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victorluvsalice · 5 years

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AU Thursday: Londerland Bloodlines -- Pre-Game Timeline!

So, I believe I've mentioned I'm replaying Bloodlines currently to determine what the timeline of the game is for my "Londerland Bloodlines" AU (now having been upgraded to an official story!). But when I started working on the opening chapter, I realized something -- I also needed to shore up the timeline for what happened before the events of the game! After all, even if I'm starting with Alice getting Embraced, knowing just how events in her and everyone else's lives happened is important -- if only because my characters are going to be telling each other their histories at some point. :p

So! Under the readmore is my current pre-game timeline for these versions of Alice, Victor, Victoria, Emily, Lizzie, and Bonejangles. I focused mainly on figuring out how Corpse Bride and American McGee's Alice/Alice: Madness Returns would go down, though I added some other notes explaining Alice's relationship to Wonderland in this world (since, obviously, she's not the Alice from the books!), and setting up how Emily, Lizzie, and Bonejangles ended up in the Giovanni Crypts. I may be tweaking things here and there as time and the story goes on, but this serves as a good first draft, anyway. Enjoy!

May 4th, 1984: Alice Pleasance Liddell is born to Arthur and Lorina Liddell – their second daughter after ten-year-old Lizzie (November 22nd, 1974).

June 9th, 1984: Victor Fitzwilliam Van Dort is born to William and Nell Van Dort, their only child. He grows up privileged but rather neglected, and becomes a rather shy young man.

November 5th, 1992: Angus Bumby, one of Arthur's psychology undergraduates at Oxford University who'd developed an obsession with Lizzie, breaks into the Liddell house, rapes and kills Lizzie, then sets the house on fire to cover his tracks. Arthur and Lorina die in the blaze, but a badly-burned Alice is able to escape through her bedroom window and is taken to hospital. She remains in the burn unit for a year, recovering – her body heals remarkably well, according to the doctors, but her mind doesn't. Unknown to anyone, a furious Lizzie's spirit refuses to go to the Underworld as a result of her horrific death, and remains at the site of the Liddell house, haunting it with vigor (namely throwing things at any male visitor).

November 11th, 1993: Alice is then taken to Rutledge Psychiatric Institute, as she's gone catatonic from survivor's guilt and won't respond to any stimuli. It's not as horrific an experience as her Victorian counterpart experienced, but Rutledge is still underfunded and contains Pris Witless and the Monroe twins, so it's not great either. During this time, Bumby manages to deflect all suspicion off himself for starting the fire by setting it up so it looks like the family cat, Dinah, knocked some still-burning kindling out of the fireplace, and sets up his Houndsditch Home for Wayward Youth – an orphanage for disadvantaged children looking for new homes and mental health.

September 7th, 2002: Alice shows her first sign of conscious life in years by drawing a picture of a rather more twisted Cheshire Cat than normal, as her subconscious gets tired of her laying around and plunges her into a mental fight for her life and sanity in a ruined Wonderland. Alice proceeds to battle her way across the various domains over the next year, and successfully wrests her sanity back from her corrupted counterpart, the Queen of Hearts.

November 1st, 2003: Having recovered enough to warrant living outside a care facility like Rutledge, Alice is released into the custody of one Angus Bumby, whose methods of memory management are applauded and derided in equal measure. Alice is only too eager to submit to his decree to forget the fire, but her subconscious doesn't make it easy – especially since she keeps thinking he looks familiar. . .

January 27th, 2004: Victor, taking a gap year between high school and college (to delay having to major in business like his father wants) is "strongly encouraged" to start dating his across-the-square neighbor, Victoria Everglot, daughter of viscounts Maudeline and Finis Everglot. Victor's parents think it'll be an excellent way to earn some more social status (they're millionaires many times over from the Van Dort canned fish empire, but their nouveau riche manners haven't earned them many actual friends among the elite), while the Everglots are only allowing this because they've been running on the ragged edge of "broke" for a while now and William is hinting some loans might be a side effect of letting their children date. Neither Victor nor Victoria is thrilled to be pushed into dating a near-stranger. . .but once they properly meet, they find their personalities mesh nicely, and they decide to keep seeing each other on their own terms.

May 28th, 2004: Victor and Victoria have been dating for a few months by this point, enjoying themselves and growing closer. The Everglots are growing less-thrilled with the arrangement by the minute and are constantly pushing potential alternate suitors onto Victoria – Victor assures her that he won't mind if she goes out with a couple just to shut them up, but Victoria is doing her best not to give in just so they won't believe they can run her life. On the Van Dort side, though, Nell's grown impatient with the two just dating, and manages to get Pastor Galswells to crash their date at the local coffee shop to (very reluctantly) extol the virtues of marriage. Victor is mortified and bolts – Victoria follows him, and assures him that she's willing to wait for a commitment. They manage to recover the date, even getting a prize from a little arcade game outside the laundromat – a cheap plastic ring. Victor goes on a walk afterwards in the local woods to clear his head, and ponders if he's ready to get more serious with Victoria or not. In the process, he ends up doing a mock proposal to what he thinks is a bunch of hand-like roots by an old oak, reciting the town's founder's vows and slipping the ring onto a finger.

Turns out it's actually a root-like skeletal hand, which promptly seizes Victor's wrist and tries to pull him into the dirt. Victor fights free, only for a half-rotted corpse bride to rise from the earth. He flees for the bridge – she follows and catches up before he can make it back to town. Victor faints as she goes to kiss him, and wakes in a strange and colorful world that he is informed is the Land of the Dead. Apparently everyone thinks he and the corpse – Emily – are married thanks to him speaking the vows. Victor blurts out that it was a joke – then, seeing Emily well up, clarifies he had no idea she was even there. He asks who she is and how she even came to rise – her friend Bonejangles steps in, explaining through song that she's a murdered bride, killed by the man who promised to elope with her, who vowed to wait under that tree for her true love to set her free. Victor feels awful for giving her false hope, and asks if they can talk more privately. Emily leads him to one of her favorite lookout spots, where they run into Victor's old dog Scraps (now just a skeleton). Victor apologizes for the misunderstanding, and Emily apologizes for frightening him – she was just so excited about finally being married. They talk a bit about Upstairs versus Downstairs, and Emily admits that she misses the living world and would love to see it again. Victor decides that maybe this is the least he can do for her and asks if he can take her up on a pseudo-date (after clearing it with Victoria first). Emily is all for this, and they head over to Elder Gutknecht's, the local magician, who provides them with a spell to return to the Land of the Living after sunset and stay there all night – once dawn breaks, Victor will remain, and Emily return Downstairs. They spend the time until nightfall touring the Land of the Dead – Victor finds he quite likes it and Emily, and tells her that, even if the circumstances aren't the best, he's glad he met her. She is too.

Finally, night comes, and the two return to the Living world. Emily pulls Victor into an impromptu dance in the moonlight, then Victor asks her to wait in the woods while he gets Victoria and brings her around to explain. He heads over to the Everglots. . .only to find the police there, and the Lord and Lady in a tizzy. Turns out, while he was in the woods, the elder Everglots finally talked Victoria into meeting one of their chosen men – one Lord Barkis Bittern, a newcomer to town who's been sweet-talking them. Victoria went to meet him at the coffee shop – and now they've gotten a note from Barkis saying that they'll never see her alive again unless they pony up fifty thousand pounds – a sum of money they just don't have. A horrified Victor checks in with his parents to let them know he's all right (there was some worry that he'd gotten kidnapped too), then sprints back to Emily to give her the news. Emily is equally horrified – and a little concerned, as the man who murdered her was named Edward Barkis. Victor gives her the description he got from the Everglots, in case he spotted the guy – yup, that's the bastard who killed her! Emily's certain that, even if Barkis does get the money, he'll probably kill Victoria anyway, so time is of the essence in finding her. They use the "emergency escape clause" in the spell to head back Downstairs, and explain things to Gutknecht, who agrees to help. Victor gives Gutknecht a flower Victoria gave him earlier in the day to help him track down her location, while Emily rounds up a bunch of her dead friends to storm the place and rescue her. Gutknecht finds Victoria in, of all places, the church – the gang descends on it, and finds both Galswells and Victoria tied up, with Barkis standing guard. He's – naturally a little shocked to see a bunch of walking corpses demanding he free his captives, but manages to regain his wits in time to steal General Bonesaparte's sword and duel Victor (who gets a barbecue fork from Ms. Plum that he uses rather well). Emily saves Victor from a fatal stabbing after Barkis disarms him, and a sneaky call to the police from Bonejangles summons them to save Victoria and Galswells. Barkis is brought in, Victor and Victoria are reunited, and the dead prepare to head back down Below. Victor introduces Victoria to Emily, and they thank her for her part in saving her. Emily thanks them in return, saying she was happy to spare Victoria a variation on her own fate and that she's thrilled to see her murderer finally brought to justice. She says that she'll probably be moving on for real to whatever's next soon, now that that's no longer hanging over her head, but that she'll keep them close in her heart. They say a heartfelt goodbye, and Victor and Victoria head home.

May 29th, 2004: The next day, Victoria apologies to Victor, but says the whole experience has badly rattled her and she'd like to take a break from dating while she processes it all. (In fact, she plans to take a break from the whole village, having talked her parents into reopening an abandoned summer home that they were never able to sell for a couple of months.) Victor understands – his parents do not, and he ends up on their shit list for supposedly letting her slip through his fingers. Even worse, Galswells immediately starts accusing Victor of dark sorcery because of the walking dead (never mind that they helped save his life). Few people take Galswells seriously, but even those who don't blame Victor for apparently driving the man out of his mind, and he becomes a figure of mockery and derision in the village.

July 4th, 2004: Alice, having endured about half a year of only semi-effective therapy from Bumby in the Houndsditch Home, suffers another psychotic break while visiting Pris Witless (who took to blackmailing her about a comment she made while not really with it that suggests she might have some responsibility for her family's death) and tumbles back into a freshly-corrupted Wonderland. This time, the source of her troubles isn't the Queen, but some sort of terrible Infernal Train built in the factories of Hatter's Domain, which flies across the landscape spewing a horrible black goo called Ruin everywhere. Alice battles her away across various domains trying to track down who commissioned the Train and how to stop the Ruin, while in reality she wanders in a hallucinatory daze across London over the course of about two months. During her travels, she almost drowns in the Thames after falling in; narrowly escapes a fire at her old nanny's bar (and secret brothel), set by said nanny's ex-pimp; runs afoul of the police by causing a scene at her old family lawyer's house looking for her beloved toy rabbit; and ends up briefly back at Rutledge when the local cops decide she's too much of a danger to herself to roam unsupervised. She goes catatonic again for a bit as she braves the last of her domains, and awakens with the terrible knowledge that Bumby killed her family – and worse, his activities at Houndsditch are a front for child prostitution. He isn't removing the painful memories of the children under his care – he's wiping their minds entirely and selling them to unsavory sorts! She tries to convince the staff of Rutledge of this, but none except Dr. Wilson and Nurse Darling are willing to listen to her – and even they can't do anything without proof. Superintendent Monroe forces her to return with Bumby when he comes to pick her up. . .

September 7th, 2004: So Alice confronts Bumby herself about his wrongdoings shortly afterward, cornering him in the Moorgate Underground during a quiet moment. Bumby smugly admits that she's right, claiming he's giving the children under his care a "new purpose" – and that Lizzie deserved what she got. Alice realizes that the key he uses to hypnotize people is in fact her sister's room key, and reclaims it, furiously telling him she'll go to the police with it. Bumby tells her no one will ever believe her – Alice points out the security camera, but Bumby tells her it hasn't worked for months (he made sure of that, since he uses this station to drop off kids sometimes) and that the key isn't enough to reopen her case. She can either storm off in a huff and return to the asylum, or submit to his care as the "tasty bit" he'd hoped to make her.

Alice takes a third option and pushes him in front of an oncoming train.

Fortunately, she's able to spin the incident as an accident (Bumby falling in front of the train) and – after a search of Houndsditch reveals his private journal, with the ledger for his less-savory activities – no one's much inclined to look too much into his death. Alice still thinks that it might be a good idea to get out of the country, though, just in case. Besides, after all that's happened, she craves a fresh start in a new world. She gets the help of Dr. Wilson (now the director of Houndsditch) to track down her rabbit, and prepares to go as far from London as possible – Los Angeles, California.

September 10th, 2004: Around the same time, Victor finally snaps when he receives a letter from Victoria, telling him her parents have decided not to move back to Burtonsville as they don't want to confront the memory of Barkis – or the Van Dorts. Without the hope that they'll be reunited and possibly resume their relationship, Victor decides to leave Burtonsville himself, concocting a story for his parents about wanting to go to college overseas. He too eventually decides that Los Angeles, California is the perfect place to go and starts making plans.

October 1st, 2004: Emily, having finished up what she wanted in the Underworld and said goodbye to all her friends, prepares to move on to whatever comes next. With Elder Gutknecht's help, she moves Upstairs for one final look at the moonlight before releasing her soul. . .

Only to have said soul snagged and bottled by a mysterious stranger. Trapped and only vaguely aware of what's happening to her, Emily is taken back to the Giovanni mansion, where she becomes part of a strange ritual. To her shock, the ritual restores to her a – well, semi-alive body; she's basically a very well put-together and sentient zombie. The resident Giovanni are impressed with her construction, but displeased she won't follow orders (they were expecting a servant), and lock her in the basement of their mansion for further experiments.

October 7th, 2004: Emily gains a cellmate – Lizzie Liddell! Turns out her soul was snagged by another Giovanni around the same time Emily's was, and she too was subject to the same ritual – with the same result. The two girls quickly bond over their shared backstory of "a rotten man plundered and murdered me" (if in two different ways), and their worries about their living friends (Victor and Victoria) and family (Alice).

October 10th, 2004: Getting frustrated with the failure of their latest necromantic ritual, the Giovanni try just yanking a soul straight out of the Underworld at random. By sheer chance (or perhaps the table still being contaminated with a bit of Emily's hair), they get Bonejangles, who is very surprised at going from a skeleton the Ball & Socket pub to sort-of-living man on a cold slab in a mansion in L.A. He's thrown in the basement too when he won't play ball – Emily is equal parts shocked, thrilled, and horrified to see him. Lizzie takes a little time to warm up to him, but his extremely different demeanor from Bumby and the other Oxford toadies wins her over, and soon the three are planning escape attempts and wondering just what the world outside is like. . .

October 14th, 2004: Alice arrives in Los Angeles, having reclaimed her bunny and said her goodbyes to her family's graves. She manages to snag a room at a rather crappy motel at the edges of the city, and starts looking for work and a better place to live. Unfortunately, her presence is noted by one Fish, a 7th Generation Malkavian, who sees her madness and decides that she must be brought into the clan. And what better way to lure her in than putting an ad in the paper, claiming he has an apartment for rent. . .

October 20th, 2004: Victor arrives in Los Angeles – or, more specifically, Santa Monica. He snags a rather nicer hotel room and starts trying to figure out what exactly he wants to do with himself while he's here.

Three days later, the question is answered when a drunk driver plows into him, and he ends up in the local clinic. . .

#londerland bloodlines #timeline #yeah I started on the story #and then I thought 'you know I really should figure out how exactly CB and AMA and A:MR all went down FIRST'#so here we are #I think it came out pretty well!#I might do a bit of fiddling with dates still #but yeah as a description of events before the game starts #October 21st 2004 btw #...hang on a second OCTOBER 21ST WHY DID THAT NOT REGISTER WITH ME BEFORE??#Holy crap this game was CRYING OUT for a BTTF crossover #not even getting into the fact I recently discovered there a very minor character named MCFLY in it. . .#anyway yes this works and I am happy with it #queued

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thesebookishdelights · 3 years

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ANY WAY THE WIND BLOWS: Simon Snow trilogy wrapped! (review)

Hi, there! It took me a while to finish this post, as I could talk about it for... a long time (not necessarily a good thing), but I got it! I like praise, so if anyone wants to tell me I did a good job... Also, I might edit this post later on. I don’t remember anything else I’d like to add, but I wouldn’t be surprised if I did after posting. My brain does not obey me. Anyways, off to it! By the way, I won’t give this book a real rating.

While this is a review on Any Way the Wind Blows, I intend on analysing some points of the overall series too. The book starts where Wayward Son left off, the end of the road trip, Simon and Baz having problems in their relationship, Penelope helping Shepard with his curse... and the whole situation of the NowNext vampires. Rainbow Rowell only seems to remember the first part. That leaves us with the second book of the series ignored almost completely, with the exception of Simon and Baz’s feelings as well as Shepard’s existence.

Don’t get me wrong, aspects of the book are mentioned, but never in a truly important way. Lamb, the Vampire King, is mentioned by Simon, but only focusing on his and Baz’s relationship, never about the fact that there are a bunch of vampires (supposedly ‘evil’) in the U.S. but I guess what happens in Vegas stays in Vegas, right? I could count on one hand the times the NowNext vampires were mentioned (like, literally, this isn’t an exaggeration, I looked up ‘NowNext’ on the e-book and only got five results), all of them either being one of them considering telling someone else about it, then not following through with it, or dismissing it as a concern for Lamb. Which makes the plot of Wayward Son completely useless for the trilogy. Now, that wouldn’t matter as much if everything else had been properly developed, but we definitely can’t say that.

We are introduced to a brand new, poorly developed villain, Smith-Smith Richards, whose character arc is as ridiculous as his name. He’s one of the fake Chosen Ones that started appearing after the events of Carry On (and the only one to be mentioned and/or defeated, for that matter). It becomes clear that presenting as Simon Snow-ish is part of his brand, especially when Baz describes him as looking like the Netflix adaptation version of Simon, and that he was raised and guided by his uncle, who’s just... there. I don’t think it would’ve been hard to make him manipulating Smith-Smith into believing he’s the prophetic savior of the Magickal World, which would not only make both of their characters more interesting, but it could also serve as a parallel of Simon’s relationship with the Mage. Richards also has some special powers such as increasing a mage’s magic for a limited amount of time, but taking it away afterwards, as well as making someone immune from spells. It’s worth saying those aren’t skills that are usual in the Magickal World, or else there wouldn’t be so much confusion and shock from people (specially Baz and Penny, who would definitely have heard of something like this before), but we get no explanation on why or how Richard has them.

