#it seemed like a novel concept to her... I forget how new these things are sometimes...

[batbeato]

deeply fascinated by media with incredible concepts that have fatal flaws that prevent it from fully exploring said concepts.

today's media is yuuki yuuna is a hero (the anime adaptation) which has the idea of magical girls being sacrifices to the gods, tying back into the idea of virginal sacrifice and also going into how tapping into divine powers is too much for humans to take. having these magical girls be objects of religious worship. and yet it also tying into how fighting, even for an incredible cause (saving the world, in this case) can lead to physical damage that prevents you from living the same way you did before (creating many potential parallels with real life soldiers who come back from war with loss of hearing, loss of limbs/use of limbs, loss of an eye/sight, etc. etc.). especially with how the magical girls are lied to by the religious/government officials the same way soldiers that sign up for wars are fed propaganda.

the section of the story where tougo realizes that outside the divine tree, the world is like hell itself, is another moment that can be laden with metaphor: once you are stripped of the shiny propaganda, you realize that the world is actually a terrible corrupt place. or, perhaps, that without the propaganda, war and dying for a cause isn't a beautiful thing, but a terrible one, a cycle with no end where people are sacrificed for ideals and because there is "no other way", but you are always promised that the end is in sight (it will never come). various ways you can interpret it.

...and then yuuki yuuna ends with the divine tree deciding that it no longer needs sacrifices (because the girls almost destroyed the tree? potentially? though this is never actually confirmed to be the reason why) and the girls are cured of any and all disabilities/injuries that they have obtained over the course of the story. hooray.

this ending not only ignores various points set up by nogi (that she will use her fairies to stop magical girls who go berserk, that the tree demands sacrifices, etc.) but ignores nogi's existence entirely. the anime gives her one silent shot (which can be difficult to tell is her, even, given that we have never seen nogi when not bedbound) and tougou never acknowledges nogi in the finale either, despite having 2 years of fighting alongside her returned (this fact is also not mentioned).

the final battle has yuuna telling tougou that as long as they are fighting together, she doesn't care what happens to herself, and she won't forget tougou. and then this entire point becomes moot because the fighting ends completely for an arbitrary reason (yes, you can make logical arguments as to why, but thematically it comes out of nowhere).

(...I also don't even know what to say about disabilities being magically cured. I don't think I have the tools needed to unpack that.)

But yuuki yuuna has these incredible concepts - divine sacrifice, the losses of war, dealing with newfound disabilities, child soldiers - that it executes well up until this point. It's like wonder egg priority's twin, separated at birth (both have incredible concepts and execution up until an ending that seems abrupt and out of place, though in WEP's case this is due to production issues).

Maybe this ending comes off differently from how it did in the original light novel. Maybe some key details were left out. However, it is the job of an anime adaptation to adapt the source material in such a way that viewers new to the material can understand and follow along without needing to consult the original source for explanations, especially about the ending of the show.

(Yes, I am aware that there's a sequel. However, I feel that the anime tries to wrap itself up in a nice little bow, without saying "the adventure continues in the next season!" so it is not important for my point.)

...Another thing is that, if we assume that the intention is that somehow, Yuuna's heroism inspired the divine tree to change its mind (when, somehow, the original magical girl trio... didn't?) this changes a lot about yuuki yuuna. It means that yuuki yuuna isn't a magical girl deconstruction, and all that entails/implies (psychological horror, exploration of trauma, etc.). Yuuki Yuuna is a magical girl reconstruction. It is "despite the horrors, girlhood and friendship prevail!".

To me, this is infinitely less interesting. Yes, that's nice. They prevail for Yuuna because she is the special chosen hero. And for the rest of the magical girls - they suffer until Magical Girl Messiah comes. (Where was this prevailing when Nogi was bedbound, when her friend died, when Tougou lost her memories?)

...Anyway. Yuuki Yuuna has nice concepts. It deals with them well for most of its run. I like that. And I will eventually find a way to will the ending out of my mind, or interpret it in a satisfying way that seems thematically coherent.

[escarlatafox]

Being pretentious about The Book of Laughter and Forgetting and struggling to grasp the notion of “Magic Realism” under the readmore -- (which, imo, is not what it sounds like, and even the Wikipedia page doesn’t truly seem to capture what it seems to consist of, if this book and its elements are any indication)

Still trying to wrap my head around the concept of Magic Realism and the elements of Magic Realism present in The Book of Laughter and Forgetting. My knee-jerk reaction is to reject that it’s present. Although it seems to present instances of Magic Realism, my instinctive reaction is to claim there is no true “Magic Realism” in the novel. What happens with Michelle, Gabrielle and the teacher... Reads overwhelmingly more in the sense of metaphor to me. It is both ‘happening’ (the students look on at the scene, astonished!) and also not happening (no actual fantastical thing takes place) - Kundera speaks of walking the streets, and the people around him are soaring, soaring upwards. But it reads overwhelmingly metaphorical to me, not literal - the vivid description serving to highlight the underlying point being made. The other students’ astonishment as they watch the two American girls and the teacher could be arguably directed at a nonetheless strange but far more grounded reality (the spontaneous dancing) as opposed to the unrealistic (flying upwards). The flying aspect is seemingly the impression the scene has on the other students, but not literally taking place.

However... Tamina’s fate is quite a different matter. There is still some potential ambiguity present (the notion of what is “really” happening, perhaps she died long before her arrival at the impossible island! and it is all some strange dream!) but no, Kundera rejects metaphor. He forces us to confront that a character whose plotline began in such a grounded, seemingly realistic manner, spiralled off into inexplicable seeming absurdity, spiralled up and up into a kind of nothingness with little anchoring it down. You might search desperately for meaning and what’s “really” happening or what the island “really” means, but it is futile ... You come up against the reminder that the unrealistic and realistic aspects of this character’s story are all equally constructed. This is the character’s fate as chosen by the author, starkly incongruent with the “realistic” beginning, but each and every step in the character’s tale are all equally “real” and “unreal” because it is all equally fictional.

It’s the visual equivalent of, say, in a visual medium, the animation that seemed so realistic before suddenly crumbling, falling away, now you only have the pencil outlines - the storyboards - your attention is suddenly drawn to how unrealistic it looks. It’s jarring. You’re not immersed in the same way. Your attention is drawn to the fact that it’s so.... constructed. Not-real. And yet, the story is still going, marching on relentlessly, the character valiantly presses onwards even though their surroundings have changed totally, they are a mere pencil outline, they lack the solidified realistic-looking backgrounds that used to be propped up behind them, but the storyline never stopped running. There is still a clear line of continuity that you’re following, you have to watch on because this IS the fate of the character and this IS where the story is going, your instinct is to think the tape is broken - or that this is some strange diversion - but no, this is the True Version, the Original, there is no other, there is no version of the story where the background doesn’t crumble and the animation draws attention to its synthetic nature. There is no other version of this story - this was always the fate conceived by the author even as the more realistic-seeming groundwork was laid.

It still doesn’t feel like Magic Realism, although the concept is a little new to me. I guess it is, but I’m still trying to wrap my head around it. I still instinctively try to claim that there is no real “magic” elements in this story - because the magic-seeming elements appear to lay bare the fictionality of it all (hinting more at metafictionality than true magic?), it feels disconnected despite the unrelenting line of continuity, the ambiguity, you ask yourself Why Does It Matter? the question of Is There Magic Happening becomes so meaningless. Things lose their meaning. It’s just words on a page, a point being made (what point?)--

Gonna have to sit with this for a while.

[nanowrimo]

3 Most Common Worldbuilding Mistakes for Writers and How to Fix Them

Every year, we’re lucky to have great sponsors for our nonprofit events. World Anvil, a 2021 NaNoWriMo sponsor, helps you develop and organize your characters, plot, and world setting. Today, World Anvil founder Janet Forbes is here to share some pro tips for worldbuilding. Don’t forget to check out the offer to NaNoWriMo writers for 30% off a World Anvil membership!

I talk to hundreds of writers every week, in our World Anvil Q&A live streams, our World Anvil writing challenges, and meetings with our professional authors. And mostly, they’re encountering the same few worldbuilding problems! Here are the 3 most common worldbuilding mistakes, and how you can fix them:

1. Mary-Sue Worldbuilding

You’re probably familiar with the Mary-Sue—a flawless, artificial-feeling main character. Mary Sue Worldbuilding follows in the same vein. If everything in your setting is directly related to your main character, it feels like the world revolves around them. It’s too convenient and artificial. That’s Mary-Sue worldbuilding.

Mary-Sue worldbuilding is usually caused by worldbuilding exclusively around your plot. Introducing larger-scale conflict in the backdrop of your setting, current affairs like civil or religious movements, war, disasters, or technological breakthroughs, can help expand the world beyond just your main character. 

Your main character might interact with these elements, or more usually, with problems caused by them. For example, they might help some refugees from “that war over there”. But your character should not be at the core of everything—they’re not the cause of the war. Other things are happening outside of your story, in the background. (Pro-tip: this is a great way to reinforce your genre and themes, and make your world feel alive and expansive, too!). 

Fixing Mary-Sue Worldbuilding Of course you’ll need a series bible like World Anvil to help you keep these current affairs organized, connect them together, and make sure you don’t lose your notes! Use World Anvil’s worldbuilding templates to get inspired for your big conflicts, and remember - you only need to write a few bullet points to start with! You can always expand more later (we’ll talk more about that in a moment).

World Anvil’s Worldbuilding Templates are custom-made by experts to help inspire and guide your creativity—and you can customize your own templates too!

2. Mosaic Worldbuilding

You know those computer game worlds where each area feels like a self-contained zone? Where the “desert” region and the “forest” region have no trade, communication, or overlap between them? That, in a nutshell, is Mosaic worldbuilding. It ruins suspension of disbelief, makes your novel setting feel false, and can pull your readers out of your story! 

Fixing Mosaic Worldbuilding

The best way to avoid Mosaic Worldbuilding is to make sure that you have a clear overview of your world early on, with each major region and concept penned out in just a sentence or two. That way, each region will feel like a connected aspect of your seamless setting, not a tile shoved on the side. 

On World Anvil, each world setting has a “Worldbuilding Meta” section to help you detail the 10,000 foot overview—the big stuff. And not just your physical world and its people, but your genre, your motivations, and your themes. This invaluable reference tool helps you expand your setting and add more detail, and will also help you sense-check what you’re adding!

Once you have a clear picture of your meta, and know the overview of your world, it’ll be easy to make use of cultural aspects like imports and travellers, cultural diasporas and geographical transition zones to make your world seem more connected and less artificially divided! And you’ll be able to do it without spending too much extra time worldbuilding. Which brings me to my final common worldbuilding mistake…

World Anvil’s Worldbuilding Meta tool helps you focus, streamline and sense-check your world setting! It’s full of guides to create an excellent overview for your worldbuilding project. This is the view mode of Manifold Sky by B.C.G. Wurth.

3. Worldbuilder’s Disease

Sounds nasty, right? Well, Worldbuilder’s Disease is a very common problem—a compulsion to continue worldbuilding things which aren’t actually useful. Here’s my favorite example—the “elven shoes”:

In your world you have elves. They wear shoes. So far, so good. Maybe there’s a plot-point where an imposter’s revealed because they’re wearing the wrong shoes. So you fill in a few details on your series bible. But if you find yourself writing a 5,000 word treatise on elven shoes through the ages… honey, you have worldbuilder’s disease.

I use shoes as an example, but it could be anything. It might be detailing three centuries of monarchy, or expanding unvisited areas in excruciating detail. Sure, it can be fun, but all that time spent on unnecessary parts of your setting isn’t helping you polish the core parts—or get your novel written! It’s distracting you from your primary goal. 

Curing Worldbuilder’s Disease

There are three major causes of worldbuilders disease: 

Lack of perspective

Lovers of prose

Fear of losing your ideas

1. Lack of perspective

Lack of perspective can often lead down a worldbuilding rabbit hole. Keep clarity on what’s important in your setting with tools like World Anvil’s Worldbuilding Meta. This helps you define your active worldbuilding area - not just geographical but thematic areas—which helps  streamline your world and your project, so you can be sure you’re spending your time where it counts!

Also, be clear with yourself WHY you’re worldbuilding the element you’re working on. Keep clear notes in your series bible about how this new element fits into your novel. If it’s little more than set dressing, you only need a few words. For a core concept, you might need more.

2. Lovers of Prose

As writers, we love to write (duh)! But for most of us, writing in prose in our series bible can cause serious problems. Not only does it mean that you write MORE than we should (your get in flow, words happen!), it’s also harder to reference your ideas quickly later on. Stick to short, organized articles in note form. Make sure the salient information is there, and link in anything relevant. You can always expand to prose later if you need to.

Keep your series bible in brief notes with clear headers! This character article took 5 minutes using World Anvil’s character template which automatically adds the headers. The linked articles help me easily reference related people and places as I’m writing.

3. Fear of losing our ideas

Fear of losing our ideas is actually one of the most common reasons for worldbuilder’s disease—that we’ll forget or lose our notes if we don’t write them out in vast detail. To combat this, make sure you have somewhere to keep your world details safe, organized, tagged and searchable. Then you can reassure yourself that you can go back and develop more later if you need it. 

Obviously, World Anvil is custom made for this, backing up everything in one place and linking everything together, so you can easily search, reference and update your series bible whilst writing your manuscript and not have to worry about losing things!

Anything here ring true for you? Or maybe you’re struggling with another worldbuilding mistake or problem? You can always hop into our live streamed Q&A sessions on our Twitch channel and ask us directly! We go live three times a week to answer questions about writing and worldbuilding, as well as helping our community with World Anvil queries too! Maybe we’ll see you there. And happy worldbuilding :)

Janet Forbes is a published fantasy author and RPG writer, whose recent credits include the Dark Crystal RPG with the Henson Company (coming 2021). In 2017, she and her husband created World Anvil, the ultimate worldbuilding and novel writing platform. World Anvil helps you organize, store and develop your worldbuilding and series bible privately, and market your books to the world too! The inbuilt novel writing software, accessible from anywhere, integrates seamlessly with your worldbuilding. And when it’s time to publish, you can export, or publish directly on the World Anvil platform and monetize YOUR way! Check it out at World Anvil.

[dangermousie]

Mousie’s absolutely subjective, very biased Top 10 web novels list

Please note that this is hardly aiming to be objective, if one can even be properly objective about a work of fiction. It is 110% based on my preferences, which means this list is heavy on the angst and has nothing set in the modern day. It is also heavily danmei-centric, even though I read way more het romance than danmei, because for whatever reason, most of the danmei I’ve read has been insanely good.

10. Return of the Swallow - one of the two non-danmeis on this list. Smart and nuanced and with a large cast of characters. Our heroine is a long-lost daughter of the family that is brought back in and has to cope with familial struggles, crazy royals, court intrigue, invasion et al. It’s SO GOOD! There is romance with the sexy smart enemy general but honestly, it’s the heroine that is the main selling point for me.

