you so much to everyone who's expressed interest and encouraged me in this liveblog - it was very unexpected but i’m glad people liked it! given i already have a copy of Harrow the Ninth, would people be interested in me continuing these liveblogs for that book?

[buckttommy]

JACK! I am deeply curious to know where YOU stand/fall on the poll you posted?

Objectively speaking? Yes, they have endgame potential.

But a lot—and I mean A LOT—of work would have to go into moving that potential from a theoretical possibility to a genuine reality. Some of that work has already been done, what with Tim being intentional about developing a love interest for Buck that's not segmented away from the rest of the firefam, but that's the easy part tbh. They'd still have to 1) establish Tommy's character as a character unto himself, 2) define Buck and Tommy's relationship outside of the shadow of Buck and Eddie's relationship, 3) introduce a character that would be Eddie's endgame (because that's something you'd have to consider now that you're intentionally severing this will-they-won't-they bond between Buck and Eddie), and 4) convince the audience that these are the two endgame ships they should be rooting for without making them feel like they're being convinced, because that would blow the whole thing up in their faces instantly... all in a limited amount of time (9-1-1 isn't going to last forever).

So. Yeah. A lot of work.

All that to say, it's not impossible. I have a tentative idea for how it could work (a thought exercise, if-not-this-then-that)—what kind of character would need to be introduced for Eddie, what kind of archetypes would need to be in place for Tommy + Female Character, what kind of plots and tropes would need to unfold on-screen in order to not just neutralize the die-hard fans, but sway their opinions toward these two ships, etc. all by taking into account 9-1-1's existing and brand new audiences. But the writers/Tim would really need to sit with the decision and decide whether or not it's worth the effort to establish TWO endgame ships for their most popular characters when said characters are already six seasons deep into an accidental marriage with each other.

This is why I say that Buddie is only thing that makes sense. It's the only ending that does the characters and their journeys justice, sure, but it's so much more than that. There are layers—complicated and tangled layers—that would cost (literally!) more money to untangle than it would to just say "thank you" to the writing gods for hand-delivering an endgame ship on a silver platter and just going with the flow. You know? Yes, Buddie makes the most sense narratively. Of course, it does. But technically? It truly does not get much better than this.

You don't have to like it. You know? You don't have to like Buddie at all. But you have to recognize that this is the dynamic that most shows dream of—accidental or not. How they started—what was intended for their relationship—doesn't even matter now. What matters is where they are, and where they are is at a crossroads where they can either go with the flow, or do a complete overhaul that would run the risk of shattering everything. And, I have to give credit where credit is due—if anyone could pull this off, the 9-1-1 writers could. They are incredibly strong and skilled at what they do. But Tim et. al. need to make a choice, and they need to make it now, because if they wait too much longer, the story is going to start to drag. It's going to start to feel lazy. People aren't going to be satisfied with the "Buck and Eddie are getting their shit together so they can be ready for each other" excuse forever.

Now. Me personally? I'm in it for the long-haul. I love Buck and Eddie, I love Buddie, so whatever happens, I'm here for it. I've already said a thousand times over that their relationship could go canon at any point, even in the final episode (though I want there to be at least two seasons of them together before the show ends), and I would be completely satisfied with that. But we're rapidly approaching the point of no return, wherein Tim etc. need to make a firm decision and stick with it. If they've decided Buddie? Great. Good. Can't wait to see it. But if they've decided on something else, they're the ones that need to get their shit together and kick it into high gear quickly.

TBH.

But anyways.

[escapism-from-the-real-world]

So, I watched red vs blue on a whim because of a youtube short up to season 12.

Like I binged that shit in a week.

And I just, have so many feelings.

Which means it’s posting time!

I fucking hate that this show makes me care and like and feel for these absolute idiotic assholes who sometimes go through really great character arcs and changes and sometimes back track on their growth so hard their backs crack while also making witty and shitty one liners and running jokes that have me cackling because I was not expecting that joke and for it to come back or, in a genuinely shocking turn of events, make me emotional.