Then, we have the Salisbury’s. We, as readers, already know Lucy and Davy are Simon’s parents, making Ruth his grandmother. It’s noticeable that Rowell builds up to that discovery, by making Simon get along with Ruth instantly, him thinking about Lucy a lot etc. It makes us excited to read the part where they actually figure it out, to know how Simon would deal with that, him dealing with the fact that he’s the Mage’s son and the fact that, technically, he killed his father. I suppose that’s the point, but actually getting to that part was incredibly underwhelming. The way they discovered about Simon—being able to lift a family sword—hadn’t been mentioned or hinted at before. One would’ve expected Simon, who’s particularly interested in swords as it’s mentioned many times throughout the series, to notice a freaking Excalibur at the Salisbury’s place before.

And speaking of noticing things: when it’s finally revealed that Simon is Lucy’s son and the Mage’s heir, Baz pointed out the uncanny similarities between his boyfriend and the deceased Watford principal. “Those narrow eyes. That tilt of his head. I thought... I thought he’d learned it. Was imitating it.” + “Merlin, Simon, you even look like him.” (Any Way the Wind Blows, chapter 86) Simon was the Mage’s protégé for years and I assume the Magickal authorities knew that he was the one to inherit all of his money and personal belongings, but no one, in the whole British Magickal community, thought about them being related? I refuse to believe there were no conspiracy theorist teachers at Watford or that Mitali or even the Pitch’s alongside everyone who was against the Mage didn’t at least check to know if there was something behind those characteristics. Baz literally said (chapter 88), “I think it’s undeniable. I’d cast ‘Flesh and blood’ on them, but it would bounce right off of Snow (...)”, so there is a spell for that. Plus, we didn’t even have one whole chapter of Simon dealing with this information! The chapters (no more than five, out of ninety-one) were divided between Simon, Baz and Lady Ruth’s POVs. He’s the main character, so one would think he’d get more development.

Another point that felt rushed was the romance. While Simon and Baz’s relationship wasn’t, as it’s been a topic Rowell has explored for three books (we’re not counting Fangirl here, as their ‘participation’ on it was minor and their personalities weren’t as consistent as in the trilogy. Not that it is that consistent there), the others just felt like she wanted everyone to finish the trilogy with a pair. I’ll start with Shepard and Penny. There were fans who liked them together before Any Way the Wind Blows, but it wasn’t hinted at—it was more like a fandom thing. I personally like them as a couple, but it could have had development and, maybe, foreshadowing in Wayward Son. I mean, they did fight monsters during a huge part of a road trip together.

The next one I’ll talk about is Agatha and Niamh. I love them, don’t get me wrong. Actually, it’s precisely because I love them that I wish they’d gotten a better treatment. Niamh wasn’t introduced before Any Way the Wind Blows. I get why she wasn’t introduced in Carry On—it was interesting to see a character who wasn’t caught up in Simon and Baz’s drama during the school years—but a hint of her existence could’ve been left in Wayward Son. Agatha is an important character on it, and a mention of her father training an aspiring veterinary could’ve fit somewhere, as a hint, maybe. (Also, Lucy, the dog, being absolutely forgotten during this book when a lot of Agatha’s time is spent in a veterinary clinic...) Besides, we could get the vibes from them, but after they kissed, there was barely any content. We didn’t get them calling each other ‘girlfriend’ (or if they even like that label at this point), or the aftermath of the kiss, or a POV from Niamh. Or Niamh appearing the epilogue? If Agatha was taking care of the goats, I’m sure Niamh would have a part in that too. Still on Agatha’s character, but not on Niamh’s, it felt like Rainbow Rowell was setting up for aromantic and asexual Agatha, specially because of this quote: “It was like she'd pulled the feeling right out of my heart. I could have kissed her. (I still wish sometimes that I wanted to.) (That would feel like an answer to... the question of me. Then I could say, 'Oh, thats who I am. That's why I've been so confused.')” (Wayward Son, chapter 4).

And I was leaving the best (I need to be sure everyone knows I mean this sarcastically) of the romance topic for the end: Fiona and Nicodemus. It’s just... so forced and undeveloped. Not even because, to me, they’re both gay as hell. There was just... such a lack of development! I don’t think we had any interaction between the both of them before Any Way the Wind Blows. There was no foreshadowing or why would Fiona, a vampire hunter from a family of vampire hunters, would marry... a vampire! I’d already find it weird to see fanfiction of them as a crackship, but it’s canon?! Like, canon as in they’re going to get married and use Fiona and Natasha’s mother’s ring? Seriously, nothing will take from me that this is a lavender marriage (as I’ve already discussed with my best friend, which inspired this post of theirs.)

I’d also like to speak about a topic that’d been hinted throughout the series, especially post-Carry On, which is the criticism towards the Magickal Community in the U.K.. That criticism is very much embodied in Shepard’s character. It’s explicitly said that the British mages have some kind of supremacy towards other supernatural beings, such as vampires for example, gatekeeping literal magic. Up until relatively recently, mages with weak links with magic couldn’t attend Watford (and that’s a major plot point in the final book) and there’s a denial towards any other kind of magic except the ones that are part of their craft. Even within the Magickal community itself, there are more important families that are more likely to succeed, like Natasha receiving criticism for marrying Malcolm, as a Pitch. It felt pointless not to tackle the issues you’ve set up yourself in your own universe. Penelope has very strict morals related to magickal law and beliefs, something that she could’ve deconstructed, especially considering Shepard, her love interest, symbolises that. Another point related to that is, the trilogy is very clearly heavily inspired by Harry Potter, where many of those points are very clear (e.g. wizard supremacy in relation to other species, such as werewolves and domestic elves and the status quo that makes some traditionally magical families more influential than others, like the Malfoy’s vs. the Weasley’s), so it’s not an easily forgettable concept.

The series also had a lot of inconsistencies. The one I’ve seen talked about more often is Simon and Agatha’s... intimacy status, let’s call it that. Simon’s whole thing in the first book was that he struggled controlling his magic when experiencing intense emotions, which makes it hard to believe that he managed to have sex withount an... accident. Besides that, though, there’s this quote, “She (...) presses a kiss into my temple. No one has ever kissed me there. No one has ever kissed me anywhere but on my mouth” (Carry On, Chapter 27), but in Any Way the Wind Blows, when Simon’s about to have his wings cut, Agatha says, “It’s a strange feeling to look at someone’s chest and know it’s nothing to do with you anymore, but still to remember kissing every inch.” (Chapter 14)

So, we have established that Rainbow Rowell’s work, both character and plot driven, is flawed. “But we got the characters interacting for the closure of the series, at least!” Well... we got interactions between the canon romantic relationships, yeah. But besides that, we didn’t get much. There were no interactions between Agatha and Penny, or Shepard with Simon and Baz. Or Penny and her mother figuring stuff out. Or literally anyone with a therapist. And not gonna lie, the interaction we got between Baz and Dev was underwhelming, to say the least. Niall is nowhere to be seen, too.

Rainbow Rowell’s writing is beautiful: she writes poetic lines that make the book seem perfect at first glance, if you don’t think about it for too long. Her words are very shiny, but once you get use to that light and see what’s behind them, what’s between one shiny quote and another, it has so many flaws and plot holes that it reads like a first draft. There are many concepts in there that are genuinely good: the rest of the trilogy focused on the protagonist dealing with the trauma of being a child soldier instead of being entirely an adventure, Simon being unlabelled, a fake Chosen One that gives mages fake hope... Those are all good ideas, but so poorly explored that, despite being an entire book/trilogy, it still feels like a writing pitch or something among those lines.

I felt iffy about other things during my reading of the series, but they aren’t exactly plot points, so I’ll just list them below:

Mitali, Penny’s mom, including ‘discovering your bisexuality’ as a mid-life crisis thing

As I’ve seen people talking about biphobia/bi erasure in the books, I’ll be including this post that features both unlabelled and bisexual individuals talking about the topic (it isn’t my place, as a lesbian, to talk about this, that’s why I decided not to do so.)

Romanticising of Baz’s suicide (a.k.a. chapter 61) in the first book. If you’re not in a good place mentally, like I was when I first read Carry On, I hope you know that a kiss or romance doesn’t help any mental illness you or others might have. Don’t let anyone use your guilt to manipulate you. Paraphrasing Alice Oseman in their graphic novel Heartstopper, love can’t cure a mental illness.

Any Way the Wind Blows was... very horny. I can’t point out how this makes the book bad exactly, but it wasn’t something I enjoyed. One of Rainbow Rowell’s strongest skills is that her quotes, when loose, are good. They tend to be poetic and just beautiful, overall. But in the... explicit scenes, these skills were barely used, and I felt like I was reading NSFW tweets off of someone’s private account on Twitter. Besides, the first two books of the series weren’t written like that, so the change was very sudden.

The older people could’ve been more explored. Penelope and Mitali’s relationship and how similar the both of them are compared to each other, Daphne and Professor Bunce’s insecurities and why they believed in Smith-Smith, Fiona, Nico, and Ebb... Also, the Mage and Lucy. We could’ve had more on them, y’know.

The pop culture references. They made the book read even more like Twitter’s feed. Honestly, if I wanted to read prompts and nice ship content alongside memes from Twitter with some horny thoughts sprinkled all around, I would’ve opened the Twitter app. Or Tumblr, Instagram, whatever.

The POV switching felt lazy to me at times. It’s nice to know how different characters are experiencing that situation, yes, but sometimes, like during the discovery that Simon is a Salisbury, it read as if Rowell wanted to create tension, but couldn’t think of any other way to do it except the switching around.

Narrative wise, I think Simon and Baz should’ve spent more time broken up.

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antipodeanpineapplelump · 3 years

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Dear Starshot, I recently saw your latest artwork for #Shisui Uchiha and the Lost Treasure of Asura and I am DYING to learn more about this AU. If you're comfortable sharing, is there anything you can disclose about it?? Is this related to the ItaShi Indiana Jones AU you mentioned before?!!?!?!?!!

Hi Birk, thank you so much for dropping by with this ask! Are you really voluntarily asking me to talk about my current obsession and fanfic baby though? Because I warn you, you may live to regret that!!!

"Shisui Uchiha and the Lost Treasure of Asura" is now the official title of my ItaShi Indiana Jones AU. I realise it’s been over a year since I first mentioned it, and it’s still a WIP! Pretty sure that says absolutely nothing good about the speed of my writing, but a lot about how busy my life outside of fandom is. Anyhow, it’s definitely one of those AUs that’s got away on me. I was planning one story initially, but now it’s kind of turned into three (plus a cracky oneshot), and this is just the first.

I’ve planned nine chapters total so far, but the bane of my life is currently number four. It’s sitting at 16,000 words and counting. Succinct writing? I’ve certainly never heard of it… So anyway, I kind of hit a wall there and decided to take a little break to come back with fresh eyes. That’s how I ended up working on the art instead. But I’d say I’m probably about halfway through the first draft (47,000-ish words).

I recently shared the opening scene and my draft cover artwork here. Ummm… what else can I tell you? Madara is the main bad guy, and he’s definitely a few sandwiches short of a picnic. Shisui is an agent of disaster and chaos. Itachi is really… not. So their initial interactions go about as well as you could expect.

All the main characters have extensive back stories. I’m pretty sure you’re already familiar with my Machiavellian worldbuilding tendencies from reading Red Dawn, so it goes without saying I have just as many notes and plans, and as much fleshed out worldbuilding for this story too. And it will take a long time for all of that to be revealed! But the overarching theme is probably found family, which is different to anything I’ve done before.

At this risk of revealing too much, or boring you to tears, I’ll finish with another sneak peek, this time from Itachi’s POV:

When Itachi wakes, there’s nothing to suggest his day is going to be anything but routine.

He gets up at dawn as per usual, eating breakfast at the dining table alone, legs tucked beneath him on a comfortable zabuton. The solitude at this hour of day is something he prefers. It’s the only time the family home is quiet anymore—lacking the cold disapproval of his father’s increasingly judgemental lectures, the anger of his younger brother’s rebellion, or the resigned acquiescence of his mother.

By now, Fugaku should have left for work, and it’s still too early for Sasuke to be awake, given how late he’s been staying out at night. Either to irritate their father, or just avoid him entirely, he’s taken to frequenting the clubs and bars in Osaka. Mostly, he comes home. Some nights, he doesn’t.

More often than not, even when he is home his door is closed, the thumping bass line of some song or another seeping out from beneath it. Likely because he knows this angers their father even more than the leather jackets and spiked punk-rock hair style he now sports.

Part of Itachi has been glad to discover his brother possesses more of a spine than he ever has. But at the same time, Sasuke’s rejection of every last one of their father’s rules has only brought more unwanted scrutiny to Itachi’s far more minor transgressions. It’s as though, having decided his younger child is a lost cause, Fugaku now wants to be absolutely certain his eldest son and heir to the Uchiha family fortune is beyond reproach. To smother him with expectations until he emerges, a diamond from beneath the pressure.

But unbeknownst to Fugaku, Itachi has one flaw he can’t change. And it means that, no matter what, he’ll always be a failure in his father’s eyes.

Sighing, he swallows a mouthful of rice and fish, washing it down with the sweetened barley tea he favours. Pulling this month’s edition of Modern Archaeology across the table, he inspects its glossy cover and promptly chokes on his drink.

The face that smiles up from the page stokes a knot of hot irritation in his gut. Furiously, he skips to the article, skim-reading the text, despite the fact he knows it will only annoy him further.

"An up-and-coming star in the field of archaeology, particularly specialising in South-American cultures, Shisui Uchiha is an increasingly well-known fixture of the San Diego research scene. Curiously for someone so entrenched in the study of history, he is famously reticent when it comes to his own. ‘I did spend my early years in Japan,’ he confirms when pressed. ‘But I haven’t been back in a long time. The United States is my home now.’ Asked about his connection to the famous Uchiha family, he merely winks enigmatically. ‘Never heard of them,’ he says, before asking if we’d like a one-on-one tour of the dig site.

Equally at home in dusty ruins as surfing the palm-lined SoCal beaches, or scaling the cliffs of his native Joshua Tree National Park, he nonetheless shines in group settings too. At the party we attend that evening, to celebrate the opening of a new Aztec exhibit at the Museo Nacional de Antropología in Mexico City, he easily charms the crowd, finishing the night with at least half a dozen new admirers. It’s not hard to see why they like him. A conversation with Shisui is exercise in passion and obscure historical knowledge. Even so, much like the dig sites he frequents, it’s hard to say just how much of what he presents to the world runs more than surface-deep.

His motto in life? ‘Fall seven times, stand up eight,’ Shisui says with a charismatic smile. Where did he learn it? Chuckling, he brushes us off. ‘The school of hard knocks.’

Love him or hate him, one thing is certain—we haven’t seen the last of Shisui Uchiha’s brand of archaeology.”

Hate him, Itachi thinks, sipping his tea viciously enough to scald his tongue and immediately regretting it. Definitely hate. Hate how he’s reckless, impulsive, irresponsible, and doesn’t seem to take a single thing seriously. Hate that it looks like he’s never had to work hard for anything a day in his life—people only too happy to hand him whatever he wants on a silver platter, charmed by a pretty smile. Hate the fact that, despite their shared family name, he’s free to do whatever he likes. Hate the way people flock to him, falling into his orbit—and by all accounts, bed—like it’s somehow inevitable. And hate, most of all, that there’s a small part of Itachi which understands why.

Because hate or love him—and it’s definitely hate—there’s no denying that Shisui Uchiha is, objectively, a very attractive man.

Coming back to his senses and realising he’s been leaning over the magazine, frowning so hard his forehead hurts, Itachi straightens, closing his eyes and massaging the knot of tension out from between his eyebrows.

“Itachi—”

The tension sinks in even deeper. He opens his eyes. “Father.”

Fugaku takes in magazine, then his son, and Itachi really hopes his cheeks aren’t as flushed as they feel. It’s stupid, but merely knowing he feels the way he does about the man on the page makes him fear being caught. As though his father might somehow divine his deepest darkest secret, just by looking. Truthfully, Itachi sometimes wonders if he might not already know, or at least suspect. But if he does, it’s clearly a truth he’s chosen not to acknowledge.

“I take it you’re prepared for our meeting this evening?” Fugaku asks, grim as ever.

Attempting a composed sip of his tea, Itachi nods. “Yes. Of course.”

Mouth a hard, unyielding line, Fugaku makes some indiscernible noise of disapproval, sweeping an appraising glance over Itachi. “Well, I suppose it’s too much to hope that anything can be done about your hair between then and now. But they’re a modern family. New money. Perhaps it won’t matter so much.”

Fingers tightening into the flesh of his thigh, Itachi has to remind himself to breathe. “I will do my best to make a good impression,” he says, inclining his head towards his father, penitence for his innumerable shortcomings—not least of all the choice to grow his hair out. It’s a small act of rebellion compared to Sasuke’s effort, but one his father seems determined to curtail as promptly as possible.

Poker face easing ever so slightly, Fugaku’s brows trend downwards, though their slant is still severe. “I know. You are my son, after all. And it is high time you were married with a family of your own. Perhaps then you will see the value in giving up these frivolous academic pursuits, and taking your rightful place at the head of the family business.”

He might as well build a box and stuff Itachi into it. Mold him to fit his own vision of the future. But Itachi has long since learnt that what he wishes he could have from life, and what he can have, are two very different things. So, just like his infrequent clandestine trips to the less desirable areas of Osaka’s nightlife, this too, he realises he will have to sacrifice. Duty before self.

“Yes Father, I’m certain you’re right,” he says, bowing once more as Fugaku leaves for work, closing the front door behind him with a click that reeks of finality.

As his footsteps crunch away on the gravel path outside, Itachi can’t help clenching his fists, until long after his knuckles turn white.

Theoretically, it’s a good match. From a family of good standing, his potential bride is quiet and well spoken—the perfect future housewife and mother. Their marriage would kill two birds with one stone, giving her father the son he never had, and Itachi—and therefore by extension Fugaku—control of their biggest competitor’s business.

All it requires is for Itachi spend the rest of his life pretending to be something he’s not.

The weight of it burns tight in his throat, threatening to break free on a rising tide of bile. He longs to cast off his gilded shackles, take a leaf from Sasuke’s book and do something completely crazy.

With a sigh, he rises from the table, collecting his dishes and depositing them circumspectly into the sink. Another day of work awaits.