9. Transmigrator Meets Reincarnator - the only other non-danmei novel on this list, this was my very first web novel and what drew me into this insanity. This is just a ton of fun, probably the lightest novel on this list, not an ounce of angst to be found. But it’s hilarious and features competent heroine and tsundere hero and I will always love it for opening a new world to me. Anyway, our heroine transmigrates into the novel as the female lead. Unlike the original lead though she doesn’t want to seek adventures and angst - she just wants to comfortably live with the wealthy, nice husband heroine has. Alas, said husband is no longer nice since he has previously lived this story where he was betrayed by FL and then transmigrated/reincarnated into the past. Oh well, the heroine opens up businesses and makes friends. And eventually, her husband realizes his wife is way different this time around. This actually doesn’t have much romance, not until close to the end, but this is so fun I don’t care.

8. Lord Seventh - I am only partway through this so far, but it’s already on the list because it’s smart and somehow intense AND laid-back (not sure how this works, but it does) and is honestly just a really really solid and smart period novel, with the OTP a cherry on top of a narrative sundae. Plus, I love the concept of MC deciding he is not going for his supposedly fated love - he’s tried for six lifetimes, always with disaster, and he’s just plain done and tired. When he opens his life in his seventh reincarnation and sees the person he would have given up the world for, he genuinely feels nothing at all. (Spoiler - his OTP is actually a barbarian shaman this time around, thank you Lord!)

7. Grandmaster of Demonic Cultivation (MDZS) - oh come on, how are you even on this tumblr if you don’t know MDZS/The Untamed? This was my very first danmei and it’s so much fun! I love everything about it - the unreliable narrator, the looping structure, the main OTP, Wei Wuxian’s laidback, traumatized insouciance, everything. Anyway, the plot in the event you somehow transported here from 2005 is that the Grandmaster of Demonic Cultivation, Wei Wuxian, was defeated by the righteous sects over a decade ago and fell of a cliff to his death. Only now that same Wei Wuxian opens his eyes in another body and everything that was supposed to stay in the past starts again.

6. Heaven Official’s Blessing (TGCF) - people either love its meandering narrative, picaresque structure and cast of thousands, or find it a detriment compared to much more compact MDZS. I love it even more than MDZS for those very qualities. It does have a rock-solid, darling OTP, but what really elevates it to me are the MXTX trademark combo of snarky/light tone hiding a ton of trauma underneath, the insanely intricate world-building, and what it has to say about the nature of grace and goodness. Xie Lian is one of my top 5 web novel characters and probably in top 10 from anywhere. Oh, and while MXTX’s stuff is not as angsty for me as Meatbun’s or even Priest’s, there are always exceptions, and there is one chapter in this novel that pretty much broke me and sometimes I still flashback to it and feel unwell.

Anyway, what is it about? There is a commotion in the heavenly realm - Xie Lian, the Crown Prince of a long-destroyed kingdom, has ascended to Godhood. That in itself is not so exciting. However for Xie Lian this is the third time (!!!!) as he’s ascended and lost his godhood twice prior. And now, the biggest joke of the divine realm is back, throwing the heavenly realm into chaos. And elsewhere, Hua Cheng, one of the four most powerful demons of that Universe, sits up and takes notice.

5. Golden Stage - my perfect comfort novel. Probably the least angsty of any danmei novel on this list (which still means plenty angsty :P) It also has a dedicated, smart OTP that is an OTP for the bulk of the book - I think you will notice that in most of the novels in this list, I go for “OTP against the world” trope - I can’t stand love triangles and the same. Anyway, Fu Shen, is a famous general whose fame is making the emperor antsy. When he gets injured and can’t walk any more, the emperor gladly recalls him and marries him off to his most faithful court lackey, the head of sort of secret police, Yan Xiaohan. The emperor intends it both as a check on the general and a general spite move since the two men always clash in court whenever they meet. But not all is at is seems. They used to be friends a long time ago, had a falling out, and one of the loveliest parts of the novel is them finding their way to each other, but there is also finding the middle path between their two very different philosophies and ways of being, not to mention solving a conspiracy or dozen, and putting a new dynasty on the throne, among other things. It always makes me think, a little, of “if Mei Changsu x Jingyan were canon.”

4. Sha Po Lang - if you like a lot of fantasy politics and world-building and steampunk with your novels, this one is for you. This one is VERY plot-heavy with smart, dedicated characters and a deconstruction of many traditional virtues - our protagonist Chang Geng, a long-lost son of the Emperor, is someone who wants to modernize the country but also take down the current emperor his brother for progress’ sake and the person he’s in love with is the general who saved him when he was a kid who is nominally his foster father. Anyway, the romance is mainly a garnish in this one, not even a big side dish, but the relationship between two smart, dedicated, deadly individuals with very different concepts of duty is fascinating long before it turns romantic. And if you like angst, while overall it’s not as angsty as e.g., Meatbun stuff, Chang Geng’s childhood is the stuff of nightmares and probably freaks me out more than anything else in any novel on this list, 2ha included.

3. To Rule In a Turbulent World (LSWW) - gay Minglan. No seriously. This is how I think of it. it’s a slice of life period novel with fascinating characters and setting that happens to have a gay OTP, not a romance in a period setting per se and I always prefer stories where the romance is not the only thing that is going on. It’s meticulously written and smart and deals with character development and somehow makes daily minutia fascinating. Our protagonist, You Miao, is the son of a fabulously wealthy merchant, sent to the capital to make connections and study. As the story starts, he sees his friend’s servants beating someone to death, feels bad, and buys him because, as we discover gradually and organically, You Miao may be wealthy and occasionally immature but he is a genuinely good person. The person he buys is a barbarian from beyond the wall, named Li Zhifeng. It’s touch and go if the man will survive but eventually he does and You Miao, who by then has to return home, gives him his papers and lets him go. However, LZF decides to stick with You Miao instead, both out of sense of debt for YM saving his life and because he genuinely likes him (and yet, there is no instalove on either of their parts, their bodies have fun a lot quicker than their souls.) Anyway, the two take up farming, get involved in the imperial exams and it’s the life of prosperity and peace, until an invasion happens and things go rapidly to hell. This is so nuanced, so smart (smart people in this actually ARE!) and has secondary characters who are just as complex as the mains (for example, I ended up adoring YM’s friend, the one who starts the plot by almost beating LZF to death for no reason) because the novel never forgets that few people are all villain. There is a lovely character arc or two - watching YM grow up and LZF thaw - there is the fact that You Miao is a unicorn in web novels being laid back and calm. This whole thing is a masterpiece.

2. Stains of Filth (Yuwu) - want the emotional hit of 2ha but want to read something half its length? Well, the author of 2ha is here to eviscerate you in a shorter amount of time. This has the beautiful world-building, plot twists that all make sense and, at the center of it all, an intense and all-consuming and gloriously painful relationship between two generals - one aristocratic loner Mo Xi, and the other gregarious former slave general Gu Mang. Once they were best friends and lovers, but when the novel starts, Gu Mang has long turned traitor and went to serve the enemy kingdom and has now been returned and Mo Xi, who now commands the remnants of his slave army, has to cope with the fact that he has never been able to get over the man who stabbed him through the heart. Literally. This novel has a gorgeously looping structure, with flashbacks interwoven into present storyline. There is so much love and longing and sacrifice in this that I am tearing up a bit just thinking of it. If you don’t love Mo Xi and Gu Mang, separately and together, by the end of it, you have no soul.

1. The Dumb Husky and His White Cat Shizun (2ha/erha) - if you’ve been following my tumblr for more than a hot second, you know my obsession with this novel. Honestly, even if I were to make a list of my top 10 novels of any kind, not just webnovels, this would be on the list. It has everything I want - a complicated, intricate plot with an insane amount of plot twists, all of which are both unexpected and make total sense, a rich and large cast of characters, a truly epic OTP that makes me bawl, emotional intensity that sometimes maxes even me out and so much character nuance and growth. Also, Moran is my favorite web novel character ever, hands down.

Anyway, the plot (or at least the way it first appears) is that the evil emperor of the cultivation world, Taxian Jun, kills himself at 32 and wakes up in the body of his 16 year old self, birth name Moran. Excited to get a redo, Moran wants to save his supposed true love Shimei, whose death the last go-around pushed him towards evil. He also wants to avoid entanglement with Chu Wanning, his shizun and sworn enemy in past life. And that’s all you are best off knowing, trust me. The only hint I am going to give is oooh boy the mother of all unreliable narrators has arrived!

The novel starts light and funny on boil the frog principle - if someone told me I would be full bawling multiple times with this novel, I’d have thought they were insane, but i swear my eyes hurt by the end of it. I started out being amused and/or disliking the mains and by the end I would die for either of them.

[jiilys]

would u help me out for a second. im in the mood to write for the first time, and i think your style is beautiful. sitting down n actually trying though, im stuck as fuck! i’m realizing that in your dialogue/scenes you’ve got a lot of Little Things. little tiny elements that are subtle & just enough. how are you deciding that lily is building a house of cards at the moment or sirius is sitting in a tree or whatever during a given scene? how do you come up with those ideas for dialogue that are so silly & real & sneakily tender? do you know where it’s going when you begin? any advice for just… starting something?

ps: i appreciate you. you make it look easy & that’s very very cool

This is a lovely question!! Sorry it took me so long to get to it, I didn’t want to get it wrong. Also I’ve included some examples to try and explain what I mean in practise, but it also comes off rather like plugging. tragically this is unavoidable. Anyway, all that being said I have no idea how to advise you about dialogue and coming up with it, I think just listening to people talk helps. Don’t forget contractions, and when in doubt always trust the reader to keep up, real people don’t say perfect or even grammatically correct sentences a lot of the time. We also cut each other off all the time, especially when we’re trying to be funny. Like, here’s an example from warm front:

“He’s not even two. He probably would have thought it was, like, having a lie down or something.”

Harry was laughing now, “A lie down?”

“Yeah, a spontaneous, truck-induced–“

“–Permanent–“ “

–Permanent, lie-down. I’m almost jealous now actually.”

Another thing, but people say um and like or can't speak or cut themselves off, especially when they’re nervous. James when Lily says she loves him for the first time: ‘“Wow,” He breathed, “I’m– wow.” He put both hands on her cheeks and kissed her crazy, abruptly, dumbly. Her head spun.’ He can’t even speak! Dumb boy.

I think natural dialogue sometimes just requires you to read it aloud, which is very embarrassing but ultimately quite useful in trying to figure out whether something sounds normal or not. Use casual words, and try not to go dictionary hunting: if you cant think of the word chances are your character can’t either

In terms of concepts I have no idea, but I do have a few tips. I write all my short one-shots in one document (its called ‘just bad’ lmao) so its easy to start something, write a few lines, and then if it doesnt work just start a new concept, but still have all the old stuff handy. if you feel like you’ve written yourself into a corner its probably because you took a wrong turn earlier, so its just a matter of going back up and figuring out where you turned onto the dead end, or where a line could be funnier and/or sadder and/or more meaningful. Sometimes the bare bones of a decent line is there but you have to work it a little.

In this harry/ginny thing where harry is apologising for all the attention and ginny brushes him off she says:

“It’s nothing,” her voice, all force, “Anyway, it’s more funny than annoying.”

The response went through a few drafts, all variations on the same thing:

(1) “You’re funnier.” [too short, doesn’t make sense, and not really that funny. unholy trinity]

(2) “You make it funny.” Harry said, looking at her for real, “It’s not– you make it like that.” [this could work! I have no idea why I cut this, I think I forgot abt it lmao]

(3) “You’re the funniest person I know, Harry said, sincerely, and Ginny felt her heartbeat all through her, “You make it funny.” [jumping from ‘its more funny than annoying’ to getting this sincere out of nowhere is a little much, even for harry who is famously whipped]

I ended up going with this:

“It’s nothing,” her voice, all force, “Anyway, it’s more funny than annoying.”

“You’re funny.” Harry said, looking at her for real, flustered, “I mean– you make it funny. That’s all you.”

It follows the flow of the conversation and I think the way he says it, ‘you’re funny’ like its obvious, and then being like oh fuck and over-explaining it stumbling a little “I mean– you make it funny. That’s all you.”. You know when you like someone and you say something that gives you away before you can stop yourself? I wanted it to sound like that. Just gotta keep in mind how people behave, we are so stupid a lot of the time, we give ourselves away.

The thing about short stuff i find is implying a lot of history without actually describing a lot of it. I normally do this by having memories come up as almost shards, one second of feeling. You know when you’re in a conversation with someone and they mention someone or a past event, and it rises to the top of your brain, but only for a second? i find sometimes when you’re reading stuff people will try and replay entire memories or events mid-conversation, which is not something you do when you think. You don’t need to replay it beat by beat, you were there! This sounds vague as hell so I’ll try and show you what I mean:

From good crimes: “Petunia is engaged.” Lily’s voice, raw and wrong, “To Vernon. Eliza Hunt told me at the supermarket.” Sudden flashes of Petunia, the only time he’d ever met her, sat in the back of Lily’s twenty-first, pinched and whispering. “Whose Eliza Hunt?” This seems as good a thing to say as any.

pretty on the nose (the phrase ‘sudden flashes’ is pretty so i'll allow it from past me). But see how you don’t need to know how Petunia didnt talk to anyone, how she left early, how she was the odd one out: you don’t need to read all that, you already know because she was sat in the back and because pinched is such a mean verb, spiteful and sharp, you can already imagine how the evening went without me saying so

From my proposal take, after Sirius finds out they’re engaged: Sirius’ grip on his shoulder tightened for one second, still grinning, and James knew what he meant. “I know.” He said, because only Sirius had been there for all of it, when they were fifteen, drunk on Firewhiskey for the first time and James had said I think I’ve fucked it, I think I’ve fucked it but I like her for real.

you don’t need a description of the whole night, what party they were at, who they were with, what they were talking about: the important bit is that Sirius was the first person he told, and that they’re both remembering that at the same moment because they’re soulmates lmao. You know when something big happens for a friend and you feel so full of pride & love that you feel like you’ll burst into confetti?? this needed to feel like that, and you only need a flash for it

I feel like I’ve sort of strayed off from what you asked me, which is really advice on how to start something. I normally start with a line, usually of dialogue, and then try and build from there because dialogue is my thing. You might have a different thing! Some people write from concepts or locations, or an image. i might start with one or a few lines of dialogue, write them down, and then try to build from there. For example for the proposal thing I started from james just saying “Marry me”, which I find more romantic than ‘will you marry me’, purely because it sounds like he simply couldn’t stop himself from saying it, like it rushed out. Another example, this thing started from just “don’t be mad at me” “okay” James agreed instantly, because he is such a sucker for her.