I hate how my favorite character for most of the blood gulch arc was Church because we was sarcastic and bitchy and make me giggle and his relationship with Tucker reminded me if how me and my siblings bicker and fight and then he ends up having one if the most traumatic and complicated backstory ever with a really interesting dynamic with Tex that’s all about grief and saying goodbye and bringing people back but they don’t come back to the same expectations you’ve been holding for them while also dealing with the fact that Church was psychologically and quite possibly physically tortured into different parts of himself for a government program.

I hate how Tucker, the guy who keeps flirting and making unwelcome sexual comments to and about women in a very early 2000s way of giving your characters flaws, has ended up with a very odd but special place in my heart because he grows and changes as a character and develops beyond his flaws and is so painfully human and makes mistakes and is genuinely hilarious at times and cares so fucking much but he can’t show it because toxic masculinity but he fights anyways and is lowkey highkey the best soldier of them all and why do I like his character so much???

And just everyone’s chemistry with each other and the fact that I kept rewinding to rewatch scenes and jokes because they’re amazing or funny and I can’t tell you how ling it took me to get through some of those seasons I kept rewinding so much.

Like, how did they make a bit about them driving a military grade vehicle called the warthog with hispanic (?) music blasting through the radio as they crash into unsuspecting victims so fucking funny? I love this batshit crazy show.

I also hate how it makes me emotional. Sarge’s speech at the end of season 8? I almost cried. I chocked up. How fucking dare you. This is a show about a video game that came out before I was born. With jokes that would make a middle schooler proud and a plot that honestly had me baffled and craving more each season (up to season 12).

And they’re assholes! Like, they care about their shitty little group of friends so much that they are willing to commit various war heroics/crimes in order to save them, but they’re still assholes. But that’s what makes them great! They’re human and they mess up and make mistakes and say the wrong thing and make up and care and boy does it hurt to care.

Just AAAGGHH

This show has me shaking people aggressively by the shoulders and biting hard enough to bleed goddamnit.

[sailforvalinor]

As I've finally finished Ten's run...my thoughts on all of Ten's companions (in an order that makes sense to no one but me)

Martha:

I have...complicated feelings about Martha. I'm going to be honest, for her first few episodes, I did not like her all that much. Of course, the thing is, you're almost not supposed to like her at first. One of my favorite things about series 3 and 4 is that Rose very much haunts the narrative--you can feel her presence in Ten's thoughts, how her absence informs his decisions, almost as if she never left. Martha's role, at least in those first few episodes, is to make us miss Rose. She's a plot device. I don't think this is the case for the rest of the season, she has a lot of compelling things going for her character--her complicated relationship with her family and her desire to travel with Ten partially being due to her wanting to escape their chaos were really interesting. Also, her studying to be a doctor while traveling with the Doctor could have been a fascinating plot point if it had been utilized more often--but unfortunately, I think everything her character had going for it was too often muddied up by the "one-sided pining for Ten" plotline. I'm by no means opposed to the plotline in and of itself, I actually quite like it, but halfway through the season it started to get annoying to me. Like, I get it, him kissing her in episode 1 and then asking her to travel with him is really confusing, that's totally understandable, but after that long of traveling with the guy and him making it extremely clear that he doesn't like her like that...like, girl. Give it a rest.

(Not that Ten is entirely blameless in this situation--this man has never heard of a healthy coping mechanism. He just wanted Martha to travel with him because he was lonely, nothing else, but didn't make that clear at all. His refusal to even acknowledge her feelings, which he was perfectly aware of, and have a healthy conversation about it wasn't helping matters.)

I loved how they handled her exit in Series 3, however--I loved how Martha acknowledged that their relationship wasn't healthy for either of them, and that she needed to get out. (Ten staring as his shoes in that scene...gosh...)