#Shisui Uchiha and the Lost Treasure of Asura #birkastan2018 #asks #my writing #WIP #sorry for talking so much #I'm sure I've mentioned it before #but I'm just an enormous nerd #who loves talking about my nerdy interests #thank you for this ask!

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metanoiamorii · 3 years

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❛Maybe we are not meant to be, not yet. Maybe we’re stars, waiting to collide in another life.❜

♧ Title: Be Still My Foolish Heart [BSMFH]

♧ Status: Brainstorming & Drafting

♧ Point of View: Third

♧ Genre: Fantasy, Action, Drama, Romance

♧ Warnings: Violence, War, Death of major and minor characters, nudity, past abuse, generational trauma, generational healing, racism, transphobia, homophobia, character corruption arcs, ethics vs morals, star crossed lovers, tragic endings, codependent and complicated relationships.

♧ Featuring: Diverse LGBTQ+ characters, enemies to friends to allies to lovers slowburn, complex and complicated characters, fantasy religions, plenty of symbolism, complex world building, ethics vs morals, a whole lot of moral grey can be fit into this bad boy, character redemption and corruption arcs, some found family, learning to separate one from their family's trouble and taking control of their life, soulmate trope, setting the groundwork for future generations.

♧ Setting: An Ancient Chinese inspired, fantasy setting

♧ Synopsis:

In Oidien there has always been a defined split against the Heavens and Ghost City. No one can remember what sparked the feud between them, it's possible after all these years of the fighting and endless war... they don't even remember themselves. They know it's tradition to keep fighting, to ensure the cycle of violence continues. So that is what they do; they keep fighting.

In recent years, the King of Ghost City has drawn back from the fields off battles and distants himself from politics. He leaves the affairs in his eldest children: Lianhauzi holds the crown, Lutaizi knows his way around the court, Suming’qiu is gifted with the army, and Taixuan is there to ensure everyone takes a break, to take care of her family.

A fight against children is how the Heavens view it... To their surprise, these children are more than gifted than their father. This isn't a game to them, it's a livelihood. They know how to secure a victory within minimum casualties, and they know how to balance one another's weakness.

The Heavens cannot take another loss. No matter how many battles they have lost, they have always managed to win this war. Each time. But on this account? They're afraid to admit they've been beat. So they come to a resolution: they have to take out one of the links. Take out one and the rest should crumble.

It's...

Not as easy as one would imagine. Or so their spies in court relay. The four know to keep their distance in public, and if they meet in private no one knows. They handpick their servants carefully, and they ensure each servant knows their tasks and do not overstep. They've taken every precaution necessary.

Even when it works, when one of their spies is welcomed inside that well guarded, hidden court... no one expects the game of cat and mouse to transpire. Their spy is humored until she's willing to change her allegiance and eventually is brought into the family by marriage... In the very least, she offers the weakest link to exploit to destroy the family.

♧ Tease

Of all I have done,

Forgettable they to none;

Has it now begun?

No, not forgiveness.

That I would never ask for, love.

I wish, regret comes.

You know as I do,

Games I once played, have turned you,

A pretty face blue.

I made no mistake,

You know as I do, the stakes

Required; played.

Once, for you, my rule

To survive, I broke, for you;

That forsaken dual.

My conscious it haunts;

My sleep, in dreams it will taunts

And it brings your scorn.

Pour me a wine glass,

For my sanity to last

And my wrath? To trap.

For me, preform; dance

Distract me with your nice laugh

Until I collapse.

And leave, in silence,

See to it, quiet your lips

Of the truth won't slip.

Allow me my sleep,

Don't be cruel, do not slight, cheat

You ugly she-beast.

A single night, peace,

That is all I ask for, please...

Better, just leave.

I have discovered,

Regret? No, I now confessed

Not for you, coward.

♧ Excerpt:

Her booted feet pattered against the puddles of rain droplets as she hugged the umbrella close to her shoulder, protecting herself from the storm. In a hurry she rounded the corner, following after the image of a soaked cat that had caught her attention and ran before she could approach it properly. It had been the first time in awhile since she had taken to sprinting, to follow the cat. Around the corner Xihuli came, brought to an abrupt halt when she turned into another person, as insane as she was to be out in the midst of a storm.

Her umbrella clattered to the floor, dropped as she staggered back a pace. The bright red silk was out of place, spinning upon the rain soaked ground. She gained her footing, no longer staggering to place distance between them. Her head threw back, an angry look quick to find purchase upon her features. Having yet to reach for her umbrella, the rain begun to soak the bright red and white silks she wore, drenched and sticking to her figure. "Watch—"

Her protests are so abruptly cut off. She watches the man tilt back his own umbrella, dark as the stormy sky with red spider lilies imprinted upon the fabric; the hanging tassels brush against his form, parting to expose his face. A youthful face that should have been smiling, with those eyes— so red to match the spider lilies upon his umbrella— staring at her as if she were a lesser being. The umbrella sits back upon his shoulder, head tilted forward with his chin forward, a sign he was in fact superior to her.

"Don't you know better, Zhuque?" The tone he speaks in, it's unlike that rambunctious voice he's known for, full of laughter that becomes too obnoxious for the ears. How serious it is, no jest spoken, no room for his games. He stares her down, staring through the dangling tassels of his umbrella. And how unkind that look is, a look that's no better than a wolf staring at a lamb. "You should never be out so late."

The two men, another prince and his own dog. Wine and lilac gives him away, wearing the golden lotus crown in his hair. Face unfriendly, a natural scowl he had been born with. He stands beneath the umbrella held above his head, keeping him dry from the rain. Held by that fucking bastard, smug and vain, with the bones acting as hair pins. He's uncaring if he gets wet, of course he is. When he controls the ocean why would he care about a little storm?

Lianhauzi pulls back his hood as he now stands blocking the last exit, Lutaizi and An Huli keeping the woman pinned in. He takes a step forward, Xieyuan moves with him, holding the umbrella in place. When he steps forward they all watch Xihuli push herself back, struggling to press her back into the wall, able to stare in each direction where one was coming from. "The fear in your eyes betray you... You know why we are here."

♧ Characters:

Love Interests

Shenguai Suming’qiu; Heizhao-jun

Amab • Agender • He/Him • Asexual • Reciproromantic

The Fourth Master of the Phantom Palace; that has earned the name of Black Sinister Claws. Said to be cursed from birth, as he has come to age and stepped into the politics and warfare, he has come to be their lucky charm. A conniving young man with a sharp intellect, and a shaper wit. For his family, he has taken up the role as master of intelligence and handles all correspondence, planning, and diplomacy. As a front, he appears an apathetic man, detached and void of all emotions, only hellbent on his work; only his siblings and a selected handful are able to see another side of him.

Yi Xianzi; Courtesy Name Ke’ai

Afab • Genderfluid • She/They • Pansexual • Demiromantic

The Young Mistress of the Yi Manor is a woman with high and strong morals, and lives to maintain peace for the Heavens, and secure a future for the younger generations. She bears conflicted emotions of supporting her mistress’ less than moral ambition, but often does not speak of them and turns a blind eye instead; she tries to justify these actions for the greater good, despite knowing better. Often at times, she is torn between her loyalty to her household, and her own sense of justice and morality.

━━━━━━━━━━

Phantom Paradise

Shenguai Bixie’e; Guiwang

Amab • Nonbinary • He/They • Pansexual • Apothiromantic

The King of Ghost City. Despite years and generations of war with the Heavens, he remains undefeated and stays alive. Defying the odds, many believe he is unkillable, and quite well, untouchable. He has retired, for the most part, from the battlefield, and remains within the Phantom Palace, allowing his children to helm the war. He spends his time with his concubines, or with his council. Few see his face, fewer are able to gain an audience with him.

Shenguai Lutaizi; Heige-jun

Transmasc • Genderfluid • He/They • Omnisexual • Demi-Homoromantic

The unorthodox First Master of the Phantom Palace; that has earned the name of the Lord of the Black Song. First in line to the throne, he has conceded his right to it, and would concede his own royalty if not for his siblings. Despite being a Prince of Ghost City, he is nothing like his father. Carefree and reckless, he would prefer to spend his days drinking, goofing off, and living life to the fullest, uncaring of a familia grudge that makes little sense to him.

Shenguai Taixuan; Duandaojian-jun

Transfem • Nonbinary • She/They • Demisexual • Panromantic

The Second Master of the Phantom Palace; that has earned the name of the Princess With A Broken Blade. She takes greatly after her elder brother, and refuses to partake in a war that has not personally done her wrong. Despite her heritage, she is a woman with a strong sense of justice, morals, and honour. She protects her family from harm, and she will not turn away someone in need, no matter their origins. Opposed to being a sister and a daughter in her family, she fills the role of mother and acts as the woman of the household.

Shenguai Lianhauzi; Baoli’jífeng-jun

Amab • Agender • He/They • Asexual • Akioromantic

The Third Master of the Phantom Palace; that has earned the name of the Violent Tempest. Pressed by his elder siblings, he has taken up as their father’s heir to the throne; the Crowned Prince. He is known for his bad temper and strict nature. At heart, he has good intentions, he lacks the best judgement to execute his intentions.

Shenguai Kuangre Ai Du De; Dubo'mogui-jun

Amab • Genderfluid • They/He/She • Pansexual • Cupioromantic

The Sixth Master of the Phantom Palace; that has earned the title of the Gambling Demon. He is a man unaffected by grudges, politics, responsibilities. He prefers to take a page from his brother, Lutaizi’s, book and spend his time enjoying life to its fullest. He is very much a hedonist, and a compulsive gambler. Everyone he meets, he is obligated to gamble with them, at least once. The catch? He’s capricious, he’s erratic, and he will always change the game and stakes with every person.

Shenguai Jiaxiu; Mei-jun

Amab • Genderfluid • He/She/They • Pansexual • Frayromantic

The Seventh Master of the Phantom Palace; that has earned the name of the Beauty Lord. Arrogant and narcissistic, he is a very conceited man. He enjoys simple flattery and having others fawn over him, being the center of attention. Out of admiration he has taken after his brother, Suming’qiu’s, footsteps and assists him with his tasks. Himself, he carries out the more… darker duties called for, and gathering information; assassinations and spying tends to be his expertise.

━━━━━━━━━━

The Four Calamities

An Huli; Chui Feihong

Transfem • Agender • She/They • Homosexual • Homoromantic

Little Fox, as she’s called, is the favored of Prince Lutaizi, and the oldest of the Great Calamities. She is a woman who knows what she desires, what she is determined to do, and she refuses to allow anything or anyone to stand in her way. She comes off to be blunt, spiteful, angry; a she-devil, some claim in kinder terms than a bitch. Ahead of her time, she refuses to hide herself behind a mask, to be perceived as a gentle woman when, in truth, she is a walking storm, and for that, many frown upon her.

He Ruxie; Hei Xieyuan

Amab • Agender • He/They • Demisexual • Gyneromantic

Lord Black Water, as he is called, is the favored of Prince Lianhauzi, and the second of the Great Calamities. Formally a scholar in his past life, he experienced a string of bad luck, costing him his family, his wife, his daughter, his livelihood, his freedom, and soon his sanity. When he perished in his mortal life, he returned as a malicious spirit, and soon came into the service of the Shenguai family and serves loyally and viciously

Da Chen; Nitu Guiguai

Transfem • Nonbinary • They/She • Asexual • Demiromantic

The Enlighted One, as they are called, are the favored of Princess Taixuan, and is the third of the Great Calamities. In their previous life, they lived the life of an honest priest, surrounded by corruption and sin. When they met their end, their resentment for their peers remained and thus they rose to power to root out the corruption and seek retribution. Of the four, they are the amicable. They often forgo emotions and act only in rationality. Their mind is never clouded, and each act they make are in good conscious. Good will is shown to those that live an honest life, no matter their origins; ruin is shown to those are decide to live a dishonest life.

Wusi Linghun; Bai Wulian

Closeted Transmasc • Agender • He/They • Akiosexual • Demi-Akioromantic

The White Devil, as he is called, is the favored of Prince Suming’qiu, and the youngest of the Great Calamities. Formally a young lord in the Heavens, he turned his back on a betrothed he held no affection for. Openly, he cast aside his previous life, to serve the Shenguai family, and became a quick aid to the Fourth Prince. He is said to be two-faced, in some encounters being ruthless and apathetic, and other times he is genuine and compassionate; a toss up upon which side someone will see when their paths cross with him.

━━━━━━━━━━

The Heavenly Host

Meng Zhang; Courtesy Name Amnizha

Transfem • She/Her • Demisexual • Demiromantic

The First Master of Dongbu, and the acting Qinglong. Kindness is the one rule she lives by: kindness to her family, kindness to her allies, kindness to a stranger, kindness to her foes. She sees no reason to rule with fear and hatred, and actively will not promote negative emotions. She is a stern and serious woman, she takes pride in her knowledge, her power, and securing the truth. Behind closed doors, she opposes Xihuli and the Emperor, knowing both have secrets they would prefer to keep buried, in public she maintains an appearance of being a close ally.

Ling Guang; Courtesy Name Xihuli

Cis-female • She/Her • Demisexual • Apothiromantic

The First Master of Nanfang, and the acting Zhuque. Openly, she is perceived as a compassionate woman, who puts the needs of her people before herself, and acts selfless; in truth, she is surprisingly violent and vulgar. She continues to fuel the war, slandering and starting rumors of false deeds to rile the public, and gain the support of her supposed allies. There is nothing she is not willing to do to gain fame, support, and what she desires.

Jian Bing; Courtesy Name Cixia

Afab • Genderfluid • She/They • Asexual • Demiromantic

The First Master of Xibian, and the acting Baihu. She is known for being a compassionate woman, she wears her heart upon her sleeves, and acts out of the goodness of her heart. She openly encourages peace, to cease endless war and bloodshed; to make amends. For which, she is seen as an enemy to Xihuli, but is a close friend to Amnizha. Her only downfall are her chronic illnesses that have left her sickly since birth.

Zhi Ming; Courtesy Name Lu'yongshi

Amab • Agender • He/They • Closeted Homosexual • Homoromantic

The First Master of Beifang, and the acting Xuanxu. He has a reputation that precedes him as an honorable gentleman. He is a man of his word, he acts in accordance to justice and honor, and rarely strays from it. At heart, he is a warrior, and lacks the delicacies for social greetings; he comes off as blunt, uninterested, distant, and often lacking a heart to care.

Zhi Shi; Courtesy Name Yansbi

Cis-female • She/Her • Asexual • Aromantic

The younger sister of Lu'yongshi, the Second Master of Beifang, and acting Xuanshe. She happens to be her brother’s polar opposite. She is less than honest, she lacks honour, she craves power, she will use blackmail to get what she desires. As, she is not above blackmailing and guilting her own brother to act in accordance to her own agenda. She is also a close associate to Xihuli.

Long Jianhong; Courtesy Name Canren

Cis-male • He/Him • Bisexual • Apothiromantic

The current Emperor of Zhongxin, and the acting Honglong. A prideful man that cares more of his own person than his own people. Often, he turns a blind eye to all suffering, and allows Xihuli to do as she pleases. He is a womanizer, with various concubines’ , and elicit affairs with others. He was loveless to his wife, as there are rumors he was behind her untimely death. Whether these rumors are true or not are unproven, and few challenge them out of fear.

Long Shisan; Courtesy Name Li Busengren

Amab • Genderfluid • He/She • Quoisexual • Quioromantic

The Fourteenth Prince of Zhongxin. With twelve siblings in line of succession to the throne, Li Busengren acknowledges the chances for him to be the heir are little to none; this is added by the factor of being, from birth, his father’s least favorite child. With a will to prove his father wrong, and desperate for his father’s approval, he’s ready to do anything for an ounce of recognition.

Taglist

BSMFH: @writings-of-a-narwhal, @kittensartswriting, @inkflight, @qelizhus,

General: @endlesshourglass, @writerray, @poore-choice-of-words, @alexwritesfiction, @primusesgiantmetalballbearings

Both: @cecilsstorycorner, @little-boats-writes, @hazard-writes, @egg-shark

#My writing #Wip intro #Wip introduction #Writeblr #Writeblr community #Writing community #Writers on tumblr #Writers of tumblr #Fantasy #Star crossed lovers #Original writing #Fantasy writer #Morri's collection #Morri's wips #Did Morri really say instead of being productive with new content they would just make a re-intro to this wip?#Yes yes Morri did #Original works #Original story #in the midst of chaos there is queue

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ljf613 · 4 years

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Colonization & Imperialism in ATLA

One of the things I’ve noticed in fandom complaints about the ATLA comics-- namely, “The Promise”-- and subsequently, LOK’s worldbuilding, is the way the narrative handles colonization.

I see a lot about how what the Earth Kingdom chose to do with the former colonies is “none of Zuko’s (or Aang’s) business.” (I also see people talking about how Katara would never support colonialism, in any shape or form, no matter the circumstances.)

And I just.... don’t vibe with those ideas? At all?

Like, I definitely have problems with the comics-- especially “The Promise,” where all the drama centers around Miscommunications of Epic Proportions and could have been resolved in Part One if all the characters just sat down and listened to each other (not to mention that Aang would never have agreed to make that promise, nor would Zuko have asked it of him (Sokka would be a more obvious choice, but that’s a different discussion))-- but I never had any issues with their worldbuilding.

I love the idea of Yu Dao, and the fact that the narrative acknowledges that a new kind of world has new kinds of problems. It makes sense to me that we can’t always just “give back the land we took.” And I found the idea of the end solution being “give the people who live there their own country” really cool and empowering.

So I want to talk about why I feel this way. About what kind of real-world parallels can be made here. About some little-known bits of world-history that compare.

(Please note that for this meta I am only going to be discussing the relationship between Fire Nation and the Earth Kingdom. As far as I am aware-- and I could be wrong-- there is no real-world genocide quite comparible to what Sozin did to the Air Nomads, and most of the people alive in ATLA were not actually around for or involved in that. And the relationship the Fire Nation has with the Water Tribes-- and that the North and South have with each other-- is worth a whole separate analysis, and doesn’t deserve to just be shoved into this one.)

(Disclaimer: While this is in response to some of the interpretations I’ve seen on this site, it is not meant to discount or invalidate those fans’ views-- I’m just trying to show my take on it. I am a firm believer in the power of active discourse, and the value of looking at the same scenes through different lenses, rather than just getting one opinion and accepting it as Absolute Truth.)