When I write I don’t normally know where I’m going! I normally set out to write something I think is vaguely funny and evokes An Emotion, and then I just play around with stuff until I get there. when I write certain stuff and I have scenes in mind, stuff I want to happen, but I find that if I try to plot it to tightly its not exciting to work on, because sometimes you write a good line by accident, that you hadn’t thought of when you sat down, and you surprise yourself. That is a really nice feeling! i want to maximise that feeling.

'What I mostly try to remember is that writing something down, anything down, is useful. Sometimes you write for a whole night and dont get anything useable, but its like clearing pipes. Sometimes you have to flush through shit to get to the good bits. All the rough stuff, the things you don’t like or didn’t work, you wrote to get you to the stuff that did work. All of the bad shit got you here! It wasn’t a waste, you were working to find the good thing

If I had any tips its just the usual stuff, read! It is annoying how much that helps. Also, and I know this may make you shudder, but reading poetry is useful just because in no other literary or media form is language so important. In comics you have pictures, in novels you have plot and character, in film you all that and cinematography, but in poetry you live and die by how good the words are. If you want recs here’s my poem roundup tag, that I do sometimes, or if you want something just now read this by Anne Carson, which uses words like ‘smashing’, ‘boatwash’, and ‘green’ in the best way possible. Also it has these lines: “Recently having learned to recognize the type of tree called sycamore, / I see them in any forest— / the ones that look harrowed, / in shreds, but / go also / straight up into life,”

I mean, think of a sharper image than that?? It’s not possible. Just try remember to stay true to your characters and that in real life, the little stuff is the big stuff. Little things the people around you do normally show they care more than big speeches, and if you want to show love that’s how to make it feel lived in. You want to build a world! the little stuff is usually the world. Take some from your own or dream the ones you wish you had.

This truly was a very kind message and I’m so grateful you like my stuff, I hope any of this was even half-useful, although now reading it back it is borderline nonsensical. I’m going to bed now, good luck with the writing, and don’t forget to send it to me!!

caro xoxo

[castiel-left-his-mark-on-me]

Okay, i kno you must got this question a million times. But seriously, what makes you think jensen and misha are (were?) together?

I do get this question a lot, but that’s okay-- I am always in the mood to talk about Cockles.

It is a lot of things. First and foremost, the assumption that people are “straight until proven queer” is frustrating. If I die and all the untold truths of the universe are revealed to me, and one of them is that Jensen and Misha are both 100% straight (I’ll be shocked but ...) I’ll accept that without issue. However, not only has Misha spoken openly about his polyamorous relationship with his wife and their female friend, but his wife also wrote about it in her book (meaning that Vicki is bisexual, so he’s obviously cool with the concept). He has also told many stories with implications of his intimate relationships with men. From his various stories involving Darius, to his college roommate, Nico who confessed his love for Misha, and the fact that Nico made that confession because he witnessed Misha and another male friend "spending the night” together in Misha’s room, therefore “he thought it was okay” to confess his feelings ... plus Misha’s support for the LGBTQ community, and his comfort with “joking” about being intimate with his male costars and friends, all make me think that the man is a Kinsey 4 at very least.

Now, as for Jensen ... he’s a little more complicated, a little more subtle, but the combination of so many little things, plus how he and Misha act around one another makes me think that he is also not straight, and he very much enjoys being not-straight with that Blue Eyed Cutie Patootie. From Jensen’s early days, cheerleading and acting in school plays in spite of being bullied, to his very non-traditional Texan affect, to his comfort level with being physical with the men in his life (caresses and soft touches, hugs, standing very close to one another ect) to how he sometimes speaks to them, the roles he took on -- soft, sensitive “boyfriend” roles in soap operas and teen dramas, to seemingly bi-sexual roles in movies (i.e. “Blonde”), to quirky-- very liberal roles across from his future wife, where he got to wear make-up and pro-feminist clothing, and nail polish (i.e. “Ten Inch Hero”) that he admitted was “fun” to act in.

He doesn’t seem to only want to portray the “manly-man” and as someone who’s grown up knowing a lot of Texans, that’s not a common mindset. As Jensen said himself in that previously linked clip-- sometimes people forget that he’s not actually Dean. He’s an actor and he enjoys looking in the mirror and seeing new versions of himself; but if he were that typical “man’s man”, a hardcore Texas cowboy who must remain stoic and rough around the edges, I don’t think he’d enjoy seeing himself differently. In contrast, just look at Jared (and this is not meant as Jared-hate). Jared is also a Texan, but he is WAY MORE like the Texans that I’ve grown up knowing. He’s a little cocky, has a frat boy sense of humor and basically plays the same kind of roles over and over. Yeah, he might be “the pretty boy” but he’s “pretty” to the average middle aged white woman. He’s the Fabio on the cover of romance novels. He’s built, and he’s “tough” and he’s not typically emotional unless he’s just lost the love of his life ... he’s played that character in basically every show or movie he’s been cast in, and I have a feeling he will always play that character. Why? Because that’s how he sees himself, and straying from that would be hard for him; and that’s totally fine! Again, no hate; but the fact that that sort of mindset is something I’ve seen a lot of in the “typical straight Texan man” and then the fact that Jensen is pretty much none of that, is telling. Yes, Dean is a bad boy and macho, but he’s almost a parody of that kind of guy. He is macho with a soft side, he is a deadly bad boy who is kind and soft with children and animals. He likes hardcore guy-movies and porn, but also watches anime and chick flicks. He is a walking contradiction to the typical male-ego normally portrayed in film, and that’s why his character is so intriguing, and that’s why Jensen is so intriguing because he always gives his roles layers and dimensions and nuance that go against what we normally see. And to act in those kind of roles, to bring them to life like that ... I feel like there has to be some truth to it. So, all this is to say that Jensen is not your “typical straight Texan” ... he is something different, something more, and that’s never more clear than when he’s letting loose around Misha...

His accent kink, flashing him, straddlegate, the looks, the anniversary dinner, the compliments, the valentine’s card, matching clothes and accessories, and so on and so on . Plus, there is how others react to them being around one another ... like Jared (for more, just search my shipper!Jared tag) and Ruth. It all points to something being different about Jensen and Misha’s relationship with one another. Jared and Jensen have a very typical older/younger brother relationship-- where Jared acts goofy and annoying and Jensen just rolls his eyes at him, until they can act goofy and annoying together against someone else (i.e. Misha or Alex) and then they’re a team. But Jensen and Misha have something else. There’s a fondness there. There’s adoration and acceptance and comfort and secrecy. They seem to live in their own, little world when alone-- and even when they’re not alone. They talk to each other rather than the audience if they’re on stage, and half of what they say is in hushed whispers and private jokes. They act exactly how my husband and I do when we’re in public. We both prefer each other’s company anyway, so the rest of the world just dissolves away. And that’s the main point I’m trying to make I guess ... Jensen and Misha act like a married couple. Not just in the bickering and silliness, but in the trust-- in the closeness, in the solidarity of their words and touches.

Jensen and Misha aren’t straight ... and they aren’t just friends.

They are “together” in whatever way you interpret that word, and I think that it’s one of the most precious things I have ever witnessed.

[fireemblems24]

Post Grondor Field AM Analysis

I'm prefacing this by saying that I'm still not sure I can write a good analysis of this scene for two reasons:

1. I don't know what comes after, and

2. I'm very emotionally involved in what happened.

But I tried my best. One thing is for sure though, what happened in Grondor in AM was an incredibly significant turning point for AM and Dimitri and my thoughts and analysis on it will definitely expand as I keep writing about and playing the game.

Part of me is just so happy I got to see Dimitri's supports, have the inevitable turn around, and get to do things like tea and dinner time again that it's hard to be objective about this scene.

And by "this scene," I don't mean that actual fight at Grondor, but everything from Fleche's attack to Byleth's words in the rain later.

It wasn't all about Byleth . . .

Given how poignant Dimitri's character arc has been so far, I had a deep rooted fear player-pandering would ruin it. Byleth, as a concept, isn't bad, but too often the heaps of praise feel underserved and other things (like Claude's intelligence, Edelgard's relationships with everyone else) get ignored to make more room for player-pandering.

Thankfully this did not happen. Byleth, throughout the early chapters of AM's part 2, failed to reach Dimitri. And, honestly, seeing Byleth actually struggle for once has done wonders for how I view her character. Still, I worried that player-pandering-power, rather than something that felt earned, would cause the inevitable eye-opener for Dimitri.

But it wasn't just Byleth. Fleche's vengeance kicked everything off, what veered Dimitri away from his fate in other routes. He accepted his death at her hands, not bothering to defend himself. Rodrigue stepping in the way and his parting words forced Dimitri to confront things he'd ignored. Throughout AM so far, people have posed questions to Dimitri who refused to answer them because he didn't want to face what they asked. But Rodrigue dying for him, spending his final words telling Dimitri to live for himself - combined with Fleche's attack - forced Dimitri to confront things he avoided. It wasn't until after all of that when Byleth steps in.

And Byleth didn't "fix" him either. Dimitri's supports show a young man who's still very much struggling with his mental health, poor self-image, his previous actions, and wondering if he deserves not only to live for himself - but if he even deserves to live. Byleth didn't hand-wave Dimitri's problems away.

Everything about the scene is stronger because it didn't fall back on player-pandering, but more earned, realistic, and dramatic actions and consequences - including Byleth's involvement which felt far more earned than usual because of prior failure.

But I wish Dimitri's friends played a bigger role.

Not everything was perfect though. I wish we got a little more than we did from Dimitri's house mates - especially his childhood friends Sylvain, Ingrid, and extra special mention to Felix and especially, especially Dedue.

Throughout all of AM, none of the above mentioned characters feel utilized to their full potential. This isn't a problem exclusive to AM, and by all means it's far from the biggest offender, but given how close all the ties are in AM, it's felt when it's not there.

I still don't know what exactly I would've done with them. Maybe I'd need to make the game an actual novel to do it, and you can't forget how perma-death has historically held back games at times, limiting major moments to a select few "retreat" candidates.

Still, though, getting a bit more from Ingrid, Sylvain, Felix, and Dedue would've made the scene even more powerful.

I actually really liked the scene in the rain.

I haven't made it a secret that I dislike Byleth. Or maybe disliked is more accurate. Lately I've been rethinking my stance on Byleth, in part because I've heard from people who like her or found ways to make her work and from my own thinking about the game while planning future write ups.

I don't think it's Byleth I really dislike, but the player-pandering. Separating the two isn't easy, but it's easier since I've starting coming around to seeing Byleth as her own character.

There's been a few moments that made me care for Byleth, and this scene in the rain was one of them. Because she didn't just fix everything. She tried and failed for months to reason with Dimitri, and despite everything she never gave up on him or failed to keep offering her hand.

I'm not going to lie. I got all the bubbly, heartwarming, heartbreaking feels the writers wanted me to in this scene. Seeing Byleth reach for something and fail, and then finally, finally get through was rewarding in a way many of Byleth's prior accomplishments aren't because this one felt earned. And by God did she earn it.

Some people will likely disagree with that last point, but I disagree with them. She asked Dimitri hard-hitting questions, forcing him to come to unpleasant conclusions rather than trying to force him into anything. She kept Dimitri from veering to far off course, even at expense to herself when she killed Randolph. She saved Dimitri from Fleche when he refused to save himself. She quietly supported him, coaxing out the good she knew was still there and refused to give up on.

I'd never in a million years say someone in real life should put up with Dimitri's toxic behavior and verbal abuse, even considering his extreme trauma and aggravated mental illness. But seeing someone fuck up so badly still get forgiven, still get supported, still struggle but honestly change for the good, still get loved, start to accept and forgive himself through the power of love and forgiveness from others is very powerful, especially since media so often downplays those "softer" things as weakness in comparison to the "badassery" of ambition and stoicism. Using Byleth, who previously had little experience with feelings, who was encouraged to experience them in healthy ways by Dimitri, return the favor isn't really the worst choice.

It's cliche, but cliches aren't always bad.

The mentor dies. Redemption in the rain. Revenge against the protagonist's actions opens their eyes. Etc . . . This scene was chuck full of cliches, but that's not necessarily a bad thing.

Tropes serve an important narrative purpose because a writer can rely on them to convey a message to the audience that either saves time or sets them up for something unexpected or even expected. Fire Emblem has always and will always be incredibly cliche and full of tropes. It loves tropes so much there's in-universe ones that make some unit or character discussions sound like a foreign language to people outside of or new to the fandom, talking about "Ests" and calling someone a "Camus."

What matters is if a story pulled something off well, not if it's terribly unique. A mentor dying is powerful because it forces the student to grow. Redemption in the rain is high symbolic of water washing things away + the somber atmosphere rain creates. Someone trying to get revenge against a character provides an eye-opening experience about the ripple effect of their actions. We see these things in fiction all the time because they work.

All the tropes worked like expected in this scene. Using images instead of cut scenes did make less of an impact, but more on that later.

Tl;dr: There's nothing unexpected or terribly unique about what happened. It was honestly painfully predictable, but that doesn't make it bad and is in a series that does this all of the time.

The voice acting carried because those images can't.

A major downside to this scene is that it used vague images instead of a cut scene. I get that budget and time were likely concerns, but many cut scenes from earlier in the game seem rather trivial. Did we really need that dance one? Really? I don't think so.

This was a hugely important, action heavy moment. Using one or two still images to convey everything that's happening and all those emotions, really makes it less than it could've been.

That said, the voice acting saves it. I've raved about how amazing Chris Hackeny is as Dimitri, so nothing new here. Rodrigue's and Fleche's VAs also did a fantastic job. No one oversold or undersold the emotions. Even without the cut scene, you felt what happened thanks to the skill of the actors. This scene would've been so much harder to engage with without them, if this was an older FE game where all you got was text. This is 100% one of the moments highly elevated by the decision to have a fully voiced game and choosing high caliber talent (let's not talk about Radiant Dawn's voice acting).

Questionable support timing.

One issue I had came right after the scene when I viewed Dimitri's supports. The nature of some - like his with Raphael and Alois - didn't quite line up with the character I saw in dialogue right after. I wish they staggered them a bit more or got picker about what you could get in part 1 or 2.

This isn't limited to Dimitri either. In the same support batch, I also got a Marianne B support where she still had no confidence or self-worth. And then like 10 minutes later I talk to her in the monastery and she mentions about how seeing all the death in Grondor made her value her life even more.

In the past, I've also received entirely valid opinions that Dorothea in part 2 is hard to understand because she's cherry and flirty in her supports, and morose and hates the war in her monastery stuff, making her seem inconsistent.

It's a bit jarring. It's not really an issue for characters who don't change much like Edelgard or Raphael, but even for characters with more subtle differences than Dimitri, Marianne, and Dorothea - like, say, Lorenz - you get a lot of weird stuff because of supports. I just think Dimitri's stands out because he's a main character with a really prominent, important turning point for his growth.

[unohanadaydreams]

Okay I’m mentally prepared to ramble about the Hell Arc. No panels, just words.

The first blurb is definitely Ukitake speaking and I’d like to think it’s hiding some bitterness and regret, since he’s in hell, but you know I’m not gonna hold on to hope that it’s anything deep.

Orihime being resigned to laundry as well as just NOT knowing where her son is??? I’m sorry the same Orihime that can sense Ichigo like it’s her fucking job? But y’know uwu it’s okay to be a housewife and this is definitely Kubo showing off his depth of feminist theory and not shoving Orihime in the background bc wife clean and cook and nothing else ooga booga.

Kon as a babysitter is horrifying. The implication that they’ve kept him as a teddy bear for all these years is even more so. Like damn you can’t ask Urahara for ONE gigai after you saved the world, Ichigo? Hope youre paying him a living wage for helping you navigate the terrible twos. Tbh I think it would’ve been better to have a new sidekick and for Kon to be working for Urahara now.

Okay I do think the kid sending souls to Hell on accident is pretty funny. But also it’s definitely Kubo forgetting that Orihime is in the picture and Kazui is not Ichigo. He has more than Isshin; he has Orihime as his mom. He has someone who cares very much that he’s still in his bed and is someone he would talk to about uuuuh sending ppl through a portal. I know women are a different species and are incredibly hard to grasp because of that so it’s okay Kubo.

Ichika being taught by Ikkaku and to a lesser extent Yumichika is very good. Love that enough to gloss over my disappointment at Rukia not teaching her. I just know Byakuya is probably a lil bitter about it too. Rukongai rats 1 Noble clan 0

Booooo Kubo, get off the stage. Pointing out Orihime is at home doing laundry does not fix that she’s there. If she’s not gonna stop Kazui from doing whatever the fuck she might as well be eating bad ramen too.

MAYURI MY BELOVED. You’re so right, king, Urahara is a tasteless capitalist unlike you, who fully commits to the too-organic technological horrors the Seireitei deserves.

Did Kubo forget how to draw Rangiku? Why the fuck is her face so moe. Some of the women look pretty off in the face over all but with Rangiku it’s jarring. I know her face got more moe somewhere in tybw arc but jfc it’s worse here.

I find it hard to believe that Shunsui would stick to a tradition that demands all lieutenants be away and in the human world all at once but maybe he just doesn’t give a shit about anything nowadays. Depression is leading the Gotei 13 now.

It’s not a Bleach surprise attack unless a woman is grievously injured right off the bat.

That being said, I do enjoy the two new lieutenants. The hakama shorts are a Choice but they work somehow. Also a zanpakuto being on nails is fun.

Kira and Akon ❤️ I’m glad Kubo retconned the novels so Kira could make his entrance in a hoodie and black tabi. Hope he gets more depressing and bitter moments tho. Also Akon having so much panel space…..I’ll never recover.

Hell Szayel is so fucking horny which is astounding considering like everything he did was a sex joke in Hueco Mundo arc. His sex appeal has aged like fine wine. Also pure comedy that Ichigo can only ask who he is. If only Uryu were there 😔

So did they have ceremonies for Gin and Kaname because if not then???? Like I understand it’s impossible to make this gel 100% bc its not based on anything other than wanting characters to come back as cool demons and is actively working against previous canon but c’mon. They would’ve noticed before this when no ceremony for Gin and Kaname was held and their reishi haunted everyone via molasses rain drops.

That being said, I love love love the concept of characters coming up from Hell with not holes within them but outside them. They do not need to consume others to feel completion, they are consumed to the point of wanting to fill others. Don’t you recognize me? Don’t you see what you’ve done? Don’t you long to fill that hole inside of you, too? All it takes is dying to reach that nirvana of knowing who you are and what you feel in swirling completion. Even fallen, the fruit of knowledge is divine.

I want Ukitake to say he’s glad Shunsui lived to his face while looking so heartbroken that he didn’t get to live too. I want these two to cry across from one another with a flashback to their idyllic youth. I want it *grabby hands*

Sosuke Aizen has disappeared as in dead? Or are they counting ‘out of Seireitei’ as disappeared. Honestly 50/50 whether he’ll have a form of cameo. On one hand he’s incredibly popular, on the other hand Kubo was floundering with him during tybw so I can’t imagine he gives a shit to bring him back.

As far as new lore for hell butterflies goes, I guess we’ll see how interesting it gets but I highly doubt it’s going to get a lot of thought.

With the way Kazui is smiling, it makes me wonder if someone taught him about the shrine and sending souls to hell. Does he recognize the door? Is Kubo implying that Ukitake has had contact with Kazui? I mean, it would make a LOT of sense considering the fish he was riding, the ritual he knows. It would also make sense why the soul reaper badge was highlighted; Ukitake has been around in some capacity before officially being stomped to hell???

Definitely me thinking too much about it but also there’s no way Kazui just knows this shit without someone from Hell telling him about it even covertly.

This entire arc set up definitely seems like it’ll bring some worthwhile angst and maybe some moments for the more unexplored characters if characters like Akon getting screen time is any education.

Overall not hoping for anything other than good Hell designs and seeing characters do things.

If I don’t see Kenpachi with his beefy titties out I will be disappointed. That’s my bare minimum.

[sabugabr]

Why the Clone problem in Star Wars animated media is also a Mandalorian problem, and why we have to talk about it (PART 2)

Hi! I finally finished wrapping this up, so here’s part 2 of what has already become a mini article (you can find Part 1 here, if you like!)

And for this part, it won’t be as much as a critic as part 1 was, but instead I’d like to focus more on what I consider to be a wasted potential regarding the representation of the Clones in the Star Wars animated media, from the first season of The Clone Wars till now, and why I believe it to be an extension of the Mandalorian problem I discussed in part 1 —  the good old colonialism.

Sources used, as always, will be linked at the end of this post!

PART 2: THE CLONES

Cody will never know peace

So I’d like to state that I won’t focus as much on the blatantly whitewashing aspect, for I believe it to be very clear by now. If you aren’t familiar with it, I highly recommend you search around tumblr and the internet, there are a lot of interesting articles and posts about it that explain things very didactically and in detail. The only thing you need to know to get this started is that even at the first seasons of Clone Wars (when the troopers still had this somewhat darker skin complexion and all) they were still a whitewashed version of Temuera Morrison (Jango’s actor). And from then, as we all know, they only got whiter and whiter till we get where we are now, in rage.

Look at this very ambiguously non-white but still westernized men fiercely guarding their pin-up space poster

Now look at this still westernized but slightly (sarcasm) whiter men who for some reason now have different tanning levels among them (See how Rex now has a lighter skin tone? WHEN THE HELL DID THAT HAPPEN KKKKKKK) Anyway you got the idea. So without further ado...

2.1 THE FANTASY METAPHOR

As I mentioned before in Part 1, one thing that has to be very clear if you want to follow my train of thought is that it’s impossible to consume something without attributing cultural meanings to it, or without making cultural associations. This things will naturally happen and it often can improve our connection to certain narratives, especially fantastic ones. Even if a story takes place in a fantastic/sci fi universe, with all fictional species and people and worlds and cultures, they never come from nowhere, and almost always they have some or a lot of basing in real people and cultures. And when done properly, this can help making these stories resonate in a very beautifull, meaningfull way. I actually believe this intrisic cultural associations are the things that make these stories work at all. As the brilliant american speculative/science fiction author Ursula K. Le Guin says in the introduction (added in 1976) of her novel The Left Hand of Darkness, and that I was not able to chopp much because it’s absolutely genious and i’ll be leaving the link to the full text right here,

“The purpose of a thought-experiment, as the term was used by Schrodinger and other physicists, is not to predict the future — indeed Schrodinger's most famous thought-experiment goes to show that the ‘future,’ on the quantum level, cannot be predicted — but to describe reality, the present world.

Science fiction is not predictive; it is descriptive.”

[...] “Fiction writers, at least in their braver moments, do desire the truth: to know it, speak it, serve it. But they go about it in a peculiar and devious way, which consists in inventing persons, places, and events which never did and never will exist or occur, and telling about these fictions in detail and at length and with a great deal of emotion, and then when they are done writing down this pack of lies, they say, There! That's the truth!

They may use all kinds of facts to support their tissue of lies. They may describe the Marshalsea Prison, which was a real place, or the battle of Borodino, which really was fought, or the process of cloning, which really takes place in laboratories, or the deterioration of a personality, which is described in real textbooks of psychology; and so on. This weight of verifiable place-event-phenomenon-behavior makes the reader forget that he is reading a pure invention, a history that never took place anywhere but in that unlocalisable region, the author's mind. In fact, while we read a novel, we are insane —bonkers. We believe in the existence of people who aren't there, we hear their voices, we watch the battle of Borodino with  them, we may even become Napoleon. Sanity returns (in most cases) when the book is closed.”

[...] “ In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find — if it's a good novel — that we're a bit different from what we were before we read it, that we have been changed a little, as if by having met a new face, crossed a street we never crossed before. But it's very hard to say just what we learned, how we were changed.

The artist deals with what cannot be said in words.

The artist whose medium is fiction does this within words. The novelist says in words what cannot be said in words. Words can be used thus paradoxically because they have, along with a semiotic usage, a symbolic or metaphoric usage. [...]  All fiction is metaphor. Science fiction is metaphor. What sets it apart from older forms of fiction seems to be its use of new metaphors, drawn from certain great dominants of our contemporary life — science, all the sciences, and technology, and the relativistic and the historical outlook, among them. Space travel is one of these metaphors; so is an alternative society, an alternative biology; the future is another. The future, in fiction, is a metaphor.

A metaphor for what?” [1]

A metaphor for what indeed. I won’t be going into what Star Wars as a whole is a metaphor for, because I am certain that it varies from person to person, and everyone can and has the total right to take whatever they want from this story, and understand it as they see fit. That’s why it’s called the modern myth. And therefore, all I’ll be saying here is playinly my take not only on what I understand the Clones to be, but what I believe they could have meant.

2.2 SO, BOBA IS A CLONE

I don’t want to get too repetitive, but I wanted to adress it because even though I by no means intend to put Boba and the Clones in the same bag, there is one aspect about them that I find very similar and interesting, that is the persue of individuality. While the Clones have this very intrinsically connected to their narratives, in Boba’s case this appears more in his concept design. As I mentioned in Part 1, one of the things the CW staff had in mind while designing the mandalorians is that they wanted to make Boba seem unique and distinguishable from them, and honestly even in the original trilogy he stands out a lot. He is unique and memorable and that’s one of the things that draws us to him.

And as we all know, both Boba and Jango and the Clones are played by Temuera Morrison — and occasionally by the wonderful Bodie Taylor and Daniel Logan. And Temuera Morrison comes from the Maori people. And differently from the mandalorian case, where we were talking about a whole planet, in this situation we’re talking about portraying one single person, so there’s nowhere to go around his appearance and phenotypes, right? I mean, you are literally representing an actual individual, so there’s no way you could alter their looks, right?

(hahahaha wrong)

And besides that, I think that is in situations like that (when we are talking about individuals) that the actor’s perspective could really have a place to shine (just the same as how Lea was mostly written by Carrie Fisher). In this very heart-warming interview for The New York Times (which you can read full signing up for their 5-free-articles-per-month policy), Temuera Morrison talks a little bit about how he incorporated his cultural background to Boba Fett in The Mandalorian:

“I come from the Maori nation of New Zealand, the Indigenous people — we’re the Down Under Polynesians — and I wanted to bring that kind of spirit and energy, which we call wairua. I’ve been trained in my cultural dance, which we call the haka. I’ve also been trained in some of our weapons, so that’s how I was able to manipulate some of the weapons in my fight scenes and work with the gaffi stick, which my character has.” [2]

The Gaffi stick (or Gaderffii), btw, is the weapon used by the Tusken Raiders on Tatooine, and according to oceanic art expert Bruno Claessens it’s design was inspired by wooden Fijian war clubs called totokia. [3]

And I think is very clear how this background can influence one’s performance and approach to a character, and majorly how much more alive this character will feel like. Beyond that, having an actor from your culture to play and add elements to a character will higly improve your sense of connection with them (besides all the impact of seeying yourself on screen, and seeying yourself portrayed with respect). It would only make sense if the cultural elements that the actor brought when giving life to a fictional individual would’ve been kept and even deepened while expanding this role. And if you’re familiar with Star Wars Legends you’ll probably rememeber that in Legends Jango would train and raise all Clone troopers in the Mandalorian culture, so that the Clones would sing traditional war chants before battles, be fluent in Mando’a (Mandalore’s language) and some would proudly take mandalorian names for themselves. So why didn’t Filoni Inc. take that into account when they went to delve into the clones in The Clone Wars?

2.3 THE WHITE MINORITY

First of all I’d like to state that all this is 100% me conjecturing, and by no means at all I’m saying that this is what really happened. But while I was re-watching CW before The Bad Batch premiere, something came to my mind regarding the whitewashing of the Clones, and I’d like to leave that on the table.

So, you know this kind of recent movies and series that depicted like, fairies in this fictional world where fairies were very opressed, but there would be a lot of fairies played by white actors? Just like Bright and Carnival Row. If you’ve watched some of these and have some racial conscience, you’ll probably know where I’m going here. And the issue with it is that often this medias will portray real situations of racism and opression and prejudice, but all applied to white people. Like in Carnival Row, when going to work as a maid in a rich human house, our girl Cara Delevingne had to fight not to have her braids (which held a lot of significance in her culture) cut by her intolerant human mistress, because the braids were not “appropriate”. Got it? hahahaha what a joy

Look at her ethnic braids!!!

One of the reasons this happens might be to relieve a white audience of the burden of watching these stories and feeling what I like to call “white guilt”. Because, as we all know, white people were never very oppressed.  Historically speaking, white people have always been in privileged social positions, and in an exploitative relationship between two ethnic groups, white people very usually would be the exploiters  —  the opressors. So while watching situations (that every minority would know to be very real) of opression in fiction, if these situations were lived by a white actor, there would be no real-life associations, because we have no historical parameter to associate this situation with anything in real life — if you are white. Thus, there is less chance that, when consuming one of these narratives, whoever is watching will question the "truthfulness" of these situations (because it's not "real racism", see, "they're just fairies"). It's easier for a person to watch without having to step out of their comfort zone, or confront the reality of real people who actually go through things like that. There's even a chance that this might diminish empathy for these people.

Once again, not saying this is specifically the case of the Clones, majorly because one of the main feelings you have when watching CW is exactly empathy for the troopers (at least for me, honestly, the galaxy could explode, I just wanted those poor men to be happy for God’s sake). But I’ll talk more about it later.

The thing is, the whole thing with the Clones, if you think about it, it’s not pretty. If you step on little tiny bit outside the bubble of “fictional fantasy”, the concept is very outrageous. They are kept in conditions analogous to slavery, to say the least. To say the more, they were literally made in an on-demand lab to serve a purpose they are personally not a part of, for which they will neither receive any reward nor share any part of the gains. On the contrary, as we saw in The Bad Batch, as soon as the war was over and the clones were no longer useful as cannonballs, they were discarded. In the (wonderful) episode 6 of the third season of (the almost flawless) Rebels, “The Last Battle”, we're even personally introduced to the analogy that there really wasn't much difference in value between clones and droids, something that was pretty clear in Clone Wars but hadn't been said explicitly yet.

In fact, technically the Separatists can be considered to be more human than the Republic. But that's just my opinion.

So, you had this whole army of pretty much slaves. I know this is a heavy term, but these were people who were originally stripped of any sense of humanity or individuality, made literally to go to war and die in it, doing so purely in exchange for food and lodging, under the false pretense that they belonged to a glorious purpose (yes, Loki me taught that term, that was the only thing I absorbed from this series). Doing all this under extremely precarious conditions from which they had no chance of getting out, actually, getting out was tantamount to the death penalty. They were slaves. In milder terms, an oppressed minority. And again, I don't know if that was the case, but I can understand why Filoni Inc would be apprehensive about representing phenotically indigenous people in this situation. Especially since we in theory should see Anakin and Obi-Wan as the good guys.

(and here I’d like to leave a little disclaimer that I believe the whole Anakin-was-a-slave-once plot was HUGELY misused (and honestly just badly done) both in the prequels and in the animeted series  — maybe for the best, since he was, you know, white and all that, and I don’t know how the writers would have handled it, but ANYWAY — I believe this could have been further explored, particularly regarding his relationship with the Clones, and how it could have influenced his revolt against the Jedi, and manipulated to add to his anger and all that. I mean, we already HAD the fact that Anakin shared a deeper conection with his troopers than usual)

Yes, Rex, you have common trauma experiences to share. But anyway, backing to my track

As I was saying, we are to see them as good guys, and maybe that could’ve been tricky if we saw them hooping up on slavery practices. Like, idk, a “nice” sugar plantation owner? (I don’t know the correct word for it in english, but in portuguese they were called senhores de engenho) Like this guy from 12 Years a Slave?

You know, the slave owner who was “nice”. IDK, anyway  

No one will ever watch Clone Wars and make this association (I believe not, at least), of course not. But if we were to see how CW deepened the clone arcs, and see them as phenotypically indigenous, subjected to certain situations that occur in CW (yes, like Umbara), maybe some kind of association would’ve been easier to make.

I mean, come onnnn I can’t be the only one seeing it

You see, maybe not the whole 12 Years a Slave association one, but I don’t think it’s hard to see there was something there. And maybe this could’ve been even more evident if they looked non-white. Because historically, both black peoples and indigenous peoples went through processes of slavery, from which we as a society are still impacted today. And to slave a people, the first thing you have to do is strip them from their humanity. So it might be easier to see this situation and apply it to real life. And maybe that could lead to a whole lot of other questions regarding the Clones, the Republic, the Jedi, and even how chill Obi-Wan was about all this. We might come out of it, as lady Ursula Le Guin stated in the fragment above, a bit different from what we were before we watch it.

Maybe even unconsciously, Filoni Inc thought we would be more confortable watching if they just looked white (and because of colonialism and all that, but I’m adding thoughts here).

And of course I don’t like the idea of, idk, looking at Obi-Wan and thinking about Benedict Cumberbatch in 12 Years a Slave or something like that. Of course that, if the Clones were to play the same role as they did in the prequels, to obediently serve the Jedi and quietly die for them, that would have been bad, and hurtfull, and pejorative if added to all that I said here. But the thing is that Clone Wars, consciously or not, already solved that. At least to my point of view, they already managed to approach this situation in an incredible competent way, that is giving them agency.

2.4 AGENCY AND INDIVIDUALITY

So, one of the things I love most in Clone Wars is how it really feels like it’s about the Clones. Like, we have the bigger scene of Palpatine taking over, Ahsoka’s growth arc, Anakin’s turn to The Dark Side, the dawn of the Jedi and rise of the Empire and all that, but it also has this idk, vibe, of there’s actually something going on that no one in scene is talking about? And this something is the Clones. We have these episodes spread throughout the seasons, even out of chronological order, which when watched together tell a parallel story to the war, to everything I mentioned. Which is a story about individuals. Clone Wars manages to, in a (at least to me) very touching way, make the Clones be the heros. 

Can you really look me in the eye and say that Five’s story didn’t CRASH you like a full-speed train???? He may not have the same amount of screen-time as the protagonists, but his story is just as important as theirs (and to me, it might be the most meaningful one). Because he is the first to break free from the opression cicle all the Clones were trapped into. 

His story can be divided into 6 phases.

1 - First, the construction of his individuality, in other words, the reclaiming of his humanity. 

2 - Then the assimilation of understanding yourself as an individual of value, and then extending this to all his brothers, not as a unit, but as a set of individuals collectively having this same newly discovered value.

3 - This makes him realize that in the situation they find themselves in, they are not being recognized as such. This makes him question the reality of their situation.

4 - Freed from the illusion of his state, he seeks the truth about it.

5 - This then leads him to seek liberation not just for himself, but for all the Clones (it's basically Plato's Cave, and I'm not exaggerating here).

6 - And finally, precisely because he has assimilated his individuality and sought freedom for himself and his brothers, he is punished for it.

His story is all about agency. Agency, according to the Wikipedia page that is the first to appear if you type “agency” on Google, is that agency is “the abstract principle that autonomous beings, agents, are capable of acting by themselves” [4], and this abstract principle can be dissected in 7 segments:

Law - a person acting on behalf of another person

Religious -  "the privilege of choice... introduced by God"

Moral -  capacity for making moral judgments

Philosophical -  the capacity of an autonomous agent to act, relating to action theory in philosophy

Psychological -  the ability to recognize or attribute agency in humans and non-human animals

Sociological -  the ability of social actors to make independent choices, relating to action theory in sociology

Structural - ability of an individual to organize future situations and resource distribution

All of them apply here. And this is just the story of one Clone. We know there are many others throughout the series. 

Agency is what can make the world of a difference when you are telling a story about an opressed minority. Because opressed minorities do exist, and opression exists, and if you are insecure about consuming a fictional media about opressed minorities, see if they have agency might be a good place to start. So that’s why I think that everything I said before in 2.3 falls short. Because the solution already existed, and was indeed done. Honestly, making the non-agency representation of the Clones (the one we see in the prequels) to be the one played by Temuera Morrison, and then giving them agency in the version where they appear to be white, just leaves a bitter taste in my mouth.

And honestly, if they were to make the Clones look like Temuera Morrison, and by that mean, take more inspiration in the Māori culture, maybe they wouldn’t even have to change much of their representation besides their facial features. As I said in part 1, I am not by any means an expert in polynesian cultures, but there was something that really got me while I was researching about it. And is the facial tattoos. More precisely, the tā moko. 

2.5  TĀ MOKO

Once again I’ll be using the Te Ara: The Encyclopedia of New Zealand as source, and you can find the articles used linked at the end of this post. 

Etymologically speaking,

“The term moko traditionally applied to male facial tattooing, while kauae referred to moko on the chins of women. There were other specific terms for tattooing on other parts of the body. Eventually ‘moko’ came to be used for Māori tattooing in general.” [5]

So moko is the correct name for the characteristic tattoos we often see when we look for Māori culture. 

These ones ^. Please also look this book up, it’s beautiful. It’s written by  Ngahuia Te Awekotuku, a New Zealand academic specialising in Māori cultural issues and a lesbian activist. She’s wonderful. 

According to the Tourism NewZealand website, 

“In Māori culture, it [moko] reflects the individual's whakapapa (ancestry) and personal history. In earlier times it was an important signifier of social rank, knowledge, skill and eligibility to marry.”

“Traditionally men received moko on their faces, buttocks and thighs. Māori face tattoos are the ultimate expression of Māori identity. Māori believe the head is the most sacred part of the body, so facial tattoos have special significance.”

[...] “The main lines in a Māori tattoo are called manawa, which is the Māori word for heart.” [6]

Therefore, in the Māori culture, there’s this incredibly deep meaning attributed to the (specific of their culture) tattooing of the face. The act of tattooing the body, any part of the body, is incredibly powerful in many cultures around the globe. The adornment of the body can have different meanings for these different cultures, but all of which I've come into contact with do mean a lot. It’s one of the oldest and most beautiful human expressions of individuality and identity. 

And in the Star Wars universe, the Clones are the group that has the deeper connection to, and the best narrative regarding, tattoos. In fact, besides Hera’s father, Cham Syndulla, the Clones are the only individuals to have tattooed skin, at least that I can recall of. And they do share a deep connection to it. 

For the Clones, the tattoos (added to hairstyles) are the most meaningful way in which they can express themselves. Is what makes them distinguishable from each other to other people. Tattoos are one of the things that represent them as individuals.

And I’m not BY ANY MEANS sayin that the Clones facial tattoos = Moko. That’s not my point. But that’s one of the things I meant when I said earlier about the wasted potential of the representation of the Clones (in my point of view). Because maybe if it were their intention to base the culture of the clones after the polynesian culture, maybe if it were their intention to make the Clones actually look like Temuera Morrison, this could have meant a whole deal. More than it’d appear looking to it from outside this culture. Maybe if there were actual polynesian people in the team that designed the Clones and wrote them (or at least indigenous people, something), who knows what we could’ve had. 

Even in Hunter’s design, I noticed that if you take for example this frame of Temuera from the movie River Queen (2005), where we can have a closer look at the design of his tā moko

Speaking purely plastically (because I don’t want to get into the movie itself, just using it as example because then I can use Temuera himself as a comparison), see the lines around the contours of his mouth? Now look at Hunter’s. 

I find it interesting that they choose to design this lines coming from around his nose like that. But at this point I am stretching A LOT into plastic and semiotics, so this comparison is just a little thing that got my attention. I know that his tattoo is a skull and etc etc, I’m just poiting this out. And it even makes me a little frustrated, because they could have taken so many interesting paths in the Bad Batch designs. But instead they choose to pay homage to Rambo. And I mean, I like Rambo, I think he’s cool and all that.

Look at him doing Filipino martial arts

But then, as we say in Brasil, they had the knife and the cheese in their hands (all they had to do was cut the cheese, but they didn’t). Istead, it seems like in order to make Hunter look like Rambo, they made him even whiter??? 

2.6 SO...

Look, I love The Clone Wars. I’m crazy about it. I love the Clones, I love their stories and plots. They are great characters and one of the greatest addings ever made in the Star Wars universe. They even have, in my opinion, the best soundtrack piece to feature in a Star Wars media since John Williams’ wonderful score. It just feels to me as if their narrative core is full of bagage, and meanings, and associations that were just wiped under the carpet when they suddenly became white. It just feels to me as if, once again, they were trying to erase the person behing the trooper mask, and the people they were to represent, and the history they should evoke.

I don’t know why they were whitewashed. Maybe it was just the old due racism and colonialism. Maybe it was meant for us to not question the Jedi, or our good guys, or the real morality of this fictional universe where we were immersed. But then, was it meant for what?

The Clones were a metaphor for what? 

(spoiler: the answer still contains colonialism)

Thank you so much for reading !!!! (and congratulations for getting this far, you are a true hero)

SOURCES USED IN THIS:

[1] Ursulla K. Le Guin, 'The Left Hand of Darkness', 14th ACE print run of June, 1977

[2] Dave Itzkoff, 'Being Boba Fett: Temuera Morrison Discusses ‘The Mandalorian’', The New York Times, published Dec. 7, 2020, https://www.nytimes.com/2020/12/07/arts/television/the-mandalorian-boba-fett-temuera-morrison.html (accessed 15 September 2021)

[3] Bruno Claessens, 'George Lucas' "Star Wars" and Oceanic art' , Archived from the original on December 5, 2020, https://web.archive.org/web/20201205114353/http://brunoclaessens.com/2015/07/george-lucas-star-wars-and-oceanic-art/#.YEiJ-p37RhF (accessed 15 September 2021)

[4]  Wikipedia contributors, "Agency," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Agency&oldid=1037924611 (accessed September 17, 2021)

[5] Rawinia Higgins, 'Tā moko – Māori tattooing - Origins of tā moko', Te Ara - the Encyclopedia of New Zealand, http://www.TeAra.govt.nz/en/ta-moko-maori-tattooing/page-1 (accessed 17 September 2021)

[6] Tourism New Zealand, ‘The meaning of tā moko, traditional Māori tattoos’,  The Tourism New Zealand website, https://www.newzealand.com/us/feature/ta-moko-maori-tattoo/ (accessed 17 September 2021)

[magnhild]

Before the Dawn didn’t ‘retcon’ Sun- an explanation from an actual writing major

Since the release of Before the Dawn, the sequel to RWBY’s After the Fall, I’ve seen a lot of different takes on it, but there’s a consistent one that it completely and utterly absurd- the idea that Sun Wukong’s persnality was ‘retconned’ for the book. The idea is, quite frankly ridiculous.

Before I get into why this take is so stupid, let me first explain what a retcon actually is, seeing as this fandom has so little understanding of the word. Retroactive continuity, often shortened as ‘retcon’ is a literary device that ignores or outright contradicts something already established in a work’s canon. For example, one actual retcon in RWBY would be the DC comics, while being canon, showing Ruby talking in full scentences shortly after Summer’s death, when Yang previously stated in the show that Ruby could barely talk when it happened.

A retcon is not something being explained differently or adittional information being given towards soemthing, even if these other details hadn’t been come up with to begin with. Salem’s backstory, for example, is not a retcon of the show’s opening narration, because not only is the opening narration very simplied so that it’s easier for the auidence to understand, but it’s also done by Salem herself, who would natutally not be telling the full story.

Now, the case with Sun is not the first time I’ve heard the claim that a character was retconned in the novels. While I don’t know if it’s at all a popular idea, one Redditor ranted at me in fury about how bad After the Fall must have been if it characterized Velvet as at all sassy because we’d never seen her that way in the books, ignoring my attempts to explain that, realistically, shy people are not going to be as shy around people they know well.

The couple of times I’ve shared these screenshots on Twitter were met with the same scorn I felt upon recieveing such responses (espeiclaly since the last comment was posted around two weeks after the rest of the conversation). So, when people failed to see that the situation with Sun was the same, it surprised me.

People claim that BTD characterized Sun completely differently as he is in the show. This is...weird, but I can slightly understand why people would jump to the conclusion that the personality he has in the book is somehow different to his personality in the show.

The first thing of note is that Sun still very much exhibits the personality traits that he’s known for; the positive ones. The very prologue of the book shows that, even in a fight, he’s still cheerful, easygoing and goofy, and we see several moments of this throughout the entire book. The second thing is that 99% of his scenes in the show are with Blake, who he has (or had) a literal crush on. Of course he would act differently around her and her friends than he would around his team, or people he didn’t care as much about. Right away, this shows that his personality was not contradicted and was, thus not retconned. But, of course, I have more to say than that.

The first big complaint regarding something that was indeed added in the book- or, at least, that we didn’t see in the show (given how Sun is not at all a character of focus) is that he’s shown to be angry and on-edge at certain points. And yes, this is not soemthing we saw of him in the show, but it’s also not out-of-character, and very easily understandable. Sun returned to his team expecting everything to be fine and dandy after a quick apology for leaving them, so when they don’t instantly forgive him and are still angry with him, he doesn’t understand, and thus becomes angry with them in return. He had an idea in his mind of how things would go, and when this didn’t go to plan and he continued to be confronted on his flaws, he can’t help but be a little salty about being treated this way by the people he’s known the longest among the main cast. For him, it’s a personal issue. The only reason we never saw him this angry in the show is because nothing ever personally affected him. He had no reason to be truly angry at anything because they were Blake’s problems, not his, and while he would natually want to help her out, he didn’t have any personal feelings towards the matter. But his team are supposed to be his friends, and here they are, not forgiving him after he apologized and everything. In his mind, he was being critizied even though he thought he’d fixed the problem with a simple apology.

The second big complaints are those of how Sun’s not-great relationship with his team throughout most of the book are contradictory to the last time we saw him in the show. People thought that his acknlowedgement of his shortcomings as a leader meant that he was going to be an instantly better one after the fact. These people fail to realize two major problems with this- the first being that there’s no rushing personal improvment. It’s very weird to me that people thought that Sun could instantly become a better leader when he was such a bad one in the first place. The second problem is that Sun, despite his name, is not the brightest bulb, and I say this in the nicest way possible. It’s made clear by both the show and the book that, while he acknowledged that he shouldn’t have ditched his team for several months without explanation, he still failed to realize the seriousness of his actions, or how the team dynamic was affected when he came back and took over again from Scarlet’s temporary leadership. As mentioned in the above paragraph, Sun thought that he could fix everything with a simple apology, and that it would absolve him of all wrongdoing. But more importantly, but the end of the book, he has realzied the weight of his negligence and that he needs to work harder to gain back respect from his team. And yet, critics ignore this and seem to this he acts badly throughout the whole book with no change in behaviour, when this couldn’t be further from the truth.

The third complaint, and the most absurd to me, is that Sun’s dismissiveness of serious situations and regular insensitivity in the book are out of character. Excuse me, but...did we watch the same show??

Perhaps it’s easy to forget because we haven’t seen him in show for a while, but these are two of his core personality traits, especially earlier on in the show. It seems that the fanon depiction of Sun as a sweet and loveable himbo who can do no wrong has caused a lot of people to forget his very prominent flaws, but Sun has always been this way, from as early as Volume 1. He treats serious situations as a joke or bit of fun, and he is constantly making insensitive comments, even to Blake, who he likes. Just to show a few, with replies from Blake for context regarding the second two:

From Black and White:

From Of Runaways and Stowaways:

From Menagerie:

Even in situations where he isn’t outright insensitive, he still frequently exhibits a struggle to read the room. He fails to understand why Team RWBY don’t want him and Neptune coming with them, he fails to fully understand why so many faunus take issue with humans despite being a faunus himself, and he fails to understand why stalking Blake across a continent was a very, very bad and creepy thing to do, even if he had good intentions. In fact, he never even apologises for any of this, at least, not that we saw, so it’s enitely plausible that it’s not soemthing he’s learned from.

So the fact that he continued to demonstrate this insensivity in BTD is very much in-character. That has always been a part of his personality, even though it’s often played off as a joke.

With all that said, it really bothers me that people list what is, in objective truth, a deeper insight into Sun as a character, as a flaw of the book. This is not a flaw. I’ve been studying writing through university for over four years, and believe me, showing that people act different depending on the situation or people they are around, as well as expanding upon any flaws they might have, is good writing. Something is not a ‘retcon’ because it contradicts your headcanon, or what you wanted to happen. That would be like if Nora were (not that I think she ever would be) confirmed cis and I called it a retcon because I headcanon her as trans. That would be stupid. 

After the Fall and Before the Dawn are honestly amazing books. They do have their issues, but character writing is far from one of them, and I would, in fact, consider it one of their biggest strengths. The way they flesh out both pre-existing and new characters, the way they can get us to love them within just 20-something chapters, is wonderful. They dive so deeply into even more minor characters, and make them all unique. So the idea that characters like Sun and Velvet were written badly because they were expanded upon and further characterized than they were in the show is an absolutely ridiculous concept, and one that I’ve hopefully changed people’s minds on with this.

Sun was not retconned. You guys just need to remember that the picture you paint of a character in your head is not always going to be the way a character is in canon. We’re not Adam defenders, people (at least, I hope not). 

Anyway. Read the RWBY books. I don’t care if you have already. Do it again.

[autumnslance]

About Plagiarism

I left a long, planned essay on Twitter tonight. I will copy the meat of it here for y’all, as recently a friend was copied (a rarer ship in the fandom, so very noticeable by the writer and their regular beta reader) and it seems we need a Talk, kids. Links and screenshots and my rambling underway.

------

Apparently we need to discuss what is and isn’t plagiarism. Especially in FanFic where we're interacting with the same characters, settings, ideas. Let’s start with the dictionary and continue the thread from there (I like the word origin/history personally):

Definition of plagiarize

transitive verb  : to steal and pass off (the ideas or words of another) as one's own : use (another's production) without crediting the source

intransitive verb : to commit literary theft : present as new and original an idea or product derived from an existing source

The Kidnapping Roots of Plagiarize

If schools wish to impress upon their students how serious an offense plagiarism is, they might start with an explanation of the word’s history. Plagiarize (and plagiarism) comes from the Latin plagiarius “kidnapper.” This word, derived from the Latin plaga (“a net used by hunters to catch game”), extended its meaning in Latin to include a person who stole the words, rather than the children, of another. When plagiarius first entered English in the form plagiary, it kept its original reference to kidnapping, a sense that is now quite obsolete.

“Ideas” is fuzzy in the Merriam-Webster definition. There are story archetypes that exist in many forms. Joseph Campbell’s Monomyth/Hero's Journey outlines many famous stories. And it's popular to say that “Avatar” is “Dances with Wolves” is “Pocahontas” is “The Last Samurai” etc.

But note how while those films have similar plotlines--”Military Guy falls for Native woman, learns to appreciate her Culture, stands up to Evil Bosses”--none of them execute those ideas in the same way. Sully’s story is different from Dunbar’s not just cuz one’s a Science Fiction epic and the other a Western. Disney's “Pocahontas” Very Loosely takes history and uses the same story beats. The Last Samurai uses the Meiji era Westernization. Same ideas, different executions, even beyond settings.

None of these are plagiarizing each other though the ideas are similar. They’re told in their own ways, own language; both in the genres they belong to (Western, Pseudo-History, SciFi, Animated) and how characters interact with each other and settings. Original dialogues (variable quality).

We also see this in books as similar novel plots get published in waves so we end up with bunches of post-apocalypse teen revolutionaries or various vampires or lots of young wizard stories all at once. Sometimes ideas just happen like this; multiple discovery, simultaneous invention, concurrent inspiration, cognitive emergence are all phrases I’ve seen for it. So it happens in original content as well, and legality gets fuzzy (Also why you don't send authors your fanfic ideas).

In existing properties, this gets trickier but even “Elementary”’s Holmes and Watson are nothing like the BBC’s “Sherlock” characters. Who are nothing like other versions of the Detective and his Doctor pal over the decades in various media properties.

FanFic's in a similar position where like Sherlock Holmes we play with the same characters, setting, and storyarcs but give our own spin to them. People can and will have similar ideas about plots. Trick is to use your own words. Take the characters and make the story your own.

I have a good example courtesy of @raelly-writing​. We both ship Wolcred. We both wrote soft post-Paglth’an scenes with Thancred and our WoLs. Both features the couples helping each other undress, examining injuries, bathing, bantering. My fic was written soon after 5.5 part 1 came out. Dara’s is much more recent. Yet at no point reading hers did I feel she was copying my words. The PoVs differ. Our characters focus on different things. Mine has a mini-arc concerning the Nutkin.

The links for comparison’s sake (and maybe leave kudos/comments if so inclined please and thanks). Note while the scenes are very similar no phrases are written in the same way. Mine: https://archiveofourown.org/works/25417882/chapters/76059467 Dara’s: https://archiveofourown.org/works/26067565/chapters/81832915

Dara and I both hang out in certain Discords and I know conversations about Thancred and WoL caring for each other post-battle has come up in those channels and we've both participated. It’s a stock FanFic scene to boot. Cuz it's soft and feels warm and snuggly.

I HAVE been copied before, back in WoW. My case is pretty clear cut so here are the images of my old RP Haven profile (1st, old RP website) and the plagiarist’s RSP (2nd, an in game mod to share descriptions and basic info). 

This was a decade ago on Shadow Council and I think the character deleted so any Availa’s in WoW now aren’t the same person. I left the names to point out what changed. Just the names and a word or 2 to make sense for the class changes as well. Otherwise lifted directly from my RP profile.

The funny part is how the person got caught. Literally walked into our weekly RP Guild meeting that I was running and asked to join. Folks noticed right away the similar backstory; after all there may have been more Outland-born Azerothians. My initial excitement at a character I could weave into our story turned to gut-twisting rage and grief as I recognized my own exact words though. Words I’d carefully crafted and constantly iterated on to improve over time (before and after this incident, until the site died).

When caught they tried to claim their significant other had leveled the character for them and made up the backstory based on Skyrim. If you know WoW’s Outland story and Skyrim’s plot you know how ridiculous that is. Also tried to lie about other drama I knew about thanks to roommate's characters but hey. I had to be blunt that I’d shared the info with Haven mods and other guild officers Alliance and Horde. That we would not “laugh about this” one day though lucky this was “just” RP not original or academic work. Cuz if it'd been monetized or academic I would've raked them through the coals.

I felt violated. Hurt. Had anxiety attacks. They took MY WORDS and tried to claim them as theirs. Have another character born in Outland trained by Draenei; Awesome! Our characters have an instant connect in similarities and differences of that experience. Don’t steal my characters wholesale!

Then the audacity of trying to come into my guild as if no one would notice. ShC wasn’t a large server by then, still active but not nearly Wyrmrest Accord or Moon Guard big. My character was well known due to my writing and RP. Speaking of how easy it is to get caught in specific spaces...A case of a self-published novelist getting noticed for plagiarizing fanfic was discovered recently (explicit erotica examples through the thread).

One way they got noticed was how much content they put out in only a year, lifted from fandom. The examples in Kokom’s threads show how the material was altered but still recognizable. In some cases, just the names are changed as in my experience. In other passages more has changed but you can still see the bones of the original fic poking through in the descriptions and character interactions, even with adjustments made.

Similar ideas happen. Similar plots exist. Same 'ships with friends are fun! In FanFic we’re working with the same material. It’s possible to write a similar scene differently. To make that scene and characters your own. All we’re asking is not to copy others' words. Others' characters. Others' specific phrases and descriptions used to bring those words, those characters, to life. Use your own. In the end you’ll be happier.

I get wanting to have what the perceived “popular people” have. I get seeing concepts others succeed with and wanting some of that too. We all get a bit jealous now and then for various reasons. Sometimes we don't even realize it, consciously. But do it in your own way. Maybe check to see if you’re getting a bit too close to the “inspiration” you admired, maybe reread often. Don’t hurt your fellow creatives. If you do and get caught don’t try to double down. Have the grace to be abashed at least and work to do better. Eventually you WILL get caught. All it takes is once to throw all else you've done into question. Ao3 doesn’t take kindly to plagiarists. Nor do a lot of fan communities focused on writing and RP. Getting back that trust is hard. The internet doesn’t forget easily, for good or ill.

[zintranslations]

Kaleidoscope of Death, Extra 3

Kaleidoscope of Death by Xi Zixu Link to Chinese / Novel Updates

Extra: Shameless Couple (2)

Ruan Nanzhu's stint as an actor was purely for fun, so nobody took the matter very seriously. But months later, as Ruan Nanzhu sat around bored at home with nothing to do, he got a call from Zhang Yiqing. The movie was premiering, and Zhang Yiqing sent him two free tickets for him to go have a look.

Tickets in hand, Ruan Nanzhu invited Lin Qiushi to go see the movie together. The two arrived happily at the theater, Lin Qiushi bought a bucket of popcorn, and they sat down in the audience.

The movie was a hundred minutes total; Lin Qiushi didn't have high expectations coming in, but afterwards, he was completely blown away. Though Zhang Yiqing had been an actor and had never gone through an official director’s program, he obviously had quite a lot of talent in the realm of directing. At least, the techniques he used to shoot this wuxia film that Ruan Nanzhu got a cameo in were good enough to provoke cheers and applause.

Ruan Nanzhu, playing the prince in the movie, was also exceptional.

But after they watched it, that was that. Lin Qiushi and Ruan Nanzhu went home without thinking too much on the matter, until the next day when Lin Qiushi opened up his social media and saw that Ruan Nanzhu's character was trending…He didn't understand such things very well. He clicked into the tag and found many people gushing about Ruan Nanzhu's acting and good looks, and asking how come they'd not seen this new actor before. No one thought that this new guy with so few lines would be so eye-catching.

Lin Qiushi woke the bleary-eyed Ruan Nanzhu and pushed the phone in front of his face.

"Nanzhu, are you famous?"

Ruan Nanzhu opened his eyes and peered once at the phone screen before pushing Lin Qiushi down into bed again. He kissed Lin Qiushi's chin and said, "forget about that…"

Lin Qiushi, "oh…"

Ruan Nanzhu had little actual concept of himself going viral, so when he was having lunch with Lin Qiushi one day, he was actually pretty irritated to get Zhang Yiqing's phone call.

"I'm just a minor side character," he said, "why should I go on your publicity tour? What? Blacklist me? Did you take the wrong meds this morning? I'm not even in the industry, blacklist me all you want—"

Lin Qiushi listened at the side and found it funny, but then Zhang Yiqing said something at the end, and Ruan Nanzhu actually stopped refusing. Brows furrowing, he looked up once at Lin Qiushi before agreeing to Zhang Yiqing's request to go on a publicity tour with him and the cast.

After hanging up, Ruan Nanzhu said that Zhang Yiqing wanted him to go do publicity for a bit of time.

"Go," Lin Qiushi said. "But if you really dislike it, don't force yourself. We lack for nothing."

"Mh." Ruan Nanzhu nodded, taking Lin Qiushi's words to heart.

After that, Lin Qiushi's projects got busy as well, and he didn't have the time to pay attention to developments around Ruan Nanzhu's movie. The point at which he realized Ruan Nanzhu was well and truly famous was when he discovered that a young employee had switched her desktop screensaver to a picture of Ruan Nanzhu. Lin Qiushi had even thought he'd been seeing things at first, pointing at the screensaver and asking the girl, "who's this?"

The girl turned to Lin Qiushi with an expression of excitement and began a fanatic recommendation of Ruan Nanzhu, saying how this was a super popular newcomer named Yu Qiuqiu, and not only was he good looking but is acting was also amazing!

Lin Qiushi, "…" Alright alright, enough already. I know exactly how amazing his acting is.

That night, Lin Qiushi stared thoughtfully at Ruan Nanzhu, who was in his pajamas in the kitchen, watching TV.

Ruan Nanzhu noticed Lin Qiushi's gaze. He turned around to ask, "what is it?"

Lin Qiushi, "Nanzhu…"

Ruan Nanzhu, "hm?"

Lin Qiushi, "are you famous?"

Ruan Nanzhu, "famous? What do you mean?"

Seeing his bewildered expression, Lin Qiushi had no choice but to change his wording: "Is Yu Qiuqiu famous?" And this bastard even debuted with his pseudonym.

Ruan Nanzhu slapped a hand to his thigh. "Yeah! Our Qiuqiu is super famous! Zhang Yiqing recommended me to his friends trying to make me the main character—"

Lin Qiushi, "isn't that a good thing?"

Ruan Nanzhu, "how is it a good thing? If I'm making movies I have to run around all the time. I can't keep you company like that."

Lin Qiushi thought about it.

"But you're just doing it for fun, so you don't have to worry about all that. You don't have to film if you don't want to. If you're tired you can just take a break." Other stars may have burdens, but Ruan Nanzhu didn't.

"Okay then," Ruan Nanzhu agreed. Then he seemed to recall something. "Right. The newcomer from Obsidian came to set a couple of times. I ignored him, but tell Ye Niao that if he keeps coming, I might not be able to handle it."

It took Lin Qiushi a long while to remember the existence of this person—it seemed to be the newcomer coveting Ruan Nanzhu for his good looks, who was under the impression that Lin Qiushi had taken Ruan Nanzhu by force.

He asked, "what do you mean by not being able to handle it?"

Ruan Nanzhu, "I might not be able to handle it and end up decking him, of course."

Lin Qiushi, "…"

The facts were, after being baptized by the doors, their bodies had all become stronger than those of normal people. This was the case for Lin Qiushi. He'd thought at first that he would be around Ruan Nanzhu's level, but then one evening, he’d discovered that he wasn't Ruan Nanzhu's opponent at all. Ruan Nanzhu, who'd wanted to try some fun little technique, restrained Lin Qiushi with ease; a single hand was all it took to pressed both of Lin Qiushi's above their heads. That hand that looked as pale and delicate as jade had felt just like a metal shackle, and no matter how Lin Qiushi struggled, it hadn’t budge an inch.

Also, every time he picked Lin Qiushi up to go wash, Ruan Nanzhu could lift him, a healthy grown adult male, in one arm.

Afterthis discovery, Lin Qiushi had laughed at himself for worrying about Ruan Nanzhu getting mistreated outside—Lin Qiushi counted all of them lucky that Ruan Nanzhu wasn’t mistreating people.

"Don't worry about it." For the above reasons, Lin Qiushi said as much. "If he really annoys you, do what you must."

Ruan Nanzhu nodded.

Just a few days after they'd discussed the matter, Lin Qiushi went to check in on Ruan Nanzhu at work. Ruan Nanzhu was filming a modern movie this time, and played a handsome serial killer in the script. Lin Qiushi thought this character setting rather suited Ruan Nanzhu.

He was waiting on the curbside at first. But then his ears caught onto a strange noise. It sounded like a person…keening. Lin Qiushi heard this, and his brows puckered. He turned and looked into a small, dark alley. The film was being shot in the studio backlot, which was complicated and filled with architecture of various styles. So naturally, there were plenty of out-of-the-way spots that the cameras can't capture.

Just as Lin Qiushi was wondering if he ought to take a look, he heard Ruan Nanzhu's voice.

And Ruan Nanzhu sounded a bit dark, a bit scratchy, when he said, "feels good?"

Lin Qiushi, "…"

He padded silently to the entrance of the alley and saw Ruan Nanzhu standing inside. There was another person kneeling in front of Ruan Nanzhu. Though it was dark enough that Lin Qiushi couldn't really make out the other person's face, the scene before him wasn't anywhere as raunchy as he'd imagined.

That person was lying on the ground like a dead dog. Ruan Nanzhu heard his footsteps and turned around, and when he saw Lin Qiushi, he hung a faint smile up where a cold expression had previously been. His motions were natural as he rolled down his sleeves, approaching Lin Qiushi.

"What brings you here?"

Lin Qiushi glanced at the man hanging on his last breath lying on the floor.

"He's not dead, is he?"

"Of course not, I know when to stop." Ruan Nanzhu came over, seeming like a sweet and adorable big kitty, as if the icy ruthlessness from before had all been an illusion. "We'll call him an ambulance. He'll be fine."

"I…I'm calling the cops…" The person's call from the ground was as faint as a mosquito's. "You…you hit me…"

It was only then that Lin Qiushi identified this person. Wasn't this the newcomer from Obsidian that Ruan Nanzhu had mentioned only a few days ago? Lin Qiushi hadn't expected the guy to still be harassing Ruan Nanzhu, and had apparently pissed Ruan Nanzhu off enough to get beaten up so badly that not even his own mother could recognize him.

Man, how complicated his feelings must have been when a single slap from Ruan Nanzhu, who’d seemed like nothing more than a little white bunny, was enough to take him down.

Lin Qiushi said, "if he still has the strength to threaten us, then we probably don't need to call an ambulance."

Ruan Nanzhu, "no need. I avoided all the vital areas—'tis all just flesh wounds."

Lin Qiushi nodded, fished out his phone, and gave Ye Niao a call. Ye Niao was furious. He said he was on his way and urged Lin Qiushi not to be angry.

After Lin Qiushi hung up he lifted Ruan Nanzhu's hand.

"You're not hurt, are you?"

"I am," Ruan Nanzhu pouted. "Look, it's injured."

Lin Qiushi searched the hand all over at this, and finally found a single patch of broken skin no bigger than his pinky. He looked back at the man beaten to a pulp beside them, then back at the wound on the back of Ruan Nanzhu's hand. Finally, he couldn't hold in his laughter anymore.

"You're so…"

Laughter also surfaced in Ruan Nanzhu's eyes.

Ye Niao came quickly and dragged that person off like he was dragging out the trash. Before he left he even apologized to Lin Qiushi for his poor judgment and for choosing such a person…

Lin Qiushi said, "don't worry about it. Everybody makes mistakes."

The matter pretty much ended there. Lin Qiushi never saw that person again, and no police ever came to bother them. Ye Niao took neat care of the matter.

"They didn't give you a hard time, did they?" This was what Lin Qiushi asked Ruan Nanzhu after they got home.

Ruan Nanzhu, in response, "who's they?"

Lin Qiushi, "the cast and crew, of course."

Ruan Nanzhu slid off in thought. "They think I'm being kept by some heavy hitter, and mess around with the mob…"

Lin Qiushi, "…"

Ruan Nanzhu, "so, they're actually pretty respectful?"

At this, Lin Qiushi didn't know for a moment whether he ought to laugh or cry. Ruan Nanzhu himself was the heaviest hitter—why would he possibly be the kept boy of one? But since he liked to act so much, there was no harm in Lin Qiushi playing along. They still had a long time together, after all. There were plenty of things for them to try.

Ruan Nanzhu scooted close to Lin Qiushi, setting his chin on Lin Qiushi's shoulder and mumbling something about being sleepy. Lin Qiushi stroked his hair like he was petting a giant cat. This animal, when tamed, seemed just like an overgrown kitty, but if you actually pissed him off, he was actually a ruthless beast.

But this was a beast that would never extend its claws at Lin Qiushi, was all.

Translator’s Note:

The term translated as “heavy hitter” here, 大佬, has actually appeared often in the text. It’s a slang term that kind of means “the big guy,” as in the boss, the one with the most experience, etc. RNZ gets called this a lot, especially in the Hako Onna door.

[Extra: Shameless Couple(1)] | [Extra: Twin Lives, Twin Deaths(1)]

[secret-rendezvous1d]

i feel like once spencer and the reader start dating, he would basically forget that he has his own apartment. like he would constantly be over at her's. he would leave his clothes over there, toothbrush + toothpaste, etc. she would stock the fridge and pantry with his faves. he would say "let's go home" and go back to her apartment or he would go over when she's not even there. i think that once he starts getting packages delivered there, she would ask him to move in lol

Oh, absolutely-

Dating is a brand-new concept to him.

He’s never felt so deeply towards someone before, especially in such a loving way, and being so loved up with someone that he really adores is something he never wants to come to an end. 

At first, she finds it suffocating. He wants to be with her every day that they get off from work, he wants to sit with her every second they’re travelling, he wants to hold her hand when things get a little tense during a case and he wants to be close to her whenever he gets the chance to. Throwing him into something that could keep him occupied, whether it be a riddle that the unsub was leaving for them to work out or throwing him into something that needed a strong brain to work out, made her feel a breath of fresh air because he wasn’t standing right alongside her and he wasn’t breathing down her neck or taking up the space she needed to think for herself.

But when JJ explains to her that he’s never dated someone properly before and that he’s never had a girlfriend to gain experience from, YN understands that it isn’t because he craves being with her and that he needs to be by her side... it’s because he was scared to do something wrong that made YN realise he wasn’t good enough to be her boyfriend. Being a genius, he thought that she expected him to be a brainiac when it came to dating signs and relationships and loving someone for the rest of their lives... but, truth be told, that was the furthest thing she expected from him. 

He gained the courage to ask her to be his girlfriend but he lived in fear, almost every day, that if he didn’t do enough then it would push her away because he wasn’t always with her. He didn’t want her to doubt that his love never existed towards her, ever, and holding her hand or kissing her cheek or standing beside her in a room that was huge for the two of them to occupy themselves gave him peace of mind because he was showing affection towards her in his own way.

She never felt suffocated again.

And from that moment, everything about their relationship had almost become like something out of the many romance novels that sat on the bookshelves in Spencer’s living room. The honeymoon should have been over for them, at this point, but it never dwindled out for them. The excitement of seeing one another in the mornings never fizzled away, the nerves of sleeping over never seemed to stop and the adoration and the love they had for each other never levelled out in... it sky-rocketed every single time they made eye contact with one another. 

Her favourite thing was how she had broken him from routine.

She loved how he had such a detailed routine when he was at his own home, in a place where he felt the most comfortable, but that changed and he loved it so much more and she could never complain about how great it felt to make her apartment (that was big enough for a family and made her feel so small among the four walls) feel a little more homely. 

Her bed was filled with another body rather than the cold and empty space that usually came with her bedtime, her fridge was stocked with organic produce as it was his favourite to cook with and her drawers were filled with snacks that he was a sucker for when it came to late-night feasting when he couldn’t sleep, her bathroom smelt more like aftershave than her perfume and the empty gap that was beside her toothbrush now became filled with the presence of his electric toothbrush that stood tall beside hers. The shelves in her shower were once scarce and bare, only holding her shampoo and her conditioner and her shower gel, but now they were filled with his array of hair products and facial washes and bath soaks and muscle relaxers that she had become no stranger to using when she needed a good soak in the bath.

It becomes his home away from home... even though his home was ten minutes down the road. His mail still gets delivered to his home but packages, whether they’re parcels from online stores or food packages that got delivered home, are a frequent occurrence and her neighbours were always dropping by to drop off what was left for them because they hadn’t been home at the time. 

But the parcels and packages were a minor thing in her decision. It’s the fact he could spend a month, or even longer, at her apartment and not find the need to go back to his apartment for anything that made her contemplate whether he was a good enough candidate to become her ‘roommate’. Roommate was the basic... he really would just be moving in with her. He calls it home, they leave work to go home to her apartment and he loves it more than his own. xx

[oldfritz]

I'm genuinely curious and don't want to start something! Just wanted to ask what you make of the 'Old Fritz might've been asexual' take, I don't know much about him and I feel you're one of the best people to ask esp since you lean towards 'he was probably queer in some way' too

Hey there! So, first off, don’t ever worry about me interpreting you asking me a question as starting something. As much as I love making dumb jokes about the guy, I love nothing more than doing this kind of stuff and defending or explaining my points. There’s two degrees I want to get over the next decade: first my JD and then my MA in Prussian history. I live for this stuff! Always have! Second off, I’m very sorry for not getting to this sooner. Things have been incredibly stressful for me for a variety of different reasons which have made answering your question, until now, rather difficult. Putting this under a cut because, holy shit, it got long!

My personal reasoning for why I think he’s bi (which, correct me if I’m wrong, I’m assuming is what you meant instead of ace and could be a different post entirely since some historians have tried to argue that) stems more to do with some of my lingering questions about the nature of his relationships with certain woman, rather than that of his relationships with men. To me and my modern, queer eye, Fritz’s relationships with men like Hans Hermann von Katte, Francisco Algarotti, Michael Gabriel Fredersdorf, and (much to my personal vexation) one Monsieur Voltaire are either outright homosexual/homoerotic in nature or very, very easily lend themselves to that interpretation rather than strictly romantic friendships (which Wikipedia does a fairly good overview of and, if you’re coming to me from AmRev perspective, uses Hamilton and Laurens’ relationship as a familiar example). While I’m avoiding those relationships in this ask, I’d be more than happy to elaborate upon one/all of them in a different one. 

Before I go into the big pauses that Fritz’s relationships with Madame von Wreech and Countess Orzelska give me, I want to deny the use of Fritz’s wife as an example of Fritz’s attraction to woman. While this, admittedly, may sound odd, we have ample evidence of how turned off and repulsed Fritz found Elisabeth Christine. Before he had even met her, Fritz was complaining about how she was ‘not very pretty, speaks but little, and acts like a blockhead’ (Asprey, 87) and, later, admitted to Grumbkow his plan to ‘keep my word,...get married, but afterwards it will be a case of that is that, and goodbye, Madame, and fare thee well’ (Jones, 52). For Christ’s sake, the man pitied her knowing how his treatment would leave her as ‘one more unhappy princess in the world’! Which is little consolation when you remember he also referred to her with such romantic terms as ‘this unpleasant creature,’ ‘the abominable object of my desires,’ ‘the person,’ and claimed to have preferred to marry ‘the biggest whore in Berlin’ (Asprey, 87). And while we (fortunately? unfortunately?) know quite a bit about their sex life, Fritz largely regarded it as just another duty - to quote him, ‘I will only have the duty to fuck’ (Ibid, 87). And while Seckendorf heard - first, presumably from Count von der Schulenburg and, later on, Count Friedrich von Wartensleben, a close and intimate friend of the then-crown prince - that Fritz would ‘fuck and refuck’ Elisabeth Christine and that said act occurred in the afternoon, it still was out of a sense of obligation (Bely, 481-2). When reminded that if he wanted more money for frivolities, he’d need to produce an heir, Fritz bemoaned that he ‘cannot sleep with my wife out of desire, and when I do sleep with her, I do it out of duty rather than inclination’ (Clark, 50). All this in accumulation, as well as the myriad of other quotes and incidents I’ve left out, makes one wonder why his relationship with Elisabeth Christine is sometimes used by historians to prove any sort of heterosexual impulse in the man when she’s the woman with the weakest supports for that argument.

That being said, now we get to the women with a more muddled places in his romantic escapades, if you will. What exactly happened between Orzelska and Fritz during his trip with his father to Dresden in 1728? The main source for everything that occurred during this trip is Wilhelmina, who didn’t attend and without anything about this specific incident coming from Fritz or Friedrich Wilhelm I, make it rather hard to use as concrete, irrefutable proof. Now, if her recollections were contemporaneous - like coming from a diary or journal she kept at the time - that would be one thing. But it comes from her memoirs which, while a delightful read 10/10 recommend, are written decades after this trip took place and, memory being a finicky thing, can’t be taken to the bank. All those disclaimers, here’s the story as told by her:

‘One evening...,the King of Poland [note: Augustus II] insensibly led the King of Prussia to a very richly decorated room...The King of Prussia, delighted with what he saw, stopped to contemplate all its beauties, when [all of] a sudden a tapestry was rolled up, which procured him a very novel sight. It was a lovely female in a state of nudity [note: Countess Orzelska, the Polish king’s daughter], carelessly reclined on a couch. Her beauty excelled that of the finest pictures of Venus and the Graces; her body seemed of ivory, whiter than snow, and better shaped than that of the Venus de Medicis at Florence.

...Scarcely had the King cast his eyes on the fair one, than he turned about with indignation; and seeing my brother behind him, he rudely pushed him out of the room, and left it immediately after in a violent irritation against the trickery they had attempted to practice on him. ...In spite of the King’s vigilance, [Frederick] had had time to contemplate the Venus of the closet, who did not cause him so much horror as she had done to his father. (Wilhelmina’s Memoirs, vol. 1, 107-6)

Wilhelmina then goes on to claim Fritz had fallen ‘passionately in love’ with Orzelska and that the illness Fritz experienced upon returning home was simply being lovesick. Pinning the accuracy of this story is incredibly difficult because, again, we have only one source relayed decades after the fact and from two volumes of memoirs known to have inaccuracies. While I, personally, would love if he had had a tryst with Orzelska (who is such a badass in her own right and deserves more recognition than as a footnote in this guy’s story), there’s no one way to say with more than 30% confidence. I am inclined to believe something along these lines happened because if someone told me a story like this, lord knows I wouldn’t forget it for the rest of my life. And, with Wilhelmina being so close with her brother, it lends a bit more credence but as to the actual emotional or physical response Fritz had to it, well, without my time machine, I can’t and don’t want to say.

With Madame Eleonore-Louise von Wreech, things are a little more concrete. For starters, Fritz actually talked about her! In written correspondence that survived! We even have seven letters between the two of them that survived, which is a bigger win! As Blanning says, they’re ‘ardent but light in tone, ironic, almost flippant, and highly stylized’ (Blanning, 58). Their relationship was known to those close with Fritz at the time that Schulenberg felt compelled to visit and warn the crown prince against devoting himself to women because ‘the slight pleasures gained cause a million displeasures.’  Fritz’s response? To tell the poor guy that he may have ‘the gift of continence, but I assure you that I do not’ (Asprey, 83-4). Firtz even went so far as to send a letter to her mother, waxing poetic about Louise’s ‘beauty, her majestic air, her bearing, and her entire department.’ It’s worth noting that Louise eventually broke off the affair due to being bored by how he ‘loved [her] too much and often annoyed [her] with his clumsy love’ (Ibid, 84). Contemporaries, including Friedrich Wilhelm, believed Fritz had impregnated her with a daughter who her ‘cuckolded husband would refuse to recognize’ (Blanning, 58). Blanning is the only source I’ve seen dispute this due to this news coming from Seckendorf, who didn’t reveal how he came about this information; that Fritz and Madame von Wreech’s correspondence doesn’t indicate a physical relationship; and on the fact that she was not pregnant. I haven’t been able to find the birth dates or any sort of records for Louise’s two daughters to figure out where their conception could’ve been in the timeline and if it matches with the likely dates for the affair, but I also don’t have the resources Cambridge would afford Blanning. Either way, while the physical nature of the affair is in dispute, the emotional aspect certainly was there. Especially when taking into consideration the fact that she’s the woman Fritz was likely referring to in the 16 August 1737 letter to Voltaire where he claimed she had taught him how to love (and also inspired him to write poetry, which we shouldn’t be thankful for). Specifically, all these years later, he stated how ‘this little miracle of nature possessed every possible charm, together with good taste and delicacy. She sought to transfer these qualities to me. I succeeded well in love but poorly in poetry. Since that time I have very often been in love and have always been a poet’ (Fritz’s Oeuvres, vol. 21, 96).

All this to say, there’s a bit too much evidence of some degree of opposite-gender attraction in Fritz to completely write off the possibility that he could’ve been bisexual. While it’s undeniable he held a preference for men and that’s whose company he typically enjoyed, I still do find it interesting the two exceptions (one potential and the other with a fair degree of certainty) to this. And, while I would never want his attraction to men be minimized in favor of that to women, it still remains important to note to get the most comprehensive picture of the man.

[talkfantasytome]

Part of my attempt to re-post answers I've given, without the context of specific links to posts based on this feedback and advice.

Anon Asks: I found something that says the map in ACOSF is foreshadowing for E\ain because the compass looks like the Cauldron, there are roses and vines around the map where it could have been something like flames if it was meant to be about Nesta, there are flower petals among the stars (proving Nesta belongs in the Night Court), and Koschei's castle and lake are added to the map.

So, I'm actually going to start off by complimenting the person that came up with that theory. While I disagree with it, it's definitely very interesting and may not be entirely wrong. It's also not a theory that proves E\ain's book would be next, just that E\ain was heavily considered in making the map, which is likely the foundation of the map they'll use for all three of these books.

However, that is A LOT of focus on E\ain. And, I'm sorry, but I can't imagine they would make the map to be all about E\ain when she'll be one main character of six in this set of three novels. Yes, they redid the map, as they redid a number of things for ACOSF. But that map is not solely about E\ain.

I'll explain why I disagree, based on the summary of points:

- The compass: remember the lore Rhys said? That some great goddess created Prythian/their world with the Cauldron. And in Tamlin's house there was, like, a stained glass window or something with a design that looked like the Cauldron was pouring out Prythian...like, the liquid being poured from it created Prythian. The Cauldron is an incredibly important object in their world, and you absolutely should not forget about it, of course. But, like, also, of course there would be a reference to it on the map. It's not solely a direct reference to Nesta and E\ain becoming Fae. It's a reference to the object that supposedly created their world. And, sorry, that takes the cake to two Fae, even two powerful ones like them.

- Roses and Vines: this series is called 'A Court of THORNS and ROSES', which you can find on vines. The maps always had vines on them. What they did when they redid the map was make it a lot more artistic. Let's remember the old map:

This is pretty plan, especially in comparison to the new one. The new one they decided to make more artistic. In the new map, the roses are a reference to the actual name of the series, the book that started it all. And then, you have representations of each court in the map. In the four corners, a symbol for the seasonal courts - interesting that, for Spring, they picked a ROSE specifically...don't tell me that the roses mean E\ain, and then just skip the fact that the Spring Court symbol was a rose when it could have been any flower. And then, in the center of the map, to represent the Solar Courts, you see a moon, a sun, and then at the bottom a sun covered with cloud, that could easily represent Dawn.

To help, here's a large image of the new map. Open it in a new tab, and you should be able to see the full size version:

- Flower petals at the top: those aren't flower petals. 👀 Do what I suggested, open the full image, and zoom it in. You'll see that they aren't flower petals at all. They're faeries. That concept of little, winged creatures that look almost like butterflies. I'm sure you can guess why they'd put faeries there. 🙂 They're not floating down, but flying around the sky.

- Koschei's castle: Cassian and Az literally go to where Koschei is. Of course it gets added to the map. So you know where exactly they were in that scene.

They don't redo maps or make additions to tell us what's to come. In fact, maps typically like to avoid giving us information that we don't get in that book. The old map I shared is the ACOMAF map. The ACOTAR map didn't include the extra detail about Velaris, the Night Court mountains, Court of Nightmares, or the Prison. It also added in the Weaver's Cottage and Adriana. All places Feyre goes to in ACOMAF. And the ACOWAR map added in the Forest House in the Autumn Court - a location Feyre passes through - and the Dawn Court Palace. I'd also note that the Faerie Realms on the continent also become expanded in each map. There's nothing in ACOTAR, ACOMAF adds Vallahan, and ACOWAR adds Montaserre. Because those get mentioned in those books. But, they're not that important.

In conclusion, no, the map is not attempting to foreshadow anything with the additional locations. Those added locations solely tell us the locations that will be prevalent or come into play in this book. The symbolism is clearly very symbolic of Prythian, possibly to remind us that that's the main land, still, since the map is expanding. And this map is not going to be created to focus solely on one character like that. That's making one character, a character that has yet to be an MC or even get solid development, the center of attention.

Again, this a very interesting theory! And I'm not going to say that it's definitely wrong. I'm also very certain E\ain's book will be about Koschei. That's why I'm positive she'll get book 6, because Koschei is going to be the final plot. Sarah wouldn't build him up in book 4 as an overarching thread, then have that plot come to a head in book 5, and then have book 6 be something else. So, yes, that will happen. And maybe the map is trying to tie things together to let us know about that, but it doesn't change which book would be E\ain's.

However, I don't believe the map is foretelling that. I think it's all coincidence that it seems tied to E\ain, which is most likely just because she will have her own book and a very large plot that is also the overarching plot. But, I'm guessing that the map is doing what it always does, telling us what has happened.

The anon also included two other links with posts that are unrelated, but essentially saying or assuming that book 5 will be E\ain's. I'm not going to post those answers again, as I feel like I already have answered them and shared my thoughts and beliefs on that and how E\ain's journey will be a lot more on-page than it has been, which is why I can't imagine she's book 5. 🙂

[ahiddenpath]

Thanks for the Tri response, what do you think of Kizuna?

Well, I can only answer based on the novel. I bought the film, but I still haven't watched it! But I'll try to answer as best I can below the cut. Again, the novel had stuff I love and stuff I didn't, but I think my reaction to this one was a bit more true middle-of-the-road than Tri.

Spoilers for Kizuna.

I want to start by saying that I think my reception of the Kizuna plot was impacted by the state of the world when it was released, which is... continuing today, as I type this. I'm referring to the pandemic, of course. I pre-purchased my tickets for a March Kizuna screening in theaters; it was the first social event that fell through because of the pandemic for me. It's been a difficult period for everyone, and I was not- and still am not- really emotionally equipped to watch Taichi and Yamato lose their partners. I'd rather just leave it for now.

Kizuna is one of those stories where I didn't really enjoy the plot... But I find it inspiring in terms of what I would like to do with the ideas presented. It's amazing fic fodder, and you know I love that!

I do think that, coming off of Tri, where an adult Chosen who lost her partner ends up betraying the Chosen and involving them in her trauma stemming from that loss... Well, it was kind of like... Didn't we... Just... Do this? I have to mentally separate Kizuna from Tri to circumvent that tension, and that's not normally... how sequels work?

As you might know, I was also concerned about Kizuna sort of... demonizing adulthood by showing that the Chosen cannot have their partners as adults, because they've "lost their potential." In reality, adulthood is where your potential begins- you gain agency and go into the world to build your life.

On the surface, that demonization does seem to be what happened- but I don't think that's actually what went down. Taichi and Yamato fight so that the Chosen can experience adulthood and keep growing, instead of locking themselves in Menoa's world of endless childhood with the digimon. So, yay, our heroes think adulthood=good! But then, they lose their partners anyway; adulthood=bad??? But again, signs point to the epilogue still being applicable, so eventually, they will reunite with their partners. It's also directly stated at the end of the novel ("Wait for me! I promise to come for you!").

I think that the novelization didn't really explain the logic behind all of this. Did the kids actually lose their partners because adults cannot sustain a digimon partner? Or was Menoa mistaken? She clearly never figured out how to reverse the loss of her partner, so it's totally possible that she misunderstood the whole situation! And 02 makes the argument that digimon partners will come to everyone when they believe in themselves and follow their true path. We see some of the Chosen struggling with their paths during Kizuna, so maybe, when they find the courage to be true to their wants and dreams, their partners will return.

(For more on this, explained far better and with receipts, check out this wonderful post by Shihalyfie).

I love this interpretations of Kizuna ("be true to self=digimon partner")! But that... kind of... seems like an important thing to leave up to audience interpretation/nuance/reliance on the audience remembering those lines from a show that aired in 2002. Are we not going to talk about that stuff within Kizuna itself, if it's applicable? Obviously, I love Digimon Adventure and 02, but I don't do routine rewatches. It's easy to forget stuff. Or is the fact that "be true to self=digimon partner" isn't directly mentioned within the Kizuna novel enough evidence to suggest that it isn't applicable to the vanishing partner situation? I'm not saying that books have to explicitly explain everything to audiences, but... A little help, please? It's especially difficult to catch subtle nuances in translated works, so I think non-Japanese readers also have that hurdle to contend with.

I'm sure many folks felt upset, and maybe even betrayed, when Agumon and Gabumon vanished. And I get it, I do, even if we know they will return at some point. Like I said, it's something I frankly don't want to watch, but I'm fine with it intellectually (ie, in writing), mostly because it sets up a chance for fanfic writers to explore why they really vanished, and how the Chosen will reunite. Talk about an opportunity for character growth (gimme gimme gimme, lol!!!!).

And that's where I swing around to being happy again. Do you know what happens when canon content leaves stuff open to interpretation? YOU GUESSED IT, FANFIC FANFIC FANFIC! And you can still use canon setting without contradicting anything, awwwwwww yissssssssss. I'm planning a pre-and-post Kizuna fic that I think will really be amazing. I found some concepts of Kizuna really engaging/emotionally charged/exciting, even if I wasn't fully happy with/clear on the execution.

The novel also has this super wonderful scene with Koushiro telling Tentomon a story about candles that I really loved ;_; It was lovely. And seeing the 02 kids thriving and being so happy?! Wonderful. The overall characterization was solid, too, with lots of Chosen proactiveness (my fave!).

I think there was a lot to like in Kizuna, even if I'm not clear on a hugely important plot point (what exactly caused the partners to vanish).

Also, Yamato in glasses!!!!!!!!!!!!!! I am dead. And also an impartial and level-headed reviewer of media, lol! Thanks for the ask! I hope this was a useful response, I feel like I blathered about nothing xD

Oh, as a final note, I did think it was annoying that Kizuna pushed the importance of growing and looking forward, not behind... And then Toei immediately rebooted Adventure. I understand that the reboot is likely meant to spread Adventure to the next generation, but... Hey, maybe you should take your own advice, Toei, and try something new???? No????? xD xD xD