#some make so much sense with how I characterize some characters

[psicheanima]

I've always admired your eye for fashion. Your posts about it on twitter are some of my favorite of yours. Out of curiosity, did you ever encounter a character who had a sense of style you thought didn't suit them which couldn't be explained by purposeful characterization? And if so, how did you think they would dress?

Thank you very much. Yes, it happens a lot, but to answer I suppose I want to talk about a problem in comics of continuing to write characters who were very much a product of their time fashion-wise: Laura Kinney and Nico Minoru. Despite these characters being incredibly gothic with unique outfits, and saying MANY times that this style of dress “felt like them”— in recent years, Neither of them are goth, ever. Especially Laura. She is only drawn in incredibly bland clothes. The edgiest she will ever get is a leather jacket. She dresses explicitly like a girl version of her father, when her unique taste in fashion was a clear stand-out from the writers to create her own unique, more emo identity than Logan had— he is very recognizable by his flannel and more western biker clothes.

For Nico, it all starts with that demon Kris Anka. In his defense, Nico had been wearing increasingly un-researched gothic fits the more she was divorced from Runaways comics. Her outfits got more stereotypically emo rather than punk, clearly drawn by artists who weren’t too well educated in fashion. Nico was known for being a goth character. It is essential to her moody history and even her powers— they involve her needing to cut herself, clear goth stereotype which is deconstructed.

But Kris Anka’s designs of the Runaways were very “updating to suit modern sensibilities.” Karolyn’s, who was peak 2000s soft bohemian— with wrap around tank tops and NEVER without her frayed jeans, was now a complete prep, wearing things that her more down-to-earth, hippie original never would.

In Nico’s case, she is not a goth anymore. She is alt, yeah, but alt grunge. She wears bright colors, dyes her hair in a distinctly 2016 way, and for some horrible reason— is very attached to flannel. This portrayal of her fashion became repeated by other artists to the point that it’s her look in the new Spider-Man show. You understand how upsetting this is to Me? It’s like if someone ripped off all my finger nails than made me eat them.

Yes, the type of goth they were was most popular in its time. But they were characters constructed around those styles and should keep them. They should not grow out of the styles, but evolve with them. I am also an adult and I dress the way they did. It just hurts to see characters with my fashion sensibility have their drip taken away in such a barbaric manner. And have these sauceless outfits now be their style. Laura is her own person— why would she just be a woman version of her dad? Because she’s figured out her life she went from painstakingly choosing her presentation to being a lazy bum who wears only primary colors? To being the lobotomized man’s view of “badass woman clothes”? Just make genderbend Logan art, I will fucking kill you.

[rapidhighway]

i love hurt/comfort but i fucking hate hurt/comfort so bad stop doing the hurt comfort template i beg of you i am begging please pause for ten seconds and think if he would actually say that and do that i promise you can write satisfying hurt/comfort and have everyone be in character and not "character A" and "character B" template screenshot you found on pinterest

[rascheln]

The Monster Falls Apart & The Monster Exposed: forehead kisses and touches

[daydreamerdrew]

The Incredible Hulk (1968) #243

[grimmjowjaegerjaquez]

i think my problem with matls rn is i have several potential starting points that would all be good but i dont know which one to fucking go with and i dont want to start working on things in earnest in case i change my mind and have wasted work ToT

[sabertoothwalrus]

do you think Falin's chimerism would affect her lifespan and behaviors? or just her body? maybe she can make more animalistic noises or has vague dragon-like instincts?

that’s a really good question! I think we could probably figure this out by taking a look at what we know about Falin, what we know about red dragons, whether these things would apply to Falin, and go from there.

The obvious external changes Falin has are: her eyes, her teeth, and her feathers.

It’s hard to pin down what Falin is like! Throughout the duration of the manga, she wasn’t really a character so much as a plot device. We have almost nothing told from her point of view, and the majority of her unbiased (as in, we’re seeing her through a neutral lens and not another character’s perception of her) characterization is from the post-canon omake.

Even Falin believes that her wanderlust might come from her dragon side, but she's not sure. Personally, I think it’d make a lot of sense if it kind of does, in the sense that she has 20/20 vision now, haha! For most of her life, she could probably only see clearly within a relatively small sphere surrounding her, and now she can see everything. She can look up and around freely in a way she couldn’t before. Fuck man, if I had magic lasik I’d probably go out more too.