And, with the one-sided pining plotline out of the way, I loved her appearances in Series 4! I loved how she actually got to be a doctor and do cool stuff! Also, I know her ending up with Mickey in the end is a very blatant Pair the Spares move, but have you considered: I do not care. I love them. They are so cute. (Didn't Martha have a fiancé in Series 4 though? What happened to him? Did he die or something and I missed it?)

Also, Martha is the most obvious example of what the Dalek's argue in the Series 4 finale--that the Doctor cannot help but make his companions into soldiers.

Donna:

Donna!!! I'll admit, I was pretty neutral about her in her first appearance--but I was so excited to have her back in Series 4. It was a breath of fresh air to have a companion who was very clearly a friend rather than another love interest, and her dynamic with Ten was so different than with any other companion. Their banter was so entertaining, and her lack of tact, though it got her into trouble sometimes, enabled her to say important things to Ten that Rose avoided saying for fear of jeopardizing their relationship, and Martha would have regulated to passive-aggressive muttering under her breath. (Thinking of "you talk all the time, but you never say anything" -esque conversations.) She cuts through Ten's bluster with relative ease, and it's fascinating to watch.

I also love that her traveling with the Doctor helps her grow as a person, flying in the face of Ten's belief that he destroys everything he touches--until the memory wipe, of course. Still, the Doctor Donna is still in there. (Also, was I supposed to think that the woman in white in The End of Time was Donna? That's what I assumed, but I'm not sure if I'm right.)

Rose:

Believe it or not, when I was thirteen years old and tried to watch Doctor Who for the first time, I did not like Rose Tyler. I thought that Rose was annoying, and that Nine was too angry and scary. (Thirteen year old me only got as far as The Doctor Dances, forgive her.)

I liked her much better the second go-round--I think the moment I was really sold on her character was her whole Bad Wolf moment, which makes sense. Her character growth throughout the series is by far my favorite, though I'm not sure I could tell you why. I'm going to try, though!

I think one thing that's pretty easy to forget about Rose is that she begins as quite a similar character to Donna, in that she doesn't have all that much going for her in her day-to-day life--she didn't do all that well in school, didn't go to university, is working at a department store (a job which she loses in the first episode), is living with her caring but rather foolish mother, and is dating a well-intentioned but pretty immature guy. It's a little startling at first glance how quickly she's totally on-board with traveling with the Doctor and being in so much danger all the time (even before she's in love with him), but it makes sense when you consider how little there is left for her at home. There's her mother, there's Mickey. That's it. And once she's seen the beauty of the universe, despite how dangerous it is, she just can't go back.

Just how sold-out she is for Ten (and vice-versa) is one of my favorite things, but also, one of her greatest strengths is her empathy. She's not brilliant like Martha, or a soldier like Jack, or a Time Lord-to be like Donna. What she has is a compassion that allows her to connect with all kinds of people--with a dying Dalek, with a terror-inducing little boy who is really just looking for his mother, with a housewife who is terrified of her abusive husband, even with a time-traveling man responsible for a war-ending genocide of millions.

I'm not going to go too much into Tenrose here (because I talk about it enough on this blog), but I find it so interesting that Rose represents healing to both Nine and Ten. Ten makes it very clear in the Series 4 finale that Rose saved him from himself--and not even intentionally, just by being who she is. Her influence on him is just that strong. (Please excuse me while I weep.)

As I mentioned earlier, I love how in Series 3 and 4, Rose is not physically present, but you can feel her haunting the narrative. You can almost tell when Ten is thinking of her, when her absence or influence on him causes him to make certain decisions, even though he talks about her pretty rarely. And how rarely he talks about her makes her into a sort of mythic figure for both Martha and Donna, making her return all the more incredible.

I also love that it is Donna who keeps seeing Rose everywhere and is so involved with her return. I sort of see Donna as someone Rose could have very easily become if she had never met the Doctor. They both also understand him in a similar way, though their relationships with him are fundamentally different. If the universe had allowed it, they would have been best friends.