The main thing I notice in general ATLA discourse-- and not just on this topic, but in any sort of meta about the Fire Nation, colonization, and global impact-- is that the fandom mostly compares the war and its after-affects to real-world Imperialism, the Age of Imperialism, New Imperialism, and Colonization.

And I understand why that is. In the grand scheme of world history, that era is still fairly recent, and we are still dealing with the afteraffects from it. It has shaped the Western World’s worldview on every level. (Not to mention that the Euro-centric way we’re taught history means that this piece of world history is the one we’re most exposed to, and so have the most understanding of and room to analyze/criticize.)

However, there are a few issues with sticking only to this perspective.

First off, the Age of Imperialism was a direct response to the Age of Exploration. This was the period of time when white Europeans sailed around the world acting as though they were discovering new places and pretending that there weren’t already existing civilizations there.

[ID: Two dots meme, edited so that Guy A says “i’ve discovered a NEW WORLD,” Guy B replies “you didn’t discover ****,” and Guy A insists “i’ve discovered it” / End ID.]

Now, I’ve mentioned this in passing, but the world of ATLA doesn’t appear to have had an Age of Exploration. There’s no vast “undiscovered” land masses, the four nations have always known about each other, and they all have a shared language.

The whole foundation for the Age of Imperialism was “oh, look, there are all these ‘unexplored’ lands with resources ripe for the picking (who cares about the indigenous people, they’re just simplistic savages who don’t know what’s best for them), let’s see which European country can grab the most land first.”

This was a race. This was sudden. This was Europeans coming in and taking over while viewing the natives as bothersome pests. This was about multiple major world powers competing over resources.

This was not 100 years of active warfare between a single conquering country and the very people they were trying to conquer.

The parallels don’t hold up.

Secondly, by focussing only on this one kind of historical narrative, we ignore any others.

I will admit that I have used the word “imperialism” in reference to the Fire Nation a time or two. However, upon further reflection, I realize I didn’t really mean imperialism, which is actually a fairly modern concept. What I feel the Fire Nation is really an example of is centralism and expansionism-- two ideaologies that have been a way of life for conquering empires throughout history.

(I am in no way qualified to explain the differences between these concepts-- I recommend doing your own research if you’re curious.)

The Persian Empire. The Greek Empire. The Roman Empire. The Byzantine Empire. The Mongolian Empire. The Russian Empire. The First French Empire.

You could take any of these (or numerous others) and make an interesting analysis between the similarities and differences between their behaviors and that of the Fire Nation. And maybe I’ll do that someday.

However, I started this to talk about Yu Dao and all of the other so-called colonies (I really feel like territories would be a better word, but, again, that’s a whole ’nother discussion), and I’d like to focus on that.

FYI, here’s a basic history refresher: If two countries are at war, and then they decide to end the war, neither country is required to return captured territories. They can make a treaty and agree to do so, but there is no obligation to. The Fire Nation didn’t just march in and say, “this is our land now”-- they fought for it. They captured that land. Just because the war is over doesn’t mean they need to just give it back.

Like it or not, that is the way the world operated for thousands of years, and so that is the interpretation I’m working with here.

In any case, “The Promise” actually presents this as a three-way conversation. There’s Zuko (and, by default, the Fire Nation), Kuei (and, by default, Ba Sing Se and the Earth Kingdom), and the people of Yu Dao themselves.

(My understanding of the Earth Kingdom’s style of government is that it’s made up of a large collection of different ethno-cultural regions who all answer to Ba Sing Se.)

I’ll let Sokka explain it:

[ID: Comic panel from Part Three of “The Promise.” Sokka and Katara are talking, both in obvious states of agitation, while Suki and Toph are looking at something in the background. Sokka is saying, “Let me see if I got this. The protestors and the Earth Kingdom Army want the colonials to go, the Fire Nation Army wants the colonials to stay, and the Yu Dao Resistance just want their city to be left alone?” Katara responds, “Yes!” / End ID.]

The people of Yu Dao don’t care about the war. They don’t even really care who’s in charge. They just want to be left alone.

This speaks to me on a very personal level, so I’m going to make another real-world comparison here:

My ancestors first came to America to escape from the poverty and opression they were experiencing in a place known as “White Russia”-- that is, Belarus. To be clear, I am not talking about the country “Belarus,” but the region, which includes the modern-day countries of Lithuania, Ukraine, Belarus, Latvia and Moldova, as well as parts of Poland and Russia.

I looked up White Russia, trying to find out how much information someone who didn’t grow up hearing stories about what it was like (that is, most of the people reading this,) might have. I didn’t find much. Most of what I found talked about political ideologies and such-- things that your average poor peasant, struggling just eke out a living, didn’t have much energy to care about. So let me paint a(n oversimplified) picture for you.

Imagine you’re a poor shoemaker in a small town on the Russian border. You spend your days hard at work, trying to earn a living to support your wife and nine children. You’ve never left the town you were born in. One day you get the news: Russia and Poland are fighting again. Your two oldest sons (ages 15 and 17) are forcibly drafted off to fight in the Russian army; you never see them again and have no way of knowing if they’re dead or alive (they’re probably dead). Poland wins-- this time. Congratulations, your town is now part of Poland.

Does suddenly being Polish make a difference to your life? Not in the slightest. Two or three years down the line, you’ll go back to being part of Russia again. This is the third or fourth time you’ve seen your town switch hands, and you can’t say you prefer one government over the other. It doesn’t really matter who’s in charge-- you’re still faced with crippling taxes, forced drafts, and various other forms of oppression. (It doesn’t help that you happen to be part of a persecuted minority.)

(This is why I have many ancestors who may never have left the town they were born in, and yet records show that they were born in one country, got married in another, and died in a third.)

This is the kind of worldview through which I am looking at Yu Dao. (Obviously, it’s not an exact parallel, but neither is the standard “colonizers vs oppressed natives” lens.)

My ancestors eventually got fed up with the treatment they were receiving from their respective governments, and left to build a new life, in a new place. But the citizens of Yu Dao don’t have anywhere to go. The only two real world powers in this story are the Fire Nation and the Earth Kingdom, neither of which has ever before expressed any true interest or concern in the actual people of Yu Dao.

The Earth Kingdom didn’t really care about the city before the war-- they were just another poor, struggling town, whose citizens were barely able to make ends meet. And while the Fire Nation may have helped the place grow into a bustling town, they also established a hierarchy that did not serve in the citizens’ best interests.

And so, in “The Promise,” these citizens’ frustrations come to a head. “Enough,” they say, “we don’t want to be used as a pawn in your games anymore.”

And Zuko and Kuei (and Aang) actually listen. They say “we need to start thinking about these people as people, not as symbols of one side or the other. It’s time to give them a say in their future.”

And a new country-- a new way of life-- is born.

(Is it perfect? Absolutely not. But it is constantly evolving and changing, trying to do better, be better. And that’s more than you can say about most of the other countries in this world.)

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doomonfilm · 3 years

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Ranking : Gus Van Sant (1952-present)

I was somewhat familiar with Gus Van Sant prior into taking the deep dive through his catalog, but he was certainly a man that I thought I had a handle on. I knew he had more than a few amazing films under his belt, but the recent years had not been kind to him (see the shot taken at him in Jay and Silent Bob Strike Back). I knew that he was from the Pacific Northwest (Oregon specifically), and his coming of age in an area that embraces weirdos and outsiders had an impact on him as a human and as a creator. I knew that films like Milk and Good Will Hunting had taken Van Sant to the highest heights, while the collective panning of films like Psycho and Last Days served as valleys in a career full of glorious peaks.

What I came to discover, however, was a man with genuine creative integrity, and lots of it. I found a director who understood his characters and actors on a human level, and shared them with viewers in ways that helped rich connections develop. I saw a director who was not afraid to make those that society often considers outcasts the emotionally rich and important centers of his narratives. I watched Gus Van Sant present, explore, develop and refine his style over deeply independent and infamously studio-driven projects, giving all experiences as much care and attention as he was able. I saw films I was familiar with find placement behind films I was new to, I discovered that his recent creative years have not been as kind to him as the first two-thirds of his career, and I can see that there still may be a bit of a smolder left in his creative fire.

Ranking directors is a labor of love, but by no means do I consider myself the definitive professional on film canon. I enjoyed all of the Gus Van Sant films I watched on some level, and as always, for those brave enough to interact, I’d be curious to see where you would make adjustments to the list. But enough introduction talk, let’s get into what you folks came for!

17. Restless (2011) There are things about Restless that I want to love without judgement. First and foremost, Mia Wasikowska is an absolute treasure who shines in this performance from the earlier portion of her career. The portrayal of Hiroshi is one of the more subtle, substanced and interesting ways of using a ghost within the film framework. As minor a thing as it may be to the casual moviegoer, some of this film’s technical aspects are astounding, specifically the costuming and the lighting choices. Where the film distracts me, and therefore drops in these rankings, is where it takes the YA approach to the romantic drama, with a healthy dose of manic pixie dream girl energy thrown in for good measure. When it comes to displaying romance on-screen, be it teenage or otherwise, there are no expectations, even for a director with a distinct style. Where my issues arise are in the way that death is handled in this film… while I do understand that not every film has to be a distinct statement for a director (especially a film written by another individual), Gus Van Sant had already established a very mature approach to the subject of death, and the way that death and the manic pixie dream girl aspects are intertwined feels more on the amateur side than I am comfortable with for a Gus Van Sant film. Maybe giving the impossibly troubled young man a muse with an expiration date as his way to find the best version of himself is a stroke of genius that provides a gateway for deep commentary on the concept of the manic pixie dream girl, but the film is so approachable and not the type to bare teeth (be it satirically or otherwise) that I doubt there is any subtext to its intention. For that reason, this film finds itself on the bottom half of the Van Sant canon.

16. Don't Worry, He Won't Get Far on Foot (2018) After the critical and box office disappointment that was The Sea of Trees, director Gus Van Sant had quite the hill to climb with his next film, and with his adaptation of Don’t Worry, He Won’t Get Far on Foot, it seemed he was able to right those respective ships. Strangely, the film failed to connect with me, and as far as I can tell, it seems to be the victim of an “all sizzle, no steak” scenario. The film is certainly a showcase of a very diverse cast, and based on both the flashback-based and group therapy approach to the story, there are a wealth of opportunities to create memorable moments. Unfortunately, and perhaps due to an oversight on my end, I failed to find enough substance during my viewing of the film to prop up the parade of moments. What it felt like I was left with, sadly, was a Simple Jack-level approach to conveying a paraplegic-centered story, which undercut the fact that the film is actually telling the true story of cartoonist, artist and musician John Callahan. That’s not to say that the film doesn’t have it’s positive aspects, such as the John Callahan illustrations and the animated versions of his work, but those positive aspects feel sparse in comparison to how much the film relishes in what feels like Oscar bait. If nothing else, see this film for Jonah Hill, because it took me much longer than it should have to recognize him, partly due to his impressive weight loss and partly due to how dedicated he is to achieving the film’s period look.

15. The Sea of Trees (2015) Death is no stranger in the films of Gus Van Sant, but I don’t feel that it would be bold to state The Sea of Trees deals with death in the most direct manner. For those that subscribe to grief having stages, this film accounts for all of them in some way, shape or form during the course of the narrative as we watch Arthur Brennan fall apart and rediscover himself in the wake of losing Joan Brennan, his wife. Placing the film in Aokigahara (aka the "Japanese suicide forest") not only gives the film a sense of natural beauty, but a foreboding sense of dread and despair as well. The core cast is as strong as any found in a Van Sant film, with Matthew McConaughey, Ken Watanabe and Naomi Watts all turning in solid performances. Sadly, the film falters in one very core aspect : sympathy for the protagonist. I found myself feeling very bad for Joan Brennan as I watched her arc, and despite knowing nothing about Watanabe’s character portrayal of Takumi Nakamura, I found myself sympathetic to him based solely on what he was emoting. Arthur Brennan, however, is interesting in all the wrong ways… he is extremely cold and purposefully flat when introduced, the moments we share with the Brennans only seem to show Arthur finding joy at the expense of Joan’s pride, his view of the loss of his wife (and his world view in general) seem to be extremely self-centered, and when he does show heroic attributes they are rooted solely in self-preservation. Perhaps if Van Sant had not already made such eloquent reflections on death via The Death Trilogy and Paranoid Park, The Sea of Trees could have been seen in a different light, but when you set such a high bar for your work, returning to stereotypical storytelling can feel flat and uninspired.

14. Last Days (2005) Last Days is a film with a weird energy and aura surrounding it… in some ways, it feels like the most performative film not only of the Death Trilogy, but out of the entire Gus Van Sant catalog. At the risk of using too negative an adjective, it also feels the most exploitive, though neither of these observations are necessarily meant to be a knock against the film. The Death Trilogy could not help but be exploitive at its root, as each film was inspired by an infamous death event, and with Michael Pitt’s Blake meant to be an avatar for Kurt Cobain, it would be simple to take the film at face value for some sort of glamourized and idealized fictional retelling of his tragic final moments, not to mention a few stylistic nods to iconic Cobain-related imagery. What that viewer would be missing, in my opinion, is a film looking to make some familiar points on outsider culture (specifically alternative rock and roll counterculture and addict culture) minus all the glamour and shine. While Blake’s house is grand, it’s decrepit and in a state of disrepair… despite it being isolated, expected and unexpected guests arrive constantly, not to mention an intrusive ringing phone that connects Blake to outworld obligations… Blake has a number of people living with him, but he almost never interacts with them. Michael Pitt is done up to look so similar to Kurt Cobain that much of the narrative background is implied, and what we are left with is the Death Trilogy style implemented and fused onto a loose leaf narrative with just enough structure to let the supporting actors have isolated memorable moments while we watch Pitt’s Blake decay in the ways that many of us Cobain fans ruminated on in the wake of his sudden and tragic death at the height of his tortured popularity.

13. Gerry (2002) At the risk of sounding cliché, Gerry may be the most fascinating film in Gus Van Sant’s canon. It marks a clear and definitive break in convention from a director that seemingly never cared too much for convention anyway. Multiple aspects of this film make it extremely unique : both characters referring to one another by the same name (though Gerry eventually evolves into an all-purpose non-specific descriptor), a seemingly absent narrative, a shared goal between the characters literally referred to as “the thing” in order to purposely keep viewers in the dark and, perhaps most importantly, a deliberately methodical pacing that pushes even seasoned film lovers to the limits of their patience. The film is beautiful, and that is a fact that cannot be denied… the painterly shot compositions of our characters in the isolated desert, the unfathomably long tracking shots that pull us deeper off the beaten path and the sonic stillness (due to a largely absent score that is replaced with the sounds of nature) either commit you fully to the experiment or come off as massively pretentious. To view the film through that secondary lens, however, is to miss the point of it all. Once it is understood that Gerry marked the entry point for Gus Van Sant’s Death Trilogy, you began to realize that Van Sant, in tandem with Matt Damon and Casey Affleck, are giving us an understanding of how we should view the trilogy, and how open-minded we should be in processing what is given to us, like some early high-concept version of what Quentin Dupieux would later go on to master in a more abstract manner.

12. Mala Noche (1985) It’s fitting that this was a feature-length debut from a driven and working director, as it has a very distinct look and feel to it that immediately lets you know you’re dealing with an innate storyteller and someone who has spent time observing the human condition. In terms of visual and narrative balance, Gus Van Sant utilizes what feels like a mix of John Cassavetes and Jack Kerouac, respectively. Van Sant’s use of titles in the film is striking, specifically in terms of the handwritten opening credits and the Dr. Pepper ad copy used to subtitle the Spanish language dialogue. Focusing so heavily on immigration and homosexuality in 1985 is a bold choice, especially as neither group had yet to benefit (even if only minimally) from the onset of politically correct culture policing. While the film was more than likely shot in black and white due to budgetary constraints, the infusion of somewhat modern elements (for the time) gives it a youthful and forward-thinking energy. Having a film of this nature lean so heavily on multilingual and multicultural elements is refreshing, and even more impactful when examined under the boorish and (at times) tone deaf application that humanizes these elements. For all of these aspects of the film, however, when examined at the pure narrative foundation, what we find is a story about how love can blind us from the reality we inhabit, and how we often choose to ignore the obvious when romance and romanticism enters the picture.

11. Psycho (1998) Of all the films in the Van Sant catalog, perhaps the bravest, boldest and most baffling entry is his nearly shot for shot remake of the iconic Alfred Hitchcock thriller and cinematic game changer Psycho. Remakes were certainly not a new or unheard of practice at the time of the Van Sant Psycho release, but most directors opt to put significant twists or updates into their retelling of most remakes, and most films chosen do not hold the lofty stature and position that Psycho does when it comes to remakes. Van Sant’s approach not only made viewers keenly aware of just how direct the homage was, but in some places, modern touches were added in very subtle ways to make the movie more palatable for modern audiences, including more salacious references to sexuality, sound design choices in both the diegetic and symbolic realm, and even an update or two to iconic scenes meant to make us much more uneasy with the Vince Vaughn portrayal of Norman Bates. The actors cast were all famous and respected enough to keep the film’s timeless feeling in-tact, even if the remake could be taken as its own weird and warped project. Personally, I’ve always loved this remake, and taken it as an experiment on the highest commercial level, and a signal to all that Van Sant (at the time) was done with the traditional approach to filmmaking and concepting.

10. Paranoid Park (2007) While many movies centered around skateboarding spend their time and design budget trying to make the outsider nature of the practice look “cool”, Paranoid Park spends its time making sure that the isolation, deep focus and rebellious attitude that come with skateboarding were more authentic than they were appealing. High school is already a very taxing and polarizing section of juvenile development, and based on your perception at the time, the weight that the world unloads on you can feel wholly unbearable. Perhaps this is what makes Paranoid Park such a tense film… that natural teenage angst is already imprinted into the film (and amplified due to the casting of relative unknowns), but Gus Van Sant’s signature use of alternative film stocks, obscure soundtrack and expressive, layered sound design but you square in Alex’s head from the opening moments. As the narrative unfolds, we realize that Alex is not only dealing with standard-issue teen stress, but has unwillingly found himself involved in the type of events that change an individual’s world. This film plays well as the first film post-Death Trilogy, as it deals with the gravity of mortality head-on much like the aforementioned three films, but does so from an adaptive stance rather than one based on true events. If you’re a fan of skater flicks, movies with strong teen acting, or little-known Gus Van Sant gems, then Paranoid Park is a gem waiting for discovery.