Some other quirks that are really unclear whether it’s typical for Falin or chimera-influenced:

she enters rooms through windows, sometimes. And given the leaves in her hair, I think it’s reasonable to assume this is not the first floor 💀 But who knows! Maybe that’s not new for Falin.

She points out that Laios’s scent could deter monsters. Maybe she has enhanced smell. But again, it isn’t unreasonable to think this is something she would have said before. (I think even Chilchuck and Izutsumi, whose senses of smell are enhanced, can’t identify scents well. Kuro, however, can.)

VIOLENCE! But again, we’ve seen her beat shit with her staff before, and she also used to wield a flail. It IS a trait for red dragons to fight any large threat, so if anything, she’s got even better monster fighting instincts than before. I don't think this would carry over to people. Falin has always been better with people, and I'm personally not a fan of seeing her depicted as territorial or possessive. Marcille is already the possessive one, and didn't need dragon blood to be like that.

Ultimately, I don't think her dragon traits extend much farther beyond this. Especially when you consider How Little the dragon is represented as in her conscience.

it's not like it's a 50/50 split. She's like a person with a dragon ratatouille. I don't think she'd be able to make dragon noises. I don't think her body is built for that. I know there's like, a set list of tropey characteristics that are given to almost every non-human character in fiction. and sure that's FINE but they tend not to be especially personalized to the character, and tend to just be an excuse to write them OOC. Like, sure, dragons may have instincts regarding sleep habits, hunting, courting, raising young, etc etc, but so do humans! And we don't compulsively act on every instinctual whim we have. I don't see why it'd be any harder for her new dragon instincts.

If anything, I think she'd feel more affected by the fact that she has part of the demon in her.

I don't think Falin's in any sort of trouble. All the demon was was a way to communicate with people. Here, it's representing Falin's tether to the infinite realm, to mana itself. The winged lion no longer has the desire to consume anymore because, yknow, Laios has that now. This is very likely why she no longer needs to chant to cast magic.

But what else does this mean for her? She already had unusually high reserves of mana + an innate connection with spirits, but is her mana essentially limitless now? How would that affect her lifespan? I'm leaning towards, it wouldn't really?? But is she immune to mana sickness now? Is it more like her magic is just sort of amplified like it would be in a dungeon?

We can infer that having more mana doesn't increase your lifespan, because-- while elves and gnomes have both naturally high levels of mana and longer lifespans-- dwarves live longer but have lowest levels of mana of all.

So to answer your question! Maybe a little bit?? But I don't think she'd change a whole lot.

[wombywoo]

do you have any ghostsoap favorite fics, perhaps?

boy do I....

I should preface this by saying that I'm pretty...particular with what types of fics I enjoy reading (I only like certain character interpretations/tropes/writing styles, etc) so bear with me...

These are all mostly canon-compliant, non-AUs, ones that I regard highly~

Seasons--by StinglessWasp: This is pretty much my go-to fic rec for anyone into CoD and ghostsoap in general. It showcases everything I love about these characters, in a setting that feels as authentic to the games as possible, while also exploring the depth and sincerity hidden under the surface. So well-written and paced--the dialogue and military references all contribute to that 'feels like a mission out of the game' experience. Plus, I just love this interpretation of our boys--the humor, the inner struggles, the intimacy--Wasp 100% *gets* these characters and it's a joy to read <3

Except You, You Can Stay--by Iravaid: While this one isn't *technically* ghostsoap until the last chapter, in my opinion, it's required reading for anyone who gives a shit about Simon Riley. This is *the* character study--an intimate dissection of Ghost's past that seems so realistic and grounded, you forget how ludicrous those comics really are. Ira takes such care in treating these heavy topics with delicacy and effectiveness. Each chapter has you going 'oh wow, this is even better than the last', but as a whole--it's a stunning, fleshed-out glimpse into Simon as the character he was always meant to be. And the final chapter which eases you into his relationship with Johnny is so authentic and sweet, it just makes perfect sense that they should be together, and that this poor poor man deserves some goddamn love <3

bleeding in the house of god--by revolvermonkcelot: This is a really great 'missing scene' fic, a perfect opportunity to explore the in-between moments that the game so carelessly chooses to gloss over. I can't praise Monk's writing enough--it's slick and crisp and very tasty; the imagery just jumps off the page and you can practically feel the sweat. Plus, the dialogue exchanges between our two boys are so well-timed and in-character--love all the slang and British references~ This whole fic reads like an addition to their mission flirting, and I'm all for it! You can truly tell this author has such deep understanding and experience with this franchise (winkwinkwink, this is a joke) Read it--it's good!

The Dead are all Living--by Kabbal: This fic blew me away when I first read it. It's such a unique take on the retirement trope, I just adore this interpretation of Simon as an aging recluse while he builds his home. I tend to lean towards more subtle, grounded characterizations of Mr Riley, and this really fits the bill. All of these glimpses and fragments into his post-military life contribute to an overarching love story; the scenes with Johnny are so poignant, it's like you're pining alongside them both. I love how not-perfect they are; flawed and difficult and real. There are some moments and lines that just....struck something in me so deeply. I'm sure I'll still be thinking about it for a long long time <3

Portrait of Taction--by a_platypus: Another Simon-centric fic that I absolutely love. The character voice in this is off the charts, I can hear him so vividly in all of his inner dialogue and stunted attempts at conversation. Simon is so endearingly dense in this fic, you're just waiting for him to finally get his act together, but the clumsy, oblivious steps he takes in his relationship with Soap are truly a treat to read. I love this version of Johnny too--confident and considerate, but still hopelessly crushing on his superior. It's comedic, well-written, and the paragraphs describing Soap's journal give some of the best insights into his character I've seen <3

come on, haunt me--by flyby2: This was a really good long fic that I took my time savoring. What could have been a typical 'on leave' fic instead took time to develop a unique spin on the backstories as well as throwing our boys into some wholesome encounters. Both Soap and Ghost felt very true to character, and I appreciate the exploration of PTSD and the subsequent struggles that come along with...all that. There was a really nice balance in having their romance spread across the chapters, and I can promise a very sweet, happy conclusion <3

in the mess of it all--by flowersferns: A lovely one-shot that exhibits some of my favorite aspects of these two characters. I'm a sucker for 'one of them is hurt, the other is freaking out, they are both idiots in love, etc'. There are some really great dialogue and character moments in this, plus the overall prose hits hard. Love this take on their romance--the mutual trust, the familiarity of their bond. And just the general theme of impermanence--the inevitability of what this relationship means for them--two soldiers, willing and ready to sacrifice their lives at a moment's notice, still clinging to each other because...god...that's all they have---big fan of this :'D <3

Lapsus--by Lisbetadair: Another really great one-shot and 'missing scene' fic. The authenticity in the writing is spot-on--it's like you can feel Soap's pain right off the bat. I love how smoothly the banter flows between the two, and the attention to detail and references all help lend to that 'hardened military man' exterior. Ghost smelling like flowers because of a face wipe is such a delightful addition, plus the scene where Soap is, ah, donald-ducking it in just a t-shirt with his jewels out is such a funny mental image, I still think of it fondly from time to time. It's funny, it's surprisingly cute, it's very in-character. Stick around for some awkward but adorable cuddles <3

I'm sure I have more to recommend, but these are the ones I can personally endorse for now~

[endiness]

Debunking misinformation about Netflix's The Witcher (Part 1)

"Henry Cavill is a massive fan of the books and the games and he quit the show because the writers wouldn't stick to the books and he just cares about the source material so much."

Henry Cavill not only did not know that the books existed when he started pursuing the role of Geralt, but he actually thought that the books were based off of the video games (and he still didn't bother to read them) and he didn't learn that the games were actually based off the books until Lauren told him (even though the first thing in the game credits is that they're based off the books); as of 2021, he as only read the full series once — right before he was cast in 2018; while he has played TW3, he has only played a little of TW2 (and I've never found any evidence that he's played the first game); and he also has not played the DLC for TW3.

Henry Cavill also started heavily pushing the narrative that he's just such a massive fan of the books and how important adhering to the source material is to him during the press for S2 to deflect from how it was due to his acting choices of cutting Geralt's lines and either saying nothing or just grunting instead that Geralt's characterization — who is much more verbose in the books — was book inaccurate in S1:

He also lied about the situation and tried to act like Geralt was never originally written as being verbose and blamed the lack of dialogue on Yennefer and Ciri's prominence, which cannot be true as confirmed by Lauren:

And tried to act like the lines he was cutting weren't that important anyway so it wasn't really a big deal, which also cannot be true as confirmed by Joey:

He also started pushing the narrative that adhering to the source material is so important to him and it's 'tricky' to do that with Lauren's vision, but his definition of "Lauren's vision" is the show being an ensemble piece with Yennefer and Ciri at the forefront (like the books) and the show in general heavily centering around women (like the books):

So the idea of him caring so much about "book accuracy" is, in fact, not accurate to the books at all as his problems were the prominence of women in the show when Ciri is the main character of the main book series, which the show started adapting from S2 onwards (which is when Henry Cavill started to complain about wanting "book accuracy" in the first place), and when women are very prominent, central, key figures in the books and they often drive the plot forwards.

Lastly, S3 was the closest adaption of the books out of all the seasons so far, so the idea that he quit after S3 because the writers just weren't respecting the source material and the show wasn't following the books doesn't make any sense anyway.

"Henry Cavill is the only reason why the show was even close to the source material at all."

I've not only never seen any evidence of this, but if anything, I've seen the exact opposite: Henry Cavill was either directly responsible for or at least contributed in some way to a lot of things that went against the books or didn't happen in them.

As I already pointed out, he cut Geralt's lines in S1 and either said nothing or just grunted instead which is inaccurate to Geralt's characterization in the books. Here's another quote from Joey affirming that:

(Just to note: During the press for S1, he frequently talked about how the games inspired his performance as Geralt — sometimes talking about them even more than the books despite how the show is based off of the books, not the games — and it wasn't until S2 press that he suddenly changed his tune and started talking about how important adhering to the source material ie the books is to him. He also only started advocating for a more book accurate Geralt because he got dunked on by reddit for his book inaccurate performance in S1.)

He didn't want to play Geralt and Jaskier's friendship as directly as in the books and buddy-buddy with each other:

He didn't want to have any kind of conflict in Geralt and Ciri's relationship in S2 — at least on Geralt's side of things:

Nor play Geralt struggling with fatherhood at all — all of which led to the domino effect of Yennefer's betrayal:

Eskel's death (which in itself also led to things like Vesemir trying to create new witchers and Lambert's attitude toward Ciri):

And Voleth Meir being the big bad of the season:

He didn't want Geralt and Triss to even just platonically find comfort in each other in S2 — which is what happens in the books:

He nixed a sex scene between Geralt and Yennefer in S2 because he didn't think it'd be in character of them to have sex after reuniting which, uh, is absolutely in character of them:

While this is an incredibly inconsequential change, given the prevalence of this idea that Henry Cavill is such an ardent defender of the source material ie the books and how much he wanted the show to adhere to them, I do think it's important to note that he pushed for — and got — more signs into the show even though by his own admission that is more of a game thing than a book thing and he got it into the show for the explicit purpose of catering to game stans:

This is also another incredibly inconsequential change, but again, given how prevalent the idea of Henry Cavill pushing for perfect source accuracy is, I do just want to point out that he would wear his armor 24/7 to make it look worn down:

Even though it is canon in the books that Geralt will buy himself brand new clothes, so the idea that Geralt's clothing has to look worn down and can't be brand new is not actually book accurate.

"Lauren wanted to make Roach's death a joke."

Just to address this point specifically, Lauren wanted to make a meta reference about how all of Geralt's horses are named Roach. That in no way, shape, or form means that she wanted to make Roach's death into a joke or even that the scene had to be played comedically. This is what Lauren had to say about the subject and the 'joke' in question (which, js, actually fits the tone of the books more):

And as far as the "Henry Cavill is the only one who cared about the source material and he's the only reason why the show even stuck to the books at all" front goes... Henry Cavill did change the dialogue in this scene to a book quote/reference; however, the quote in question ("Enjoy your last walk across the meadow and through the mist. Be not afraid of her for she is your friend.") is not something that Geralt himself says and the line/scene from the books foreshadows Geralt's ending in them.

So, at least imo — especially taking into account the incredibly high standard the fandom has set for Henry Cavill as the #1 defender of the books — I don't think this change was actually book accurate especially given the narrative significance of that exchange in the books.

[littlebatgames]

The voices of Vampire Therapist

Hi Tumblr! I'm Cyrus Nemati, creative director at Little Bat Games, where we're making Vampire Therapist. You might know me as a voice actor. I voiced Theseus, Dionysus, and Ares in Hades, so as you might imagine, voices are my thing.

When I started designing Vampire Therapist, I wanted to create characters not only had deep narrative depth, but that would be challenging and rewarding to voice. I voice protagonist Sam Walls and his mentor, Andromachos. Writing a game about therapy is really tricky, so being able to jump in revoice lines was a huge benefit for the game!

I also voice two of the therapy clients in the game, Dr. Drayne and Edmund Kean. Dr. Drayne is the kind of challenge any actor delights in, having three very distinct characterizations that have to seem natural, whereas Edmund Kean is the Shakespearean actor of his time.

As much as I'd like to save money, I couldn't voice all characters in the game, but I'm very picky about voices and needed a cast of the absolute best I could find. So I got them.

If you've played Hades 2, you've heard Sarah Grayson or Selene. Or maybe you know her from Gone Home or Tacoma? But I needed her ability to alternate between the very light and the very dark for murderous vampire content creator Meddy.

To play Isabella d'Este, a real historical figure and esteemed patron of the arts during the Renaissance, I needed someone with a sense of the theatrical and some excellent comic timing. For that, I turned to a very old friend, Kylie Clark, who comes much more from the theatre tradition that video games... which she doesn't play at all. Until Vampire Therapist!

For our fabulous goth bartender, Crimson, I needed the epitome of cool, sexy, and tantalizingly mysterious. You might know Francesca Meaux as Eurydice from Hades, but she went to some unexpected places to play Crimson!

I did say I wanted the best of the best, right? Vampire Therapist is a super low-budget indie, but if I'm going to fill a club with quirky, sexy goths, I need range, and for that, I got Matthew Mercer. Yeah, that Matthew Mercer. The Critical Role one. The one from Baldur's Gate 3. The one from all your favorite video games. How could I do less? He's playing Reinhard the sexy goth and Ciaran the goth priest in Vampire Therapist.

You can see the work we've put into every aspect of Vampire Therapist. I think you're going to find that it's unlike any game you've ever played.

It'll be out on July 18th, and you can wishlist it on Steam now!

And on GOG!

[alastors-antlers]

a brief take on the whole "Alastor's smile is permanent" discussion

hello all!

I've seen a lot of people theorizing lately that Alastor actually smiles all the time because his smile is magically, physically fixed onto his face. All of this seems to come from the fact that he's practically grimacing rather than smiling during the scene where he breaks down in ep8:

As well as this frame of his deal with Charlie: (lower res sorry)

I will say, I do like some of the implications of this theory. The sheer spite of his creditor forcing him to smile as an addition to their deal, almost like a sort of forced silence, is a neat concept. It's fun and dramatic. Plus, of all things, of course Alastor would claim the "smile at all times" policy and make it his own to pretend that it was his decision all along lol.

To be fair, though, I don't think we even need any magical compulsion to explain why he's smiling while he's having a mental breakdown. Actually, if we assume magical compulsion, I think we lose a bit of dimension from Alastor's character. (No judgement to anyone's take though, of course -- I just think this works in the direction of his established characterization, but obviously all personal takes <3)

Hear me out:

Alastor's persona is not just for others to see.

"A smile is a valuable tool, my dear. It inspires your friends; keeps your enemies guessing; and ensures that whatever comes your way, you're the one in control."

That makes sense given what we know about him. If he's always smiling, he seems like he has it together. You can't read him very well, especially not when he's actively trying to keep up appearances.

Now consider that when you think about ep8's fight with Heaven, we see that he's already been through so much in this one day.

He fights an army of angels, presumably not even at his own whim (if we go by his blurb about freedom in the Finale song); he loses to Adam, who he considers sloppy and mediocre; his staff, which we can assume holds some part of his power, is snapped; he comes close to being Angelic-power-killed; and to top it all off, he knows that others watched him get injured and then apparently die or flee, all of which would ruin the public image that he's trying to maintain. It wouldn't even be unreasonable for us to assume that he knows Vox was watching, given that Vox kind of has eyes everywhere.

In a moment like this, in the finale, you could say that Alastor has lost (at least on some level) everything that we know matters to him. He doesn't have access to all of his magic, and it's limiting him. He's reminded that he doesn't have freedom or control over his own destiny. He certainly has taken massive hits to his powerful, composed persona. But he's desperate, and furious, and terrified, and clinging on.

That's why he's smiling.

It's not that he can't stop because he physically can't. It's that he can't stop because to him, the smile is the last thing that is still within his power. When there are so many moving parts that he can't predict what happens to him next, he can control how he responds to it. In these last fragments of autonomy, there is solace.

He needs to keep telling himself that he has it together and that he'll eventually scheme his way free, that there's a solution, that he won't be in chains forever; because letting his pretense slip would be admitting that it's all starting to actually get to him. That maybe this time, he doesn't have an escape plan.

In addition, if you read his interactions throughout the series, we also see something else: Alastor's reputation is of paramount importance to him. At multiple points throughout the series, when others disrespect him by discounting his power or presence, he gets visibly annoyed. And in the battle, we see a glimpse of the part of his personality he seems to be trying to leave behind - a normal Alastor, who's just some guy from Louisiana. No transatlantic accent; no unflappable malice; no sharp wit waiting at the ready. Maybe even unremarkable.

Dropping his smile - arguably the most prominent part of his brand - would be admitting that in reality, he's not the Radio Demon of legend that he aspires to project. And if he doesn't have that... where would he be?

[sillyfudgemonkeys]

Silly, some youtuber is praising the heavens for p5d

https://www.youtube.com/watch?v=ahjkWFn6Kns

Ok! *starts video*

*salt in a way I wasn't expecting incoming*

*person puts a heart over Kanji and Naoto literally seconds into the video* *I take it as them being shippy towards then* You know what, nvm their opinion doesn't matter. I think I can close the video!

*pushes forward regardless* *person puts a clip of PQ2 in the middle of his argument that most of the spinoff games don't understand their characters and mess up the characterization and has most of the heavy lifting is done by the original characters, THUS IMPLYING RIGHT NOW that PQ2's characterization writing is on par with Arena/Ultimax/PQ1 fumble* The one good thing about PQ2 (besides FeMC), really? Yes the boot licking is a problem, but everyone is in char.

*Says that P5S's character writing is SOOOOOO good it should basically be considered P5-2 because it's that good* Did everyone just play P5S with their ass? Cause the first dungeon itself (esp with Anne/Ryu) has me wondering if the writers understood at least ONE of P5's characterization of them.

*Says that-that's not the case for the Dancing games* You're pretty right on that (at least with P4D)... Man.... not even 4 min in and made made a number of points/claims you got possibly one good point in (I'm not going to bash P3/5D's characterizations until I've replayed the story part cause I literally forgot it, so I'm giving them that point). *drops video* (tbf fair I have to go to work so I probs won't be on again until lunch at best or the next day at worst. Maybe it gets better, but my first impressions are left to be desired and I don't want to watch something that might tick me off atm, esp if it means seeing more K*nNao)

Sorry for being bitchy (mostly to the person), the person is probably nice and probably makes good points later and everyone else should def watch it too. I'm just annoyed having to see like 3 things in his vid that I highly disagree with so early in the morning (and ones I didn't expect to see opening a P5D video to boot!), extra not in the headspace to listen to that right now. Maybe later, they deserve a fair chance!

[aroaceleovaldez]

I was reading a post about CoTG and I realized: Rick has seemingly started to write every character pairing with the exact same dynamic, and he's not good at writing that dynamic and it doesn't make sense for 90% of the characters he writes it for.

It's that very specific dynamic of one half of the pair who is almost aggressive to the other party - "teasing" them constantly/insulting them, affectionately punching/judo flipping/maiming/etc, seemingly almost always exasperated with the other - and said other party usually just accepts this treatment or blanketly views it fondly, and may generally be framed as more incompetent than their partner and a little bit of a doormat (particularly relating to being insulted/teased/etc by their partner).

We start seeing this dynamic in HoO with Percy and Annabeth, as a sort of semi-inconsistent twist on their rivals-to-friends-to-lovers dynamic from the first series. Then the dynamic pattern develops further with Leo and Calypso. Then Magnus and Alex. Then Nico and Will, particularly in TSATS. And now in CoTG, it's Percy and Annabeth again but even more in this direction.

I know people have talked about Nico and Will's relationship over the series rapidly being shoehorned into Percabeth Two™, and it's extremely apparent in TSATS that Rick's doing it on purpose (including directly quoting Percabeth scenes but minorly tweaking them to be Solangelo). But recognizing it as an overarching trend in Rick's later books honestly reminds me a lot of how Rick started trying to apply the "Percy Formula" so-to-speak to nearly every protagonist in HoO (and then try to replicate similar character archetypes with Magnus and Apollo's narrations - moreso Magnus in being jaded and sarcastic, very much trying to be first series Percy. He only sounds unique because Rick failed at making him Percy 2. Apollo is more akin to later-series Percy characterization of being goofy and incompetent. Apollo [and Zeus] even got retconned to give Apollo a more similar backstory to Percy's). Rick seems to have decided that he thinks the audience wants this specific dynamic but 10 times over, except he's not good at writing it the first time because it's a bastardization of the time he did a different thing okay.

And Rick also seems aware of that too! Because he retconned Calypso and Leo at the end of TOA, probably because he realized how absolutely awful it was reading when they were written with that dynamic of Calypso just functionally hating Leo and constantly being aggressive towards him! The only time Rick's actually made the dynamic even semi-successful was with Magnus and Alex, because it actually fits within their characters, their dynamics with each other, and their environment. Alex beheading Magnus on the regular works out fine because there are no repercussions to that in Valhalla, Magnus will be fine, so it does genuinely come off as humorous. And Alex has been effectively established to be abrasive at times but have her genuine feelings shine through regularly, and that meshes well with Magnus' jaded-and-aloof-but-quietly-very-empathetic character. And Magnus has been established to, yes, not be great at combat, particularly compared to Alex. They are the only time that flavor of dynamic in that form was effective and cohesive.

Percabeth is no longer rivals-to-friends-to-lovers badasses on equal levels with shaky pasts who finally found some form of permanence with one another. Now it's super smart doting and affectionately aggressive girlfriend and her silly goofy 50%-of-the-time incompetent boyfriend who she judo flips/pushes off cliffs/etc - but affectionately~! Solangelo is trying to riff off of the early series "Poseidon & Athena are enemies" dynamic that Percabeth had but with Apollo & Hades being "opposites" but learning to accept each other, except it ends up with Will just coming off as a huge asshole and Nico being retconned to a complete doormat about it - when prior to that those characterizations would be completely contrary to their established characters (even just from TOA!). Calypso in HoO gets retconned from her PJO characterization to being snooty and aggressive, and Leo's false persona gets merged into his just normal personality except he just also becomes a doormat but more goofy than Nico with occasional haha-dark/depression-humor! Which Nico also got. Which was also a bastardized Percy trait that got redistributed.

It's exhausting. Rick write more than one relationship dynamic you can do it I promise

[3d-wifey]

NSFT Alphabet: MK1 Johnny Cage Edition

A/N: Wrote this to hold you Johnny girls (gender neutral) over until I finish that smut 😙 Plus, I find writing these Alphabets for a character in preparation to write full-fledged smut for them is very helpful in capturing accurate characterization. It's almost like a writing exercise. I've written three different ones so far and I tried to keep them in character, if that makes sense. Like, I tried putting their personality and language in it. Okay, enjoy.

A = Aftercare (What they’re like after sex)

Talking. So much talking. But, honestly, did you expect anything else? As he’s pulling out, as he’s carrying you to the shower, as you’re washing his hair. And when it inevitably leads to shower sex, he’s talking then too. You’ll never meet a man who loves the sound of his own voice more than Johnny Cage.