Also, while it's sad for Ten, I loved the Tentoorose ending. I honestly couldn't see ending it any other way and keeping the integrity of Doctor Who's themes.

Finally, it has to be said—Ten and Rose are just so much fun to watch. They’re so happy together. They grin at each other like idiots. Ten does not smile like that with that amount of frequency for anyone else in the series, and I’m so unhinged about it.

A few random thoughts on some other assorted companions:

Mickey: Mickey my beloved!!! One of the things I love about the writing of these four seasons is that they are very aware of their own writing--they know that they're making Mickey into the third wheel, but they're also very aware of that fact. Seeing an arc like this handled with such self-awareness was so cool to see. I liked how Rose didn't immediately leave Mickey for the Doctor, she tried to make their relationship work, but they both eventually came to see that their relationship was immature. I also loved how he had his own arcs independent of Rose, and his character growth in those arcs were just incredible. I also think he has some of the most underrated performances in the show--the scene in Pete's World where he finds his grandmother makes me want to weep. And, of course, I love him and Martha together.

Astrid: Liked her quite a lot, I just don't get why we need to be throwing love interests at Ten all the time. Give him a break.

Jackson and Rosita: I mean, I get it, but also...huh??

Christina: Why. Why. Why.

Wilfred: 10/10. No notes.

[em-dash-press]

Character Types for Your Next Story

Great ideas for characters will come and go, but there are always concrete character types that you can count on to carry a plot.

Check out the most common types to see if they're what you need to make your next story come to life.

The Protagonist

This is your main character. They're the central focus of the story, the person who resolves the main conflict, or the individual who grows with or from the story's theme.

You can also have multiple protagonists! 3rd-person POV stories/books often have at least two main characters because switching between their points of view furthers the plot, adds tension, or develops their world for the reader.

Examples: Bilbo Baggins in The Hobbit; Claire Randall in Outlander

The Antagonist

This is your main character's opposition. They'll be the force against which your protagonist clashes to experience the conflict that results in their growth. Sometimes the antagonist functions as an obstacle for the protagonist to overcome. Other times, they're a lesson the main character needs to learn by the end of the story.

You can create multiple antagonists for one protagonist or multipel antagonist for a cast of protagonists. It depends on the story you have in mind and what POV you'll be using.

Examples: The White Witch in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe; Pennywise in It

The Central (Major) Characters

Central characters are what you would call the individual protagonists who make up your cast of characters. They all grow throughout your plot and are essential to the backbone of your story.

Examples: the seven demigods in the Prophecy of Seven in The Heroes of Olympus series; the multigenerational protagonists in Homegoing

The Secondary (Minor) Characters

Secondary characters are often called sidekicks or companions. They're part of your protagonist's life and is along for the ride with them. Although your plot might not be the same without them (if they're a love interest, family member, or another person close to your protagonist), they primary exist to develop the protagonist.

Examples: Dr. Watson in the Sherlock Holmes series; Cinna in The Hunger Games series

The Static Characters

Writers need static characters to essentially remain the same for plot purposes. These characters are typically unaffected by what's happening in the protagonist's life because they're one or two steps removed from it.

Alternatively, your static character can also be antagonist. They're actively involved in your protagonist's life, but they don't undergo any inner changes that result in character growth.

Examples: Dolores Umbridge in the Harry Potter series (she remains unchanged because she has to be a constant source of conflict); Atticus Finch in To Kill a Mockingbird (he remains unchanged because he represents morality and reason to Scout)

The Dynamic Characters

Dynamic characters change throughout a story. They're most often the protagonist or one of the main cast of characters because they are actively involved in the plot.

These could be your protagonist, antagonist, or any other character that undergoes some time of fundamental change.

Examples: Ebenezer Scrooge in A Christmas Carol; Celaena Sardothien in Throne of Glass

The Flat Characters

Flat characters experience no change throughout a story. They may arrive at the end with a different opinion or goal, but they're almost identical to who they were at the beginning of the story.

Don't assume flat characters are boring or unnecessary! They always represent something for the protagonist or the reader. They can also be the antagonist!

Examples: Marmee in Little Women (she's a role model for her daughters and remains their true north throughout the book); Suzy Nakamura in American Born Chinese (she helps Wei-Chen face his complicated feelings about feeling like an outcast for his race by being vocal about hers, but that remains her sole purpose in the plot.)

The Round Characters

When someone talks about a round character, they don't mean the character's physical appearance. Instead, this phrase refers to a protagonist or antagonist's internal depth.

Round characters have complex personalities. They may contradict themselves sometimes or the people they love the most. These characters typically have full backstories and embody the phrase, "they contain multitudes."

Examples: Amy Dunne in Gone Girl; Elizabeth Bennet in Pride and Prejudice

The Stock Characters

Stock characters are flat characters that resemble a stereotype easily recognized by readers. They're your geek teenager with oversized glasses or the best friend who is only there to be the punchline.

Sometimes these characters are written so well that readers don't mind the stereotype. It depends on their relationship with other characters in your story and if they only embody the stereotype up front. Successful stock characters eventually reveal the depth of their hearts or undergo developments that push beyond the limits of their stereotype.

Examples: Rapunzel (the damsel in distress); Alaska Young in Looking for Alaska (the manic pixie dream girl)

The Anti-Hero

Readers love anti-heroes because they're protagonists who start off as the worst version of themselves and grow into the best they can be. There are always external and internal obstacles for them to overcome, which may or may not clash.

They can also start off as versions of themselves that are inherently good, then become more like an antagonist but for the right reasons. Readers may still cheer them on and hope they revert to their previous good ways or read your story to watch your anti-hero follow their worst instincts until the world crumbles around them.

Examples: Dexter Morgan in the Dexter series; Patrick Bateman in American Psycho

The Foil

Typically, the foil in any story is someone who's opposite of the protagonist. They encourage the main character to grow throughout the plot by holding reverse opinions, world views, or values.

Examples: God and Satan in Paradise Lost; Lennie and George in Of Mice and Men

The Symbolic Character

Characters can be great by themselves, but many times they will represent something the author is trying to talk about through their work. A symbolic character is the representation of an aspect of society, an idea, or theme.

Examples: the raven in The Raven (symbolizes the narrator's grief and the presence of death in general); Aslan in The Chronicles of Narnia series (symbolizes God/Jesus)

The Deuteragonist

Deuteragonists are also called the secondary characters. They're the closest characters to the protagonist throughout their journey. They give the story more depth, either through their close relationship with the protagonist or by working against them as or alongside the antagonist.

Examples: Edward Cullen in the Twilight series; Jiminy Cricket in Pinocchio

The Tertiary

You'll rarely see a tertiary character more than a few times in a story. They're background characters that most often create minor conflict on the protagonist's journey with their primary conflict. Tertiary characters add depth to a story's world, but aren't essential to the plot.

However, tertiary characters are important! Without them, there would be no nosy server at your protagonist's favorite coffee shop or supportive librarian at your main character's library.

Examples: Parvati and Padma Patil in Harry Potter; Madame Stahl in Anna Karenina

The Love Interest

Ah, the love interest. They are the secondary integral part of any romantic plot line and may challenge the protagonist to grow through introducing new experiences or points of view.

Examples: Peeta Mellark in The Hunger Games series; Will Traynor in Me Before You

The Confidante

Characters who are confidants are literary devices that help the protagonist reveal their secrets, state of mind, intentions, flaws, and feelings while all of those things are actively changing throughout a story. They can also represent real-life relationships by maintaining a healthy friendship or a manipulative friend.

Examples: Horatio in Hamlet; Samwise Gamgee in The Lord of the Rings series

---

Many of these character types merge to create stories with more depth. Defining your existing or future characters with these terms could help you figure out their role in the plot and how to make your story stronger by flexing the purposes of each type.

[anghraine]

On the one hand, I think "what if after the happily ever after, Our Heroes had problems with their children" is such a default route for sequel plots that I find it trite and boring 98% of the time, even if I like all the characters concerned.

On the other, nothing will shake my headcanon that Elizabeth (Darcy née Bennet) has a difficult relationship with at least one daughter for at least a few years.

... It's not a bad relationship or not loving or whatnot. But I've always thought that Elizabeth's wit and charm and force of personality could cast a pretty overwhelming shadow over a young girl, especially if that young girl was much more quiet and withdrawn, as I do imagine the eldest daughter is. And I find it interesting to imagine how the characters would navigate a complicated dynamic there.

Yet I still don't like the trope in general!

[laufire]

And you know I always want to hear more about the YJ WIP, so Young Justice: Fenix

I'm going to switch things up a bit here. For those who might not know, that's how I call a Jason-centric, longfic WIP of mine set in the Young Justice (cartoon) universe. It takes all four seasons as canon (it cherry picks re: the tie-in comics), and mixes some of my headcanons regarding Jason's character in it with some mainline comics canon that I don't think would apply to the show, but that serve my purposes. AND it throws in some dcau canon (but making it my own) for good measure.

Though the story is largely about Jason, the collision with his old life and the reunion with his family, it's told in multiple POVs. Mainly to advance the plot and not just write a navel-gazing Jason angst fest xDD. I thought I'd list the characters that get to have POVs, and tell you a bit of what they'll be bringing to the story. In order of appearance:

Talia al Ghul. The story opens with her! She's the main plot-mover, because she's in the thick of the actual conflict (vs. the new league of shadows + the light), preparing and moving pieces so things go the way they're supposed to. The dynamic between her and Jason is shaping up to be interesting too: it's different from how I see their comics relationship, AND different from the fanon mother-and-son dynamic. There's some of that, maybe, but due to circumstances and the large gap between him and Damian in this canon (nearly 20 years), he funcitons more as a parental figure than a brotherly one... cue spousification añsdklfjasdf. It's been fun to write.

Jason Todd. He's the main guy. He's going through it xD (also, this version of him didn't go into a pit, so he's healed the slow way and that's had an effect on him.

Dick Grayson. He's running point on The Superhero Side of things, as a leader, as a link between various sets of the plot, etc. His relationship with Jason is still forming. They are closer in age and (in my head) they actually shared time and space in the manor, as brothers, which makes some things easier and something more complicated. He also offers a counterpoint to Bruce (next one). In every instance we see into Bruce's head, we see that (although he rarely exteriorises it), he thinks about Jason. Dick doesn't, he has a mental block the size of a country. Until things come crashing down... very close to his birthday...

Bruce Wayne. He's there to suffer! I say this with affection because yj!Bruce is better than most Bruces but. I enjoy putting him through the ringer. I'm giving him angst about Jason, I'm giving him angst about Damian, I'm giving him angst about this-mysterious-red-hooded-guy... even about Alfred, and about other things I still haven't ironed out completely lmao.

Damian al Ghul. He's at the center of the conflict, what our mains are protecting above all. He's six years old. My goal is to strike a balance with his character, because otoh, yj offers a different version of the al Ghuls, which would change things, but I do love comics!Damian and the edges he comes with. His relationship with Jason tugs at my heartstrings.

Dinah Lance. She has a much smaller part than the ones above, but she has a couple of POV sections of her own. One of the first scenes I wrote for this fic was a therapy session with Bruce shortly after Jason's death, and I didn't want her to be in the fic *just* for that lol. She offers a little insight into the Senior League, into how (what in this world is) a very public child hero's death affected things, etc.

Cassandra Wu San. I simply find this (very, very different) version of Cass fascinating and wanted in her head. I wanted to show her perspective on the other bats, Barbara (who hasn't gotten a POV herself because this version of the character is simply more interesting through Cass's eyes) and Bruce in particular. And I also thought that, timeline-wise, it'd fit that she might've met Jason as the Red Hooded Ninja if they were in the League of Shadows around the same time. So that's fun.

Artemis Crock. I wanted someone on the original team to have a POV as well, and she was the immediate best choice. She can help move the plot on that side (here she's the new team leader), she has insight on the Shadows as well (Jade is also around btw!), I imagine as the teammate who Jason would've connected with the quickest, and we get to see some of her conflicting feelins re: an old teammate being resurrected... and not being the one she misses the most.

Tim Drake. He caused me a lot of headaches because a.) the show version of Tim is really... just there and b.) I started properly planning the fic at a time where I wasn't feeling particularly kind towards comics!Tim. Luckily for my peace of mind I got over that lol, but even then, that period made it so I put extra effort with this character and the result is that he has his own parcel of the plot LOL. Featuring undercover mission, archeology digs, among other treats for him. His dynamic with Jason is complicated (Jason has a lot of feelings that are really more about himself than about Tim, but Tim is sort of in the way of dealing with those lol), added with the fact that when they meet, Jason is still keeping his identity under wraps and he can't air all of that out... yet xD

So basically: the Waynes (though Tim wasn't ever adopted in this version of canon, in my head; his step-mother is still around) or inner batfam circle + Talia + one member of the team + one member of the JL.

ask me about my wips!

[sunflower73498]

My early thoughts on Season 3 Ep 1-5

mostly unprocessed ramblings but things I want to keep thinking about

(1) I think most importantly, Wille and Simon (and the rest of the characters, really) act like actual teenagers - teens don’t have it all together and don’t always communicate their feelings well and sometimes struggle to see things from other perspectives, especially when they are traumatized and grieving. I love that they show what a complicated phase of growing up adolescence is, in a very realistic way. Many teens struggle with lack of control in their own lives and can act out because of it, and in Wille’s case this is majorly amplified by having even less control because of the monarchy.

(2) fandom has idolized Erik, but I’ve never thought he was that great. As the viewer we get him more from Wille’s perspective so an idealized version of him until now, but there are definitely words and actions in s1e1 that were major red flags.

(3) I feel so bad for Wilhelm and his lack of support or interest from his parents. His outburst was deserved. Extreme, and scary, but what he said to them was a long time coming.

(4) I’ve seen people on Twitter saying that this season takes back some of Wilhelm’s character growth in season 2, which I disagree with. A handful of therapy sessions doesn’t fix his grief, the impact of being in the spotlight, his lifelong anxiety, or his parents neglecting him. I’m Season 2 he began a long journey of figuring out what matters to him, but that was just the first step, and I think s3 does a good job of showing how that is very much still a work in progress for him. He is trying, but often missteps and doesn’t communicate well.

(5) really loving getting to explore Simons emotions and reactions more. He’s also a work in progress just from a different starting point. He has his own family trauma, but having the support of his mom and his friends definitely makes a difference in how he approaches problems, even if his mom isn’t always the most attentive either. It’s also a realistic family dynamic with a history of domestic trauma/violence.

(6) I appreciated the hazing plot line. I went to a big public university in the US with very active Greek life, and our sororities and fraternities always had lots of hazing problems. The fraternities much more so, including a kid dying due to the hazing process while I was there, but some of my friends who rushed sororities also had some bad stories to tell.

(7) the acting is phenomenal

there are so many ups and downs for Wilmon and I’m glad the characters are complex and imperfect enough that I feel so deeply for them, even when it hurts as a fan of the ship and the individual characters. It hurts so much at times because it matters and it’s so real. Yeah, not everyone is a rich prince, but the emotions, the struggle for control and identity, is very universal.

(I really hope I’ve tagged this for spoilers appropriately. I’ve been on tumblr for 13+ years but mostly just lurk)