9. Finding Forrester (2000) Gus Van Sant has always had a way with stories that dive below the surface of the human experience and condition, so it makes sense that his attempt at a New York-based movie about people living in “the hood” would cover an array of topics with masterful subtlety, specifically the topics of race relations, generational gaps and the blurry line between education and exploitation. The casting on this film is extremely strong… then newcomer Rob Brown gives a riveting and dynamic lead performance, it’d be harder to cast a more perfect curmudgeon than Sean Connery, and appearances by F. Murray Abraham, Anna Paquin, Busta Rhymes and a Matt Damon cameo all stand out. Speaking of Damon, Finding Forrester shares a similar energy to Good Will Hunting, but the proximity of release ultimately held Finding Forrester from finding its proper audience (no pun intended). I wish I had more to say about this film outside of my personal feelings and connections to the story (which I will save for a dedicated deep dive in the future), but Finding Forrester is one of those films that has no trouble speaking for itself.

8. Promised Land (2012) As of the point that this blog post was created, this film stands as the last of the great Van Sant creations. There is something about the Gus Van Sant approach to filmmaking that works best with “salt of the Earth” types, and with Promised Land being centered around the practice of fracking, much of that down-home nature is immediately baked into the story. Speaking of the story, the film was co-written by the characters who ended up being the protagonist and antagonist of the picture, respectfully, which created an electric main dynamic that served as the spine for many other strong dynamics present in the film. In terms of the cinematography, much of Van Sant’s bold approaches and stylistic shifts are absent, save for a few beautiful bird’s eye view perspective shots that give you a real idea of what rural America looks like. Van Sant is no stranger to stacked casts, but he gets some truly top notch names to take part in this affair, and true to the clout behind these names, the performances are as stellar as they are believable and natural. The film also touched a nerve with the actual oil industry due to some of its comments on fracking, despite it not having the reach or success of other Van Sant films. While possibly an indicator that Van Sant would be making a stylistic shift, Promised Land still manages to capture what makes Van Sant his best self in terms of not only presenting real people, but topical and important situations.

7. Milk (2008) Gus Van Sant is clearly no stranger to having representation for the gay community in his films, so it makes sense that one of the hallmark films in his canon would center around gay rights activist and politician Harvey Milk. Much like JFK crystalized Oliver Stone, or Spike Lee was raised to another echelon by Malcolm X, Van Sant found a second round of Academy Award-level validation via this biopic while solidifying himself as a creative who could go back and forth effortlessly between big budget studio films and independent projects. With Sean Penn giving one of his signature chameleon-like performances and leading the pack, this Van Sant production is filled with tons of burgeoning talent who have since gone on to make names for themselves in the industry, including the likes of Emile Hirsch, Diego Luna, James Franco, Alison Pill and others, plus a standout performance from Josh Brolin (who also depicted George W. Bush in the same year for the aforementioned Stone). While it may not be the most technically marveling film of Van Sant’s career, it is clearly one of his most important, and the way that it handles the messages it intends to share is as confident as it is even-keeled, which is important for a film that could have easily become a soapbox for espousing personal beliefs and political agendas.

6. Even Cowgirls Get the Blues (1993) This Gus Van Sant adaptation of the famed author Tom Robbins novel shares the same creative energy of films like Fear and Loathing in Las Vegas, Natural Born Killers, Harold and Maude and so on in the sense that it is a very expressive film with a very specific idea it is looking to present. Where the aforementioned films explored ideas of free love taken to the extreme, the toxicity of media, love without judgement and so on (respectively), Even Cowgirls Get the Blues puts femininity and identity outside of the male gaze squarely in its crosshairs. Uma Thurman takes on the role of Sissy with wide-eyed zeal, floating through a series of hitchhiker-based adventures until her reluctant visit to the Rubber Road Ranch helps her find the missing piece of her puzzle. Seeing a bizarre, star-studded tale of a woman finding her agency sounds like it would work on the surface, but from what I could find, the film failed to make a connection with audiences and is considered a commercial and critical failure (which is probably why it was the toughest film to track down on this list). That being said, I’m a sucker for films that catch a bad rap, especially when the combination of such a unique director and visionary author are the foundation of it, because it makes me curious about why I find connection where others did not… who knows, maybe it was those extremely distracting rubber thumbs (the only real knock I can make on the film), or maybe the Tom Robbins style is tough to transfer from page to screen, but for my money’s worth, I can see the vision.

5. My Own Private Idaho (1991) Somewhere within the intersection of films like Midnight Cowboy and Fight Club lies My Own Private Idaho, an extremely personal and nuanced film that covers many topics with depth and an ease that comes with wisdom and experience. For example, when it comes to views on identity, we get two rich narratives that could easily both be their own film : Mike (portrayed by River Phoenix) is going through a crisis of identity based on a sordid history with his mother and absentee father that makes his search for love transform into a life of hustling as a way to find momentary intimacy; meanwhile, Keanu Reeves (who plays Scott) is an entitled young man awaiting an inheritance that decides to spend the time until it happens “slumming” with those many would consider the outcasts of society, much like the “tourists” spoken of by Edward Norton’s narrator in Fight Club. The struggle with masculinity in the face of homosexuality is all over this film, from its multiple male on male connections to the very toxic manner that the core group interacts with one another, when they are not grieving or putting their livelihood in danger via petty crimes. In terms of Van Sant style, the film is one of his most innovative (outside of the film holding the top spot) in terms of looks, with its unique range of colorful title cards, the pinhole vision that Mike uses on his road, or even the standout magazine rack sequence. The film is also a perfect follow-up to Drugstore Cowboy, and could easily double feature with it to this day. As someone not wholly familiar with Shakespeare’s Henry plays, I did not catch that My Own Private Idaho was an adaptation, so I will not only have to revisit it with that familiarity in tow, but I will have to take a look into James Franco’s re-cut, My Own Private River, as well.

4. Elephant (2003) Based solely on the nature and definition of a trilogy, a second film can make or break things. Gerry and Last Days share similarities in how quiet and isolated they are, so it makes sense that Elephant, part two of Van Sant’s Death Trilogy, would in many ways be the meat of the trilogy sandwich in terms of style and thematic substance. Elephant operates on several distinct levels based on Van Sant’s observations of the world going into the new millennium, as the film allowed him a foundation for both experimentation and examination by proxy. While the long takes and vast amount of distance traveled during said takes was present in all three films of the trilogy, Van Sant made a concentrated effort to make the shots look and feel similar to that of video games like the later Grand Theft Auto entries, hence a number of the shots being positionally locked during travel (often times a few feet behind the character at the center of that moment’s focus). There are ramp-downs of the frame rate to punctuate certain moments, and quite often the camera is thrown on a tripod and allowed to take in the array of high schoolers living their standard life. It is this mundane world-building aspect that not only gives the viewer a rapid but deep look into a handful of character’s lives, but it gives you a sense of the school’s social hierarchy while forcing you to reflect on where you once stood within it. Per the film’s clever title, the elephant in the room eventually appears in the form of Eric and Alex, the pair of school shooters meant to reflect the Columbine Massacre perpetrators. While school shootings weren’t an unknown phenomenon going into the 2000’s, Elephant became prophetic in its vision by releasing right before the numbers started rising at an alarming rate on these incidents. In that sense, Elephant holds the dual distinction of not only being one of Van Sant’s best films, but one of his most important. I will soon be looking into the 1989 Elephant film as well.

3. Drugstore Cowboy (1989) The power of Drugstore Cowboy as a modern-day narrative tragedy about the epidemic of prescription drugs, the dark allure of crime and the oddball way that broken people find solace in one another is immediately evident to anyone who has had the pleasure to see Gus Van Sant’s studio directorial debut. Where the film really stands out however, in my opinion, is the way that Van Sant is able to achieve his major studio look while deeply applying a very artistic and personal aesthetic to the cinematography and editing. The traditional looks are interspersed with the use of different film stocks, subtle blends of animation and flashes of stylistic edits that were almost certainly an inspiration for Darren Aronofsky’s “hip-hop editing” style. Add to this an incredibly intuitive and expressive core cast driven by the chemistry between Matt Dillon and Kelly Lynch (and a very early Heather Graham supporting appearance), plus a strong appearance by the always memorable Max Perlich, a fiery James Remar performance and an iconic cameo from William S. Burroughs. The jazz-influenced score not only makes key scenes livelier, but it is a symbolic statement on the drug use depicted in the film, while simultaneously playing counter to the soundtrack choices. Period, point-blank, Drugstore Cowboy is the kind of film that surely put the world on notice, and was a clear signal of the magnificent work that would follow.

2. Good Will Hunting (1997) If held up to the standards of what people consider to be good (or even classic) film, Good Will Hunting more than holds up to scrutiny. Visually there are a small handful of flourishes, and having Elliot Smith’s music accompany Will’s painful but enlightening journey has only become more of a bittersweet sting as the years go by. In terms of performances, everyone brought their A+ game to the table, be it the leading performances of Matt Damon, Robin Williams or Stellan Skarsgård, the supporting performances of Ben Affleck or Minnie Driver, or even the engaging nature of Cole Hauser and repeat scene stealer Casey Affleck. After a flurry of dedicated fandom viewings in the years following this film’s release, a very long period away from the film where I had leagues of personal growth, and a revisitation for this set of rankings, what I have discovered is that Good Will Hunting presents a wish fulfillment fantasy that was nearly incapable of being a reality in the pre-internet age for anyone other than a character like Will : an undiscovered genius with a degree from the school of hard knocks. In a world where people often wish they had the correct answer to every question, the looks and personality to be a social magnet, and the ability to back up any tough talk with stone hands, Will Hunting stood as an idealized example you wished you could peel off the screen and have some beers with. As the internet has invaded our lives, however, most everyone has turned into a keyboard version of Will Hunting, looking for fights online when not having briefly intimate Google sessions to flex our supposed knowledge. Much like Will, many people find that the knowledge minus the wisdom of worldly experience and vulnerability leaves you a shell of a person filled to the eyeballs with regret, and perhaps that is why this film only gets better as the years go by, and remains among the best of the Van Sant creations.

1. To Die For (1995) For the longest time, I avoided To Die For simply because I was not a fan of Nicole Kidman… the vast majority of her roles held no interest to me prior to To Die For (it took Eyes Wide Shut for me to really start paying attention to her), and because she was so key to the film, there was never a sense of urgency about seeing it. As time went by, however, I started to hear rumblings that To Die For may have been a bit ahead of its time, to the point that technology and social practices have caught up to some of the ideas presented in the film. I finally watched it for this ranking set, and man, I really missed the boat on this one. Plain and simple, this film is pure genius on every level. The presentation starts off documentary-esque, which not only allows for expedited distribution of backstory information, but immediately gives you an idea for the personalities of our key characters. Kidman’s portrayal of Suzanne stood as the textbook example for what has become commonly known as sociopathy, with her blind desire for fame and respect leading to a wake of human destruction. In terms of narrative pacing, the film proceeds like a match dropped at the endpoint of a long gasoline trail, slowly drifting towards the eventually point that everything blows up and damage must be assessed while blame and accountability must be handled, resulting in a truly powerful ending more than deserving of the heavy lifting that precedes it. The 24-hour news cycle was on the horizon in 1995, daytime talk shows and MTv’s The Real World had not shifted into the reality TV landscape that we know today, and while a few high profile cases such as the Menendez Brothers and Pamela Smart trial (the loose inspiration for this film) had happened, the bombshell and watershed trail that was the O.J. Simpson murder case was hot on the heels of To Die For’s release (the same month, actually). Stylistically, the film also bears striking resemblance to an updated version of Sunset Boulevard, be it knowingly or not. Long story short, the best films not only comment on the times in which they are created, but gain relevance as time passes, and To Die For handled both of these things phenomenally.

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fanartfunart · 3 years

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My art progression as showcased through dragons as I avoid doing schoolwork:

2014: I had recently received a digital tablet. Promptly made drawings of long-haired people from behind because I hated drawing humans, and also loved backgrounds and animals more. I do everything on one layer because I’m a child who just transferred over from paper. Probably didn’t even know what a layer was. I exclusively drew dragons (and most everything) in profile. 8/10: I actually had awesome style as a teenager and these are definitely dragons. Storytelling also on point. Everything is a little stiff though.

(cont. under cut)

2014 (part 2): A gigantic leap as I figure out how the heck to color digitally in a way that’s not purely airbrushing everything in. Bright colors show up. I still draw humans flat and as minor details. Animals are still my best friends. Everything becomes absurdly long and angular for far too long starting from here. 5/10: Awkward and lanky. And my mountains got worse, lost all sense of texture and style. There’s no emotion.

2015: Everything is fuzzy. I am obsessed with trying to capture texture but I’m also a teenager and do not know how to capture texture. I also discovered the beauty of making OCs that have weird weird colors and designs. Background creatures remain to be weird sketchy things because I still don’t use base sketches for backgrounds. 3/10: proportions got weird again and the wings are a gigantic downgrade from 2014 me.

2015 (part 2): I continue to be a teenager obsessed with texture and playing with weird settings in digital art. I learn what layers are and why they’re helpful. I exclusively use this knowledge for separating background from foreground. 1/10: He has no legs and no personality and I didn’t know what I was doing. The initial paper drawing was better.

2016: This is for a biology project where we made up our own creatures.... I personally am not sure if I count this as a dragon. I get into My Little Pony: Friendship is Magic, and everything becomes cute and fluffy, what can I say. I also learned I’m allowed to not use the default canvas and change it. IDK I start drawing After the Fall‘s early concept art and superhero ocs. There’s a distinct lack of normal dragons. 5/10: It feels more like Modern Me and the personality has returned, but also it’s also unsure if this counts as a dragon or a weird bat creature.

2017: I am still obsessed with my superhero ocs, but I’ve given some of them a dragon friend. I also draw almost exclusively in character-only style and the once prominent backgrounds dwindle to nothingness. dragons gain actual scale texture and I still do everything on only 2 layers. My humans are prominent but long, unusual beanpoles. 10/10: I still love this dragon baby and this is an excellent showcase of personal artistic growth. Look at his innocent little face. He’s got personality and is 100% a dragon.

2018: I begin to use layers more thoughtfully, and even tried making a “lighting” layer. I decide this is a bad idea. This marks the start of the Ombre Wings which remains present in the Daydream AU. People remain lanky and perspective is also wonky. This also marks the end of an era, as I abandon all my superheros due to my co-creator/partner dumping me. 5/10: The lighting got worse from every version before. Also all definition in my backgrounds disappeared... why.

2018 (part 2): I get a tumblr and get into Sanders Sides. I make the Daydream au. Virgil is the first non-furry dragon I make with ears??? I abandon trying to draw scale textures for working on perspective and lighting. Shading gets a little flatter again, but I’m also more mindful of actual lighting sources, so it’s forgivable. Dragons return to being Very Big in comparison to people. 8/10: Good memories. The start of an era. Most consistently I’d drawn dragons in a while at this point in time.

2019: Cartoon big eyes become the Standard. Things have started to become very flowy and soft. I draw a lot of babies which translates to everyone becoming a bit stockier in adult versions too. (This is good because everyone stopped being weirdly long). I add sprinkles of scale-shading back in. Looking back, claws begin to be more paw-like than actual claws in comparison to 2017′s lizard-y claws. 9/10: Designs are on Point and expressions are getting real nice. I’ve finally figured out how to lock and shade layers. Also Babies.

2020: I’ve got AtF going again, and I branch back into making non-scaled dragons. Texture is a Thing, and I make a lot of digital brushes for textures I use a lot. I start using my new coloring technique more regularly. 9/10: about the same since 2019 dragons-wise, but the process has gotten smother and faster. The point off is both an attempt at pretending to be humble while also being aware that my art will change no matter what, and I will think that is better so that potential is There (except for 2017. That’s perfection. The most adorable dragon I’ve ever drawn.)

2021: Despite the fact I’ve gotten really into DnD and despite Dragons being in the name, I have not drawn barely any DnD dragons. There are no colored dragon drawings in the first 2 months of 2021 and this is a flaw. -10/10: no dragons.

#chat a lat #long post #ignore me #dragons #old art #fanart's....art #fanart's textposts

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cherry-valentine · 3 years

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How Black Clover Gets Lady Characters Right

*Spoilers for most of the Black Clover anime (mostly character related stuff, not much in the way of major plot stuff)*

Black Clover is right up there with Gintama in terms of shows that reward viewers for sticking with them through some mediocre early episodes and arcs. When Black Clover began airing, I was excited. Manga readers had been hyping the series up, and it sounded like the next big shounen fighting anime that would take anime fandom by storm. Then I started watching it, and I was immensely disappointed. I found Asta’s constant screaming almost unbearable (to the point that I started muting the tv when it looked like he was about to open his mouth). The early episodes were totally predictable and cliche. The animation was, at times, embarrassingly bad. But I stuck with it because there were a few elements that kept me interested. One was the absolute bangers of opening and ending themes (at one point the thought crossed my mind that they were entirely too good for this show). Another was Yuno, whom I liked from the start. Then there’s the fact that Asta’s magic, or lack of magic, was the one element I didn’t predict a mile away. I honestly expected him to awaken to some super powerful magic early on. Almost 200 episodes later, he is still magic-free. I really did not see that coming. Still yet, I came close to dropping the series several times during those first thirteen episodes or so.

Somewhere around the time they went to the undersea village (I don’t remember the name of the arc), I began to notice that I was actually looking forward to each new episode. It was a gradual change from being at the bottom of my watch list to being near the top. So gradual it took me a while to realize it. The show still had some problems, sure, but it stopped being predictable. Asta talked more and screamed less. More interesting characters were introduced. The fight scenes were exciting. By the time this arc was over, Black Clover had become a favorite. So, if you tried the series and found it boring and annoying, consider giving it another shot. Like I said, it rewards you for sticking with it.

One of the best things about Black Clover, for me, is how it treats its female characters, especially when compared to other popular shounen fighting anime. It is by no means perfect, and I’ll talk about the show’s minor failings in regards to its ladies a little further down. But overall, it does a phenomenal job.

The first thing that struck me about Black Clover’s women is just how varied they are. There’s a surprising range in their appearances, personalities, and skills. And there are lots of them. Far more than a lot of other shounen fighting anime allow. There are five women in the main squad, the Black Bulls, alone. And we see that each squad has several women as well. Then there’s the all-women squad the Blue Roses. This extends to the villains, as well as the non-combatant supporting cast as well.

Speaking of skills, the women of Black Clover are unusually powerful. The two male leads, Asta and Yuno, eventually get “power-ups”, some kind of new form or transformation or whatever. This is super common in shounen fighting anime. What’s not so common, however, is the female lead getting her own cool power-up/transformation. This is what happens for Noelle, and it was such a great surprise. A little side note here: I’ve been watching the series on a streaming site that allows comments, and I was so amazed by the comments on the episode in which Noelle gets her power-up. The (mostly male, judging by their names) commenters were genuinely happy for her! They were proud of her for getting stronger and cheering her on! I didn’t spot a single comment about her looks or how great of a waifu she is (at the time anyway).

But it wasn’t just Noelle that got stronger. Another Black Bulls member, Vanessa, got an interesting power-up of her own, in the form a cat familiar that basically makes her and her teammates completely impervious to harm for as long as her mana holds out (which has saved their lives countless times). Another lady, Grey, has recently (in the anime) demonstrated some shockingly powerful magic that none of her teammates, or even she herself, realized she was capable of. Then there’s Charmy, who was already quite powerful but gained her own powered up transformation that made her strong enough to defeat an elf-possessed Magic Knight captain. If anything, the ladies have received MORE power-ups than the men.

And while we’re talking about powerful women, I have to talk about Mereoleona. If you’ve watched the show, you know exactly what I mean. If you haven’t, just imagine a character who can curb-stomp a powerful villain who is on a higher level than villains that the main characters were struggling to team up against just a few episodes before, who can then take on a whole group of these powered up villains and remain standing, even after losing consciousness, because they’re just that badass. Now imagine that character is a woman. And she’s so terrifying that one of the elf-possessed enemies (her comrades who had their bodies taken over by elves) remarks that his body froze up because, even though he’s controlling it, the BODY ITSELF was afraid of her. Mereoleona is an absolute beast, the kind of character that is almost always male in these types of shows. And the best part? The icing on this badass cake? The only person who was stronger than her, who could defeat her one-on-one, was ANOTHER WOMAN. Noelle’s mother. And a huge part of Noelle’s motivation as a character is becoming strong like her mother.

On the subject of Noelle’s motivation, I really appreciate that it has nothing to do with her crush on Asta. Sure, she likes him, but it’s not a motivating factor in her life and it’s not even really that important to her story arc. Her arc has always been about HER, about becoming stronger, living up to her powerful family’s expectations, discovering the truth about her mother’s death and then about avenging her, about becoming more empathetic to the common people despite being royalty. Noelle’s story is ABOUT HER. And it’s really sad that this is something remarkable, but we’ve all seen the “heroines” with no real arcs of their own, or worse, their arcs revolve almost entirely around their love for a male character (Sakura from Naruto is the most obvious example here but anyone who watches a lot of shounen can no doubt name many more). And Noelle isn’t an exception in Black Clover. Almost all of the women have interesting back stories and character arcs that have little to do with men (or if men are involved, they’re in supporting roles to these stories and very rarely the main subject).

An exception to this is possibly Charlotte, who is in love with Yami and this plays a big role in her story. However, even this is framed in a way that puts the emphasis on her own growth. It’s really about her learning to be honest with her feelings and getting over her own awkwardness around Yami. A big moment for her is when she admits to her squad that she’s in love with Yami, and they’re all eager and excited to help and support her, like the wonderful ladies they are.

Now, as I said before, Black Clover’s depictions of women are not perfect. There are a few issues I consider minor that I need to address. The first is the tendency the show has of making almost all the ladies be in love with someone. A large portion of the women are sporting crushes, though some of them are quite subtle or mainly used for comic relief, it’s still a little annoying that so many of them are in love. Of course, many of the male characters are in love with someone too (including the protagonist, Asta) and there are several female characters who are totally disinterested in romance, so I can overlook this. Another small issue is that, even though there’s more variety than usual in the body types (one female character is fat and another, Charmy, often gets quite pudgy for extended periods of time, plus a few ladies have more muscular builds), a significant portion of them have very large breasts, including two teenage characters (Noelle and Mimosa). It feels a little unnecessary, to be honest. Though to be fair, it’s rare that any of these characters are used for fan service and the camera never really seems to linger on their bodies. Most of them dress fairly modestly and among those who don’t, the more sexy clothes fit their characters and make sense for their personalities.

The last minor issue I have is that we often get the “designated girl fights”. If there’s a female villain, it’s likely that a female hero will be the one to fight her. This isn’t a rule set in stone, because there are plenty of male/female battles, but it happens enough to be very noticeable. Of course, these lady villains are demonstrated to be just as powerful and dangerous as the villainous men, but it’s still mildly irritating.

Those little nitpicks aside, Black Clover is still a shining example of a shounen fighting anime getting its ladies right. The women in the series are well-written, interesting characters with compelling stories. They’re powerful, have wildly varying personalities and motivations, and never feel like window dressing. They’re not just there to be pretty romantic interests. The show does all this very well, and I think it deserves a lot of praise and credit for it.

#Black Clover #Female characters #noelle silva #mereoleona vermillion #text #long post

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emersonfreepress · 3 years

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okay so is there content that you had planned for the ROs and story in general but then scrapped cause there wasn’t a good place in the story to stick it in? and if so, can you share what it was? 👀 👀 👀

yes, definitely. *rubs hands together* oh man, you done asked THE question today xD I can't wait to get into this 😁

Academics. I almost decided to have classes and grades be a minor part of gameplay, but the more time I spent designing it the more I realized I wanted nothing to do with it 😂 I haven’t really enjoyed academic gameplay in other interactive fiction because I 1) hate having to choose between studying and interacting with awesome characters, 2) have terrible short term memory, and 3) hate school in general!! So instead I just opted to have the MC be really good at school, point blank period so I could focus on social drama and relationships instead! 😆

Physical skills. I spent literal months crafting the catering scene around setting up stats for stamina/endurance, dexterity, and strength instead of just magnetism, confidence, and persuasion. They had their own backstories with the MC’s parents being overly invested sports parents instead and I think the background choices were like... martial arts, gymnastics, and track? But yeah, I ended up scrapping it all because I was spending hours on research about those individual sports so I could integrate them into the MC’s narrative organically but like... when I tried to think of what use they would be in the actual story, I came up blank. Best decision yet, esp since it means a lot less coding!

Skin tone customization. For one, I noticed that a lot of my favorite IFs don’t offer that customization and it hasn’t impacted my experience at all. For two, I originally realized I might as well not implement it since I am striving real hard not to introduce any customization that won’t actually be mentioned in interesting or meaningful ways in-story. I don’t think it’s really all that common for real life friends (esp in high school?) to comment or compliment each other’s skin and like... when it comes from someone who doesn’t share a similar complexion or ethnic background, that type of commentary gets... d i c e y. So then I wanted to be sensitive to that but what’s the pay-off? An RO mentioning how they love your skin tone once? Awkward sentences with the MC referring to their own skin color? Idk, just wasn’t vibing with it. I’m open to revisiting it in beta or something but for now it’s scrapped.

Singing, Rapping, and Gaming as Hobbies/Talents. I feel bad about scrapping these, honestly 😂 They’re great and I really wanted to incorporate them but it just came down to already having a lot of stuff to code. Plus, I know I can write the Hobbies/Talents I stuck with far better. And for Book 2 purposes, as well!

Leo. as @sourandflightypeaches asked me about a long while ago, I had to scrap an entire RO 😢 His name is Leo, he was the nephew of wealthy west African diplomats residing in Emerson, and I love him dearly! His backstory was largely based on my mother’s childhood and the circumstances she lived through after immigrating to America. and... ok, i’m about to go on one hell of a tangent so buckle up and bear with me if you can 😅

my intention with this story, aside from writing things that I personally enjoy (graphic violence, spooky woods, social drama, romance, conspiracies 😚), is to explore greed, wealth, and how the ways people and families interact with those two things influence young people and who they grow up to be. here i go sounding pretentious af 😝 and here’s where I apply a cut for those who want to preserve a little mystery to the main characters!

With Gabe, we’ve got someone who grew up with very little stability or financial security but who has found unscrupulous methods to gain status and money, with both noble and selfish motivations.

Kile has some of that childhood experience in common with Gabe, having been in the foster care system since infancy, but they lucked out when they were adopted into massive wealth by a caring, loving couple—a couple that uses their wealth and privilege to be far more lenient and protective of Kile than is actually reasonable or responsible.

Jack comes from a prestigious wealthy family on his dad’s side who he loves dearly but there’s no getting around the fact that they love him back as much as they despise his working class mom.

Jessie is a spoiled sweet heiress (being the baby of her family and the only girl) and while she lives blissfully ignorant of the harmful source and impact of her father's income and career, she bears the weight of the expectation to fulfill very traditional gender roles, including her behavior and appearance, but also extending to her career and life plans.

Rain's wealth led to them growing up sheltered and isolated but also extremely accommodated, giving them maximum freedom and opportunity to discover and develop their personal talents and interests. However, they have almost no positive relationship with their parents who have essentially decided to give up on a kid that couldn't be exactly the accessory they tried to mold them to be—both in terms of their identity and personality.

Rupan/Rohan, at their very core, rejects everything about conformity, self-importance, and excessive luxury—which means they have never, ever truly fit in with their peers. Going full non-conformist, however, has resulted in them becoming alienated from much of their family, as well, despite them all loving each other very much. Their history with false friends and betrayals has led them to over-indulge in their vices and reckless behavior to compensate for that isolation. Sometimes, they just get in over their head and many times, they know better. Every time, it's just that the feeling of finally belonging is utterly intoxicating.

Vivian/Vincent has two extremely successful parents who didn't inherit but instead built up their wealth and they aspire to be just like them, to a degree that is well and truly unhealthy. Their mother specifically is an over-achiever and applies mountainous pressure for them to follow in her footsteps, especially academically. Vi is completely capable of achieving what their mom expects of them, but they were already an extremely sensitive perfectionist so this has made them intensely critical of themself. This is a large part of why they are such a rigid, no-nonsense person and that in turn has made them one of the most disliked people among their peers—which is a huge personal failure to them since their father is a very well-liked and socially successful person in town.

And the Emersons are peak privilege: inherent high social status, brains, looks, charisma, athleticism, and massive wealth. They could never have been anything less than extremely popular, just by virtue of their last name and the nature of the town's social dynamics and politics. And they do enjoy that privilege (esp Curt lol). However, it should go without saying that being so high profile, even (or maybe especially) just in the isolated scope of your hometown, isn't always a boon. Their family's and their own perceived failings are widely discussed and privately mocked and/or celebrated. Real friends are scarce while fake ones and snakes are plentiful. Plus their dad is a gigantic dickhead who sees his kids as extensions of his own status and reputation and not much else. Public shortcomings make for an unbearable time at home and the world outside the estate is at once overly accommodating, full of assumptions, and even subtly hostile at times—all unrelated to their own actions or character.

And with the MC, I think the narrative will make it clear there are several ways that story can go. You start off with irresponsible parents that have lost their wealth due to their own mismanagement and material ambitions—how that affects any individual MC should differ based on choices and consequences!

So why bring any of that up when I was supposed to be talking about my cut OC? 😂😂

Leo was going to be the unwelcome recent addition to his uncle’s household, the son of a brother his aunt hates for (petty af) Reasons, and she took that resentment out on him directly by restricting his access to nearly every aspect of the family's wealth. Especially material goods and living conditions. He was basically treated like the help, tasked with playing nanny for his many younger cousins and burdened with doing the homework and providing academic cover for his dumb as rocks cousin in the same grade as you all. To sum it up, he was basically a victim of trafficking at the hands of his own family with his uncle out of town enough to feign ignorance to how bad his wife was treating his nephew and his aunt going out of her way to keep him busy, at home, and isolated. This is sadly a super common form of trafficking in Francophone African cultures (although I don't think most people view it as trafficking. and I’m sure the same is true of other cultures but I don’t want to speak outside of my purview). And like I mentioned above, it’s how my own mom's (and idek how many cousins') child/teenhood went.

It’s a perspective on modern wealth, privilege and greed that I really, really wanted to tell. I am confident in saying it hasn't been explored in interactive fiction yet (though correct me—and direct me 👀—if I'm wrong) and out of all the wealth/greed explorations I came up with, it's the one I have the closest personal ties to and the strongest feelings about. The characters and plans I had for it were detailed and I'm proud of them but at the end of the day... I just couldn't find a place for Leo in the story at large.

Leo was, in fact, the last main character I came up with, when I had already designed and fleshed out the larger story and started crafting the timeline of major events. I think the worst thing I could have done for a story and perspective that I care about this much is shove it into a plot that didn't have room for it at the very base level, regardless of how well the character or his story is written. Shoe-horned characters always stick out. I didn’t want to disservice Leo by having him be the character that did nothing or could be removed from the main plot without affecting it at all, y’know? That’s so much worse than just forgoing the indulgence, imo :((

ugh.... Leooooo 😭 I'm so sorry bb, I failed youuu 😥

#lovely anon #answered #hotmess #ok I am truly so sorry for going on and on like this #writing #ch design #ty for this question it was really nice to revisit this stuff 😃#and a nice reminder to not look back lol #scrapped

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kikyoinuyashashipper · 3 years

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Anime, is anime. Nothing is gonna be or look as it should. Whether it's a specific anime or anything else, but also this is facts 😂 I wonder what I'd look like if I was a anime character 🤔?

One of The awesome,funny and honestly interesting thing about it.

Things are not always as they seem, they could look one way but be absolutely the opposite and visaversa, not only is this kinda realistic in a wayis, let me exonerate, people are all different whether it be skin color sizes,hair color, personalities and whatnot, there are also those in real life that look older than they actually are, and the same can be said for the opposite, there are people that look younger than they actually are, and as of recently I've noticed the Loli controversy is starting up again, I personally don't really care for loli's that much like I have a crush on one like honey senpai is shouta(male older than he looks because he has child like features opposite of Loli ) I'll just turn myself into a Loli to be with him no big deal, don't get me wrong the Loli and shouta are adorable and really cool at times, but for me when I simp over a character I'm kinda into those like ban 7deadly sins(got them abs😆) but if you show me a image of them "aged up" or more defined and with more mature looking features (abs) that's what I'm into you show me an adorable anime guy like mitsukuni Haninozuka imma be pinching cheeks and snuggles, and eating cake, and stealing a kiss or 2 that's, now I've seen mitsukuni with more mature features/having puberty/growth spurt hitting him hard and I simp, and this is me with preference I guess you can say, I like anime abs, I don't mind a guy that's cute and chubby tho because I can just imagine them with abs and I simp, and without abs I'm also a person who admires a great personality not just the body, like Viktor from Yuri on ice I haven't seen it yet but I at least know his name but he's adorable chubby and smoking when he loses the weight 🤤🔥❤️.

And no matter what age they originally are, I'm not going to be thinking about that, I'll be thinking of me and that character I like regardless, if the character is younger ,then I'm younger and we will hold hands, and get ice cream, puppy love, if we are older still holding hands, and getting ice cream and throw in the romantic aspect, such as dates marriage, having intercourse, having kids,a future, growing old together,then dying and going to heaven together yeah I can imagine that as well, I can change them older or younger or myself older or younger because it is fiction and a fantasy and there is no reality, it can be whatever I want in the fantasy if I imagine a age difference since imma girl and their the boy if I'm older I automatically think of omgoodness he's in love with his senpai, or his best friends mom, or his babysitter, or with the older single lady who helped him once when he was little who he spent time with over time having fun, like going to the park talking about videogames,or other normal everyday stuff, who he grew a crush on over time and feels it turned into something more when he got older, her thinking of him as a child until he matured/legal age out of school already and he made moves on her showing he wanted to be anything but a child with her,her not accepting his feelings,yet over time he grows on her and her feelings change and decides to give him a chance, then they get married and live happily ever after, same thing if it's the opposite way. How a character looks despite age depends on the creator as in most cases age isn't important for the moral or for the telling of the story. Now for definitions, Loli has 2 definitions and both go for this word. Loli is a female child, that's one definition now here's the 2nd definition as well Loli also means a adult or person of legal age who has the attributes, features, or characteristics of a child while being anything but that.

Shouta is the opposite of Loli its a male child/ a adult who has the attributes/features/characteristics of a child but is anything but that.

In real life I have been mistaken as a child/minor I've been told I looked 12 or 16 very rarely ever got an answer above those ages highest I got was 20 something. When I got called 12 I was a 17 (turning 18 after graduation) senior in highschool, even the freshman thought I was one of them. Now I'm 19 gonna be 20 soon and am out of school and was called a 16 yr old by a 17 year old girl still in highschool.

I guess I could be defined as a Loli when I'm anything but a child.

Yet I'm also well endowed on my upper half of my body and have back pain because of it, in other words I got a pair of tits, and was called a hentai girl, by other people who liked manga and anime as well, even though I was called a child by others. So I have in body mature features (defined by a person or two as a hentai body),by my face I'm a Loli and look like a child(also defined by a person or two as younger than I am) when I'm a adult. So I'mma Loli hentai girl in the real world? No idea, but wait I can't define myself by fictional standards? correct. so imma human being who looks younger than they are.

Imma tag everyone I can.

This can actually go for all aspects of animation not just anime, Princess's are from 14+ snow white was 14 fun fact there, wouldn't really be able to tell. Age difference is in everything, and I still enjoy snow white it's actually one of my favorite Disney films before and after I even knew this information, and I honestly have no problem with it, mostly because for that time it's considered normal, and I was a kid and just saw a princess movie, I didn't think that their ages were relevant to the story/stories. Besides sleeping beauties 16 got spindle pricked on a spinning wheel and fell into a deep sleep, Wich was going to be death but was changed. In the original sleeping beauty, she was put to sleep for 100years as was her kingdom, the kingdom was covered in brambles/thorns (rose thorns to be specific but they didn't bloom because they were enchanted and used for defense to make sure the spell couldn't be broken), and each time someone thought to go near, or try to save the kingdom to free it's people the ground would break open underneath them swallowing them up, right where the brambles/thorns started at the end of the kingdom, so even if they managed to get past the area where the earth broke the enchanted thorns (rose thorns) would rip them to shreds, with their blood and bodies fertilizing the ground and the thorns would grow. This happened for many years until everyone forgot about it, then finally 100 years had passed and the roses finally bloomed, a prince was coming through and had heard of the kingdom and of the many who lost their lives trying to enter and was going to explore and see if he can find a way in, to see the beauty that was rumoured to live there. When he arrives the Thorn's were in bloom and the ground didn't break but allowed him to pass, the thorns actually even made way for him to go through. When he got into the kingdom he saw everything and everyone fast asleep noone had aged a day, then he explored and discovered the princess and this is where it gets kinda dark compared to Disney's version. So rape trigger warning don't read unless you want and can handle it.

..................................................................................

The prince saw the beauty and instead of doing true loves kiss to break the spell, he raped her multiple times and then he left and never returned. Beauty then became pregnant while still asleep, she had twins, and as they wriggled around searching to breastfeed one of them caught onto her finger with the spindle splinter in her finger, it sucked on her finger and managed to get the splinter out, Wich then awoke the princess and the rest of the kingdom, who was a very confused princess, and now a new mother with no idea who "prince charming" was. And that's actually the original telling of sleeping beauty, there are other versions that are less dark,but this is the original as far as I know and the oldest I could find that was in English.

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elkian · 3 years

Text

I was gonna do a “missing the point”-style meme but I’m honestly not sure that would even work tho so:

Harry Potter and My Hero Academia/Boku no Hero Academia have similar issues with introducing and then immediately ignoring ENORMOUS issues re: ableism.

I think these two series in specific come to mind bc it’s ableism within a specific empowered community, and in both cases the series are pretty well-known and the community (Wix/Heroes) are immediately identifiable to many audiences.

[WARNING: Discussions of ableism, child harm, and abuse on multiple levels.]

What’s the problem?

SQUIBS.

[This post got stupid huge SO here is a tl,dr for all you lovely people who understandably have no time for this.

TL, DR: Both Harry Potter and Boku No Hero have a bad tendency to implement or imply a level of disability regarding unempowered people in empowered societies. They then continue on to completely disregard important conclusions to these implications, such as how heavily it is implied that these unempowered people (Squibs) are so ‘worthless’ to those societies that their very deaths are merely a byline rather than an actual tragedy.

This is especially troubling in MHA/BNHA when so many other political and worldbuilding considerations HAVE been planned out, and seems to be less-discussed in the fandom as a whole, so that’s a much larger chunk of this post.]

That’s your tl, dr!

Here’s the Harry Potter angle:

HP has a bit that I’ve seen people discussing already: Neville’s magic was discovered when his uncle dropped a literal child a potenial lethal distance.

Neville activating his power and surviving is celebrated, and then JKR immediately glosses over the glaring issue this has introduced: the heavy implication that a Squib dying from this incident would have not have been mourned or even really commented on.

The few adult Squibs (and isn’t that a whole new slice of wonderful /j) are generally disliked and ridiculed for some reason or other. Now, while obviously there are plenty of places where the Venn diagram of “disabled” and “asshole” intersect irl, when your ONLY presentation of a disabled character or group is, every time, an asshole or a fool or both, boy! That’s bad!

Neville (who is generally presented as magically, physically, and mentally weak and often treated as comic relief) is a bit better via the POV Character constantly having positive interactions with him, but this is still a mess. Yes, Neville canonically is not a Squib, but it’s not subtle that he’s on the cusp OF being a Squib, and that is a key element of ridiculing him in many situations (also the whole trauma thing multiple times, like if I really get into it I could do a whole double-size post of how Neville was done dirty or nearly dirty by JK all the time but this isn’t that post).

This isn’t even the point of this post. Let’s move to MHA/BNHA

Hero Academia has differing but honestly even worse issues. And I’m aware that different countries handle ableism and accessibility in different ways, but if you think too hard about it this is an absolute clusterfuck.

What is the problem now?

Squibs! Or rather, the main character of the series, Midoriya Izuku.

Deku (a nickname meaning “useless”! Imparted after his disability is recognized! hilarity!!) is also born without powers. Even worse in some ways, he is born without powers in a world where the overwhelming majority of the global population has some kind of empowerment. I can’t recall if it’s outright stated or only implied that someone with a functionally useless (and hoo boy, usefullness to society is its own post nope not today i do not have that much energy) Quirk is still more of a person than a Quirkless human.

That sink in? Okay, let’s move on.

In a narratively not-uncommon turn of events, Deku gains power. This is partially a product of, and directly tied to, his own work and determination, as well as his willingness to help even when physically outmatched.

To an American audience (NOT the intended audience though I wouldn’t doubt it if Horikoshi meant to have international appeal more or less from the start), this is a deeply satisfying narrative. Who doesn’t love an underdog story? And we even learn that the strongest hero of all time (til this point, anyways) was ALSO born Quirkless!

However, from here, things take a nosedive.

The key problem is a combination of story progression and overall thought put into worldbuilding. Horikoshi’s efforts may not be the MOST thorough, but he has put a great deal of work and thought into his creation (he at least understands the concept of implications and sometimes plans accordingly, looking at you JKR). However, that tied with story progression and personal repercussions actually works to the detriment of the matter.

Especially given recent turns of events.

[BIG MEGA SPOILERS FOR FAIRLY RECENT PLOT

STOP HERE IF YOU’RE NOT CAUGHT UP

SERIOUSLY]

What I mean by this is the current state of events re: two particular recent/recent-ish plot arcs.

First, Quirk Removal, and second, Endeavor’s comeuppance.

Quirk Removal/Loss was the start of my realization to what the narrative was doing regarding Izuku’s Quirklessness and the state of being overall.

This arc was a perfect time to bring up Midoriya’s past! A lot of Western works certainly would have done so! And yes, it may be bordering on done-to-death, but many elements of Hero Academia put new twists on common themes and cliches; it wasn’t unreasonable to hope that he might do it again.

Instead, little to NOTHING is discussed during this time! In fact, iirc I’d go so far as to say Midoriya straight-up never considers his past at any point during this arc!? If I’m wrong then it obviously made little impact.

NOW, not every disabled character needs to incorporate their disability and/or skills gleaned from living with it in every narrative. In fact, it would get tedious and questionable if they did (note: this does NOT mean ignoring/forgetting the character is even disabled when convenient. Like, I’d like to think that’s the obvious point of this post but... *gestures at tumblr*).

But the complete lack of it here feels really weird. Like, almost hollow. I think Midoriya makes some kind of suggestion to Mirio of his former Quirklessness at the end of the arc, but nothing that made any kind of impact.

Let’s move on.

Endeavor.

Now, the problem with Endeavor’s arc is not the arc itself. Or, rather, it’s the fact that Endeavor’s Comeuppance is pretty good.

This is a problem because someone else should be getting this exact same arc, yet the issue is never even RECOGNIZED, let alone addressed.

Endeavor’s abuse of his wife and children, all in the name of creating a Heroic legacy, is publicized and tanks his popularity. The general public is now aware of what he’s done to the people closest to him, which aside from giving him a more correct reputation, means they can’t trust him to protect them if they can’t trust him to protect his own family.

This isn’t the goal of this post and I’m no expert regardless, but up to this point (around chapter 290) this was handled in an interesting way. Endeavor is humanized and often shown interacting with people in a way that, while often domineering, isn’t always aggressive or abusive. He runs a Hero Agency for crying out loud! But abuse in the real world often isn’t constant, nor happening to everyone in contact with the abuser. So this is a surprisingly good lead up to the reveal, where you can understand how most people never realized this was an issue.

But here’s my main point. Let’s examine some traits and actions that come up:

physically abusive to a child (often dangerously so) to the point of permanent trauma and severe scarring in some cases

target of abuse was weaker (physically and/or regarding Quirk power)

often abused victim emotionally/psychologically, bringing this weakness up again and again

own immense power led to rising in the world of Heroics

comrades, fellow Heroes, UA teachers etc. not aware of prior abuse issues

Who does this sound like?

Endeavor, who has a whole fucking arc dedicated to this reveal and repercussions?

Or Bakugou?

Reminder: This isn’t a hate post. This isn’t a character post, or even an abuse post. This is about ableism.

Bakugou exhibits many, many traits and actions that Endeavor was literally just punished for. So why does the treatment of these characters in-universe differ so drastically?

Two primary reasons I can think of, which feed into each other:

1) Bakugou was a child (still technically is a minor, remember! Still a first-year high schooler!) when this started. This doesn’t mean he’s strictly innocent, but it’s an important point, because it leads us to

2) Bakugou Katsuki’s abuse of Midoriya Izuku is socially accepted.

Reminder of the audience’s first encounter with Katsuki. The very first page with him is him and his grade-school posse picking on a kid that Izuku is trying to protect. His posse is showing off their Quirk powers and mocking Izuku’s lack thereof.

Then we flash forward to late-middle school versions of the kids. Bakugou, in front of a fucking teacher and entire class, is verbally, physically, etc. abusive to Izuku. He trashes his stuff, threatens him, tells him to kill himself (which, as Izuku notes later, is a fucking felony in Japan too).

No one stops him.

No one criticizes him.

We don’t even get a shot of like, some more ‘regular’ students being like “man Bakugou’s kinda fucked up but we’re too scared to do anything about it” NO. NO. Everyone more or less either backs Katsuki up or straight up doesn’t care.

Remember that this started when Katsuki and Izuku were four. Remember that Katsuki’s power is absurdly dangerous, ie. LITERAL. GODDAMN. EXPLOSIONS.

Izuku has scars. He probably has hearing loss! He may have gotten at least one concussion which can cause serious neurological issues and open him up to further risk!

He could have died.

And?

NO ONE. DOES. ANYTHING.

THIS is the point of the post. THIS is the value placed on Quirkless people in this society.

And yet. Despite Endeavor’s comeuppance. Despite All Might and Izuku’s blatant ‘value’ to society through Heroics. Despite so many other political implications and quandaries address in the Hero Academia series.

Nothing. Nothing. Nothing about this is addressed. The nearly-lethal ableism towards Quirkless people in this society is never ONCE brought up properly once Izuku receives One For All.

There is so much potential here! There is so much worth talking about! And yet we’ve moved into what feels very much like the Final Battle without it being addessed, despite numerous, numerous opportunities for a meaningful conversation about it along the way.

Mirio losing his power! Hell, Mirio’s powers’ drawbacks (and pretty much every Quirk’s drawback! if acknowledged properly!) border on a disability-analogue, and even more when Yuga’s laser comes up, and yet again and again we fail to truly engage with the matter in a meaningful way.

At this point, even if it comes up in the finale, I’m going to be disappointed in this particular aspect of the series due to the complete and total shut-down it’s been given so far.

What the FUCK, Horikoshi?

#elk text #24th #February #2021 #February 24th 2021 #I hope the bold helps with reading #long post warn #elk has thoughts #sorry for the ramble #Ableism #other shit comes up but plz keep in mind that that is the PRIMARY POINT OF THIS #also:#child abuse warn #abuse warn #harry potter spoilers warn #boku no hero spoilers #like REAL BIG spoilers for later Hero Academia stuff!#this is not a character hate post and i will block judiciously #elk has feelings

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princess-of-the-corner · 3 years

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I never watched Winx as a kid, so I really hope I don't sound like an idiot for asking this. What exactly does the Netflix Winx series do wrong besides giving it the "dark and gritty" makeover?

So like. There are a lot of problems here and I’ll try to tackle them. I haven’t finished the reboot because I have difficulty getting through things I like, much less things I hate watch. But anyway, this gets long and is separated into parts.

Let’s start with it’s issues on it’s own and not as an adaptation:

It’s still pretty garbage. Not ‘the worst thing ever’. Interesting enough. But it does have problems. Some racist and homophobic and fatphobic writing. The characters range from ‘kind of a jerk’ to ‘straight up assholes who will cause physical harm for petty reasons’. The nicest one so far is Terra, but even she kinda snaps and strangles a guy with her plant powers.

Now on to things it fails on as an adaptation!

First, the whitewashing!

Of the six main characters, 3/6 were poc-coded in the original cartoon(I say ‘coded’ because they’re not Humans from Earth but still). Aisha is black, Flora is Latina, and Musa is Chinese.

Aisha is the only one who remains black. I’ve heard varying testimonies on Musa’s actor, but the ‘best’ I’ve heard is that she’s 1/4 Singaporean and white passing. I don’t have the authority to say if that’s in the clear or not so I’m leaving that to other fans.

Flora gets the worst though. They cast a white woman to play her. Then backtracked and said ‘oh, this isn’t Flora. We replaced her with her white cousin Terra’. Yeah you can see the problem there.

Characters they got rid of entirely! I’ll only discuss characters that showed up in the first two seasons of the original show since Fate only has one season. (I’d say just the first, but they included Aisha who is from Season 2).

Let’s see. They got rid of Tecna, one of the main six girls. It’s likely because they’re going for a more ‘bootleg Hogwarts’ vibe, and Tecna’s magic being heavily technology based ruins that. So she’s just tossed altogether.

The boys! Oh my god my boys! Sky and Riven are the only ones who were kept in, while Brandon, Timmy and Helia got scrapped and replaced as well. The other boys like Dane and Sam? Totally could’ve just given them those names and been done with it.

Then there’s Icy, Darcy and Stormy! I’m counting them together because that’s exactly what Fate did! The three Witches are villains in the series, and instead of keeping a trio, they combined her into a single character. Beatrix.

I think Silva was also an amalgamation of the remaining Headmaster/Headmistresses and a few other staff members but considering they condensed it to just one school it kind of makes sense.

Sometimes there’s just a name change like the Headmistress of Alfea was changed to Farah Dowling instead of Faragonda which is so pointless.

Overall there’s other minor characters that don’t show up, like the rest of the school staff, Mirta and Lucy, so on and so forth. But I’m less upset about that. Still upset though because I love them.

Personality changes! And romance drama!

Oh boy. Oh boy oh boy oh boy.

I already mentioned how they made everyone an asshole in this reboot. In the original show, the only protagonist that was consistently a jerk was Riven, but he was more of the ‘grumpy but still a good guy’ type of asshole.

Let’s compare just one character and her relationships to others!

Stella in the Original Cartoon: Preppy and sometimes a little vain, could be blunt to the point of insulting, but never malicious. Very sweet and loves her friends. She and Bloom are best friends, Stella having been the one to bring Bloom into the world of Magix and will do everything she can to make sure she’s safe. Stella’s love interest is Brandon, who is bffs with Bloom’s love interest Sky. Stella and Brandon are very cheesy and cute together. They aren’t usually jealous, and can even make a competition out of ‘how many phone numbers can I get?’.

Stella in Fate: Total bitch to all her roommates. She’s getting the common ‘my mom’s a bitch who puts pressure on me so I’m going to be a bitch’ thing that’s become popular now. Since Brandon was deleted, they put her in a love triangle with Bloom and Sky, Sky being Stella’s ex bf. And despite breaking up with him, Stella sees him just talking to Bloom and decides ‘Hm. Let’s prey on her insecurities that she doesn’t belong here, and manipulate her into leaving!’ Which includes walking through a forest where there was recently a man attacked and viscously killed by some kind of monster, so I’m putting it up to attempted murder.

Yeah. Everyone’s kind of like that. It’s awful.

Bloom’s backstory and parents!

Okay, this can kind of fall under both ‘personality changes’ and ‘plot changes’ but it deserves it’s own section.

In the Original Cartoon, Bloom’s home kingdom was attacked and destroyed by villains searching for something called the Dragon Flame. Bloom was a baby with said power, so her older sister sent her to Earth, a world without Magic, where she would be safe and hidden. Mike and Vanessa find her and adopt her, loving her and raising her very well. They are good parents. Bloom learns she has powers when she meets Stella, and instinctively uses Magic to protect her.

In Fate, the only thing really the same is that Bloom was sent to Earth. I’m a little unclear on why, but instead of giving her loving adoptive parents, they made her a Changeling with emotionally abusive parents! Let me elaborate a little: Instead of adopting Bloom of their own free will, Mike and Vanessa’s real child died in the hospital and was secretly replaced with Bloom. Her parents are also, as mentioned, emotionally abusive. So much so that Fate!Bloom’s powers first manifested by setting them on fire in the middle of the night.

Fun. Ain’t it?

Now onto plot points!

Again, pretty much the only thing the same is ‘Bloom discovers she has Magic, goes to another Dimension to learn at a school called Alfea. Gets into adventures with her Roomates while trying to figure out where she’s really from’.

The whole ‘Burned ones’ were.... not a thing at all. There wasn’t any kind of ‘barrier’ to keep out ‘dangerous creatures’ or anything.

I’m not going to go over every single subplot but that was just. No. They were easily allowed to go outside the school.

The whole vibe

This is a big thing to talk about. While the reboot went for ‘dark and gritty’ over the bright colors and sparkles, it also went for ‘bootleg Hogwarts’ instead of anything interesting.

In the reboot, the merging of Magic and Technloogy is mostly like. ‘Yeah we go to school in this old ass castle and we don’t use guns in weaponry class, but we have smartphones and social media and Harry Potter!”.

In the Original??? The whole world was very Magitech. It was a combination of Magic and Scifi! Kinda Steven Universe style actually.

The transformations!!!

Look. LOOK. Winx Club is a Magical Girl show! They have those beautiful transformation sequences that last a solid minute or so of screen time. And they also have like. At least one new Transformation a Season, which comes with an ungodly amount of different cool outfits.

The reboot? One transformation sequence. And while the effects are nice, Bloom doesn’t even get a new outfit. Just a few flames coming off her that look vaguely like wings.

SPEAKING OF! They are Faeries!!!! But they don’t have wings????? What????

Look idgaf about your effects budget you could’ve made the cheesiest shit like the live action Sailor Moon stuff and fans would’ve loved it!

Bonus: The fact that they didn’t have to change anything to make it ‘Dark’!

So like. Netflix decided to take all the color out of it, and make it ‘dark’ by having the characters smoke and drink and have sex and say swears.

But they.... really didn’t have to! The original cartoon was plenty dark, despite it’s colorful aesthetic! If you wanted to do a more serious reboot, you could have easily done it by focusing more on those aspects.

Hell, there are many fans who have done it. I’m one. I know a couple others as well.

anyway it’s 2:30 am and this is long af so I’ll leave it at that.

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twentiethcenturymoviesandtv · 3 years

Text

The Princess Bride: Facets of Filmmaking

By the year 1987, director Rob Reiner had already been fairly well established in the film world.

The son of the late Carl Reiner, (who directed films such as The Jerk, Dead Men Don’t Wear Plaid, Summer Rental, and Summer School, as well as acting in many others) Rob Reiner had started in Hollywood as an actor before settling into directing himself. After having earned two primetime Emmy awards as his role of Michael Stivic on All in the Family, Reiner turned his focus to behind the camera, turning out films such as mockumentary This Is Spinal Tap in 1984, and Stephen King coming-of-age adaptation Stand By Me in 1986.

By the time The Princess Bride was released in 1987, Reiner was already enough of a name that had produced decent work that it wasn’t a total shock that this film would be as good as it was, with critics (notably Roger Ebert, Gene Siskel, and Janet Maslin) praising the film for it’s tone and clever writing. It seemed a natural win for Reiner, another classic knocked out of the park (albeit one without commercial success).

And yet, the road to The Princess Bride and it’s eventual ‘cult classic’ status was not an easy one. In fact, there were several bumps in the road before Reiner ever took the reins on the project.

The rights to the novel The Princess Bride (by William Goldman) had been snapped up for $500,000 by Twentieth Century Fox in 1973, the year the book was published. A movie was obviously intended, meant to be directed by Richard Lester, but after the studio head got axed, the idea was dropped.

This was going to become a common theme. Other intended directors included Robert Redford, Norman Jewison, and François Truffaut, but obviously, it never went anywhere. Frustrated, Goldman bought the rights to the film back with his own cash, and right about now is where Rob Reiner comes in.

Rob Reiner had loved the book The Princess Bride since his father had given it to him as a gift. After filming This is Spinal Tap, Reiner had the idea to adapt the book, now that he’d proven himself as a capable filmmaker, and during production of Stand By Me, he approached an executive at Paramount, suggesting an adaptation of The Princess Bride as his next project. After an explanation of the situation regarding the rights to a film adaptation, in short, Reiner was told: ‘we can’t’.

With the financial support of Normal Lear, whom Reiner had known from All in the Family and who had previously helped fund This is Spinal Tap, Reiner managed to get the rights to the book adaptation, and got to work.

Throughout production, Reiner worked very closely with Goldman, so closely that Goldman actually got to write the screenplay to the film adaptation. Thankfully, the author was no stranger to screenwriting, having already written the script for both Butch Cassidy and the Sundance Kid and All the President’s Men, winning two Oscars in the process. Reiner’s respect for Goldman’s original story combined with the author’s ability to convey the necessary tone and style in the script ensured that the integrity of the book was kept, even if changes had to be made to the story and characters along the way.

Once Reiner was securely in the director’s chair and Goldman’s screenplay underway, the chief order of business was to find the cast for this fairy-tale. Reiner had wanted Cary Elwes for Westley after seeing his performance in Lady Jane, but during the casting period, Elwes was unavailable, in Germany working on the film Maschenka, forcing Reiner to fly to Berlin to ensure his suitability for the role. Elwes, for his part, had read the book when he was younger, and always identified with Westley. As a result, he was more than happy to jump at the opportunity to play the character in the film adaptation.

On the other hand, the titular Princess Bride herself proved to be a bit more difficult.

Robin Wright wasn’t selected as Buttercup until a week before it was time to start shooting. Reiner and Jane Jenkins, the casting director, had already auditioned multiple actresses for the role, with none of them fitting the bill. Wright’s agent, hearing about the casting call, encouraged her to audition. Wright auditioned, and impressed Jenkins and Reiner so much that they invited Wright to meet Goldman at his house. Wright’s first impression, backlit by the doorway, was so impressive, that Goldman looked at her once and said: ‘Well, that’s what I wrote’.

Other choices were easier: Mandy Patinkin was an early decision for Inigo Montoya, and Wallace Shawn was a shoo-in for Vizzini after Danny DeVito was unavailable. For Fezzik, Goldman had always had André the Giant in mind, even back in the 1970s when the novel was first written. At the time, however, André was at the height of his wrestling career, with a schedule that left him unavailable to film. The runner-up was actually Arnold Schwarzenegger, who, by 1973, was merely a bodybuilder and little-known actor. By the time The Princess Bride project had been greenlit, Schwarzenegger had already starred in films like The Terminator and Commando, and was a major film star, too expensive for the studio to hire. Now without a ‘giant’, Jenkins contacted the World Wrestling Federation to look into hiring André, but was told that he would be busy with a wrestling match in Tokyo that would pay him $5 million. As it turned out, the match was cancelled, and André ended up in the role after all.

With a cast assembled, it was time to start filming. However, it was quickly decided that The Princess Bride was not going to work if shot on backlots and soundstages at a studio, so the production team went location hunting. Most of the sets, as I mentioned in the Facets article, were actually locations in the UK, with the filming taking place over the latter half of the year 1986. During filming, Reiner rented a house, and frequently invited the cast over for dinners and visits, which many of the actors felt strengthened their performances in the final film.

Once filming started, the adventure was by no means over.

Cary Elwes and Mandy Patinkin were both trained to fence, (both right and left handed) in order to complete the duel without the assistance of stunt doubles (aside from the gymnastics). Brought in to teach the actors was fencing instructor Bob Anderson (who had worked on Star Wars and Highlander, and would go on to work on The Lord of the Rings trilogy) and stunt arranger Peter Diamond, (who had also worked on Star Wars and Highlander) who trained the actors for three weeks before shooting. Patinkin and Elwes continued to practice in their off-camera free time, and were encouraged by Anderson to learn one another’s choreography to avoid any accidents. The pair also watched plenty of fencing scenes from older films in order to get a feel for the movements.

There were a few challenges: after years of damage from wrestling, André the Giant had recently undergone back surgery, and, although being incredibly strong, was unable to support the weight of either Cary Elwes or Robin Wright in those respective scenes, requiring the use of ramps, cables, stunt-doubles and harnesses in order to protect his back while filming the shots used in the film.

Thankfully, though, the production remained untroubled (aside from minor injuries like Cary Elwes’s broken toe and being knocked unconscious on-screen, or Mandy Patinkin’s bruised rib from holding in laughter at Billy Crystal and Carole Kane’s ad-libbing during the Miracle Max sequence) and the film was released in October of 1987 to a modest performance in the box office, and rave reviews from critics, only to become largely forgotten amongst the other box-office smashes of the blockbuster-heavy latter half of the 1980s.

As time went by, The Princess Bride resurfaced, becoming the leader of the cult-classic phenomenon as fans discovered the film, and interest in the movie spiked, with plenty of people realizing the worth of this forgotten gem. To this day, it stands as one of the best known films of the 1980s, ironic, considering it’s initial reception, and has been well-loved, and much-quoted, for over thirty years, and will continue to be for years ahead.

Well, it’s almost time to close on our analysis of The Princess Bride. Join me next time as we take one last look at this classic film: combining the facts with the feelings for a sum-up. Stay tuned, and thanks so much for reading! I hope to see you in the next article.

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missnight0wl · 4 years

Text

Unpopular opinion: I wish dating was never introduced to HPHM.

I was always rather open about the fact that I don’t have much interest in dating content in HPHM, so you might say it’s very subjective rambling. But I think I also have some more objective arguments for that statement, so… hear me out (or don’t; I can’t tell you what to do).

Some spoilers for the Festival Fun TLSQ, the Celestial Ball TLSQ, the First Date TLSQ, the Valentine’s Day TLSQ, the All-Wizards Tournament TLSQ, and “Cooking Up Trouble” SQ.

First of all, I want to address the most obvious counterargument for my wish: “but people want dating!”. Yeah, I know. But here’s a thing. A long time ago, almost at the very beginning of the game’s existence, when we were only speculating about any love interests, people were referencing one article. The article where the creators claimed that romance is planned for the future (among other things). And if you ask me, it was their mistake. It was a mistake because it created expectations which they had to react to. The problem is that they were never ready to introduce such type of content. I mean, just look at the past events. Andre mentioned dating when he was first introduced back in Y3 (!), and he said then that most people don’t date until they’re in the fourth year. And yes, the Celestial Ball was eventually placed as Y4 Achievement, but the main story was well into Y5 already! What I take from this is that at best, they had only a rough idea for the ball when they wrote Andre’s comment in Y3 (if it took them so long to actually create the quest). And so, I have to wonder – why they even talked about dating in Y3 if they were not ready? Now, I’m not saying that nobody would ask for dating if Jam City didn’t mention it in that article, or Andre omitted that topic in Y3. There’d definitely be people still wishing for some romance. But there’d be no actual reasons to expect that. Because HPHM was created as a mystery story (even if people don’t remember about it anymore), and a mystery story doesn’t really need romance.

The second thing I’d like to point out for the sake of this discussion is that the dating quests require quite a lot of work from the devs team. Admittedly, the quality of those efforts is sometimes questionable, but still. I’m also no tech or game design expert, but here are some things which I believe make dating quests more time-consuming than most of the others:

Designing outfits. Each of the datable characters is given a new outfit (+ new outfits for MC). I also want to notice that most of those outfits are one-time-use. Well, except maybe for the bundles available to buy for real money…

Creating new locations/characters. To be fair, some of “regular” quests require those too, although the majority uses things already existing and being used in the main story.

Creating new animations: dancing, holding hands, pecks on the cheek, more (new) dancing.

Creating multiple routes for different date options – and even if it’s mostly copy-paste, it takes time nonetheless.

To be clear, creating new things for the game is not bad. My point is that basically every dating adventure required ALL of that invested in one single quest – and pretty much none of that can be reused outside of dating. In fact, they’re not even reusing those animations completely for each new date. The kiss from the Valentine’s Day was different from the recent one, the Festival had new dances added to make it more diverse in comparison to the Celestial Ball etc. And what those unique quests have to offer? One cute moment with your date, which is… kind of meaningless. I’m sorry, but dating stories are basically irrelevant in the bigger picture. I mean, yeah, they’re adorable, but that’s it. And it’s just NOT proportional to all the work put into them. Because look…

The dating quests add very little to nothing to flesh out the characters – and if they do, it has nothing to do with dating.

The Celestial Ball did a pretty great job at adding to Rowan and Ben. People often criticise MC for “forcing” them to come to the party, but the problem was clearly about them feeling not good enough to go (not necessarily about them not wanting to go), and so I really loved working on their self-confidence. Bill also grew a lot in that quest, overcoming his rejection from Emily Tyler. Andre discovered his styling talent, so he was no longer “just” a brilliant Quidditch player. Even Penny had some insecurities to face as she wanted to prove that she’s not only popular but she can also create fantastic decorations. So… couldn’t it just be a quest about FRIENDSHIP and our friends growing? The whole dating subplot felt kind of forced to me, or maybe rather detached. Not to mention that THAT was kind of a dick move to leave Rowan and Ben after using the argument:

The next quests were more oriented on dating itself, but at the same time, they’re focused less on the characters’ individual personalities. Sure, there are some differences between dates, but it’s more about distinction than adding anything new. For instance, in the Festival Fun TLSQ, every character yells out loud that you’re on a date (unless you chose to keep it a secret), MC just points out that it’s unlike them in the case of Talbott, Jae, and Chiara. Next example: I thought it’s pretty amusing that Jae writes dreadful poems with cheap rhymes, but it turns out that the note with Butterbeer could also be left by Barnaby. I know that in MY playthrough, Barnaby didn’t leave it, but I can’t see it as Jae’s characteristic, simply because it wasn’t written for his character – it was written to fit Jae and Barnaby, so it’s kinda meaningless in my eyes.

Another thing is that even if those dates added something individual, it’d be relevant only for a limited audience. Like, I’m really happy for people who wanted to date Badeea, but for me, she barely existed in this quest. It added NOTHING to her character. During the First Date quest, Tulip revealed that girls in her family are being named after flowers (her cousin is called Marigold), which is a pretty neat fact, but I wouldn’t know it if I didn’t put extra effort to see different options. And believe me, there’s a big part of the payers who don’t do it. I’m still seeing on social media people being surprised that Rowan’s gender and House are connected to MC’s.

And speaking of that already: this is why the dating options are being cut off. And honestly, it sucks, but I get it, I really do. The devs have to spend the same amount of time on a character dated by 6% of the players as on a character dated by 36% of the players. Let’s add real money to that, and let’s say that 10% of all players buy gems/energy on TLSQs. Jam City will make more money out of that 36% than out of 6% - it’s as simple as that. At the end of the day, they are a business. Would it be nice to make all players happy? Of course, but it’s easier to keep the majority happy.

The dating quests don’t really matter for the main story – and they won’t matter more in the future.

Why? Because it’d be too complicated at this point. All we’re getting (and what we’ll ever get) are subtle differences in dialogues. And you know what? Even that doesn’t matter much. For example, in Y6, there’s a scene where Talbott calls MC to the Owlery and offers his help in searching through the letters. He talks then about their friendship, and if you took him on a date, he mentions it as well. The thing is that Talbott is pretty heart-warming here in general, how he opens on us being friends:

Sure, that one additional line is pretty cute, but again, is it really a satisfying pay-off from the dating quest, considering how much was put into it? And I don’t think they even can do more because they always have to keep in mind the players who didn’t manage to finish TLSQs in time or just didn’t want to do it.

I don’t want to be only negative about dating because that’s not really my point, so here are some ideas on how to invest all of that time better (and no, it’s not just the lore and in-depth history of the Cursed Vaults because I know I’m in the minority who cares about it):

More outfits for NPCs which could be used for variety. I don’t know about you, but I’m sick of seeing characters like Penny, Merula, Ben, or Talbott in their full school robes ALL THE FREAKING TIME. Ideally, I wish every character to have three outfits: full school robes, some variety of a uniform (so something like Tulip and Barnaby) used in the school but outside of classes, and something totally casual used outside of the castle.

More animations between characters like hugs, patting on the arm etc. Anything which could be used almost on a daily basis, and which would make our interactions looks more natural and less stiff. Seriously, I’ll take a supportive hug instead of a peck on the cheek ANY DAY.

More character-centric quests. So many of our friends need their own SQ: Tulip, Badeea, Liz, Diego. The rest could probably also use them to expand their characters – because those SQs do a great job at this. Like, I took Jae to the festival, and it was alright, but to be completely honest, his “Cooking Up Troubles” SQ was SO MUCH BETTER for his character. We learnt new things about Jae, we had some really cute friendship moments (like this and this)… And it was a super simple quest with only seven parts in total! It just needed to be written: no new locations, animations etc. Yet, the pay-off was just… better, more meaningful.

Another thing that could be done in those character-centric quests is more focus on the relationships between our friends because, in my opinion, this is needed as well. I want to talk here a little about the “All-Wizards Tournament” TLSQ, which I think is really underrated. This is probably because of people claiming that Jam City is reaching too much to reference the books events AND because of Rowan’s absence. And don’t get me wrong, those are valid objections. But when it comes to the characters… this TLSQ was pretty great. We saw a lot of our friends' insecurities (Barnaby, Jae, Liz), we saw their more competitive side (Andre, Badeea)… Badeea was especially interesting to me as she showed that she can be quite cunning when she somehow learnt about the first task. She also didn’t reveal that information to Merula and Ismelda because they were occupying the training dummies, but she did share with MC (meaning that you really want to have her on your side…).

It somehow made me think about the situation from Y5 when she admitted that she tricked Jae into thinking that she knows Apparition by using an Invisibility Cloak. It’s nice to know there’s more to her than meets the eye, which was also cohesive with the main story (even if we don’t see it much). The TLSQ also showed some dynamics between our friends, like Jae and Andre (which I mentioned here). And of course, I really enjoyed the ending conclusion: that some tasks can be dealt with only when you work together. Again, I’d love to see this theme being explored more because it creates such a compelling contrast between Jacob and MC. Jacob didn’t have many friends at school. We only know about Duncan and Olivia, and it’s still unclear if Olivia was an actual friend or a colleague they worked with. Not to mention that it was implied that for some time, Jacob was working all alone. Meanwhile, MC has basically the whole army at this point. It’d be interesting to see that this is one of the things which makes MC stronger than their brother.

Now, the reason why the “All-Wizards Tournament” TLSQ could focus on all of that is because we didn’t waste the time on all of “secret admires mystery”, “oh, who should I choose” etc. So, just as a thought experiment, let’s think about how the Festival Fun could improve if we’d eliminate the dating aspect. First of all, more characters could get more screen time, like Badeea, maybe Tulip… Liz? Diego (our dancer!)? Ismelda? Even Talbott didn’t have a big role unless you chose him as a date. The plot could also be more dynamic instead of a whole bunch of stalling. I’d leave the investigation with Andre because I think it’s a great addition to his character, but it’s also fucking sad that any development he’s getting is around dating. Like, the boy deserves so much better. So, let’s change that! Let’s say he asks MC for help because he’s styling some summer outfits for the upcoming festival, but one of his fabrics is missing. Perhaps it’s a bit more expensive material, so they suspect that Jae might’ve “borrowed” it to make some money. Jae, of course, is deeply insulted because he’s a smuggler and an occasional cheater, but not a thief! They argue with Andre, but eventually, they come to understanding. Then, MC remembers that Badeea wanted to experiment with painting methods, so perhaps she decided to incorporate some fabric into that. We find Badeea and Barnaby, they don’t have what we’re looking for, but there’s some action going on there, maybe including Talbott… Long story short, it turns out that Tulip needed it in preparation for Cruppies race or something. I don’t know, I’m coming up with it pretty much as I write. The point is that the time spent on talking about dating could’ve been used on something more specific, individual, which could be more meaningful in the light of the main story. And since there’d be no routes, all of that would be relevant for everyone after completing the quest. Want it to be even better? Make it a regular side quest, not time-limited.

All right, but couldn’t we just have both: characters development and dating? Of course, that’d be ideal. But as I said before, Jam City is a business and rarely any business is ideal. They’ll always prioritise a limited number of things, and since people whine about dating, we’re getting dating. And again, I’m not saying that dating is totally worthless, and I get that people find it cute and whatnot. I just believe that what dating ultimately adds to the game is not proportionate to the time and effort those quests require to be created. That it could’ve been invested better. Dating is basically stopping us from getting better content (at least in some areas). And we’re kind of asking for that…

#long post #hogwarts mystery #hphm #hphm spoilers #hphm mc #jacob's sibling #andre egwu #jae kim #badeea ali #talbott winger #hphm dating #jam city #unpopular opinion #let's talk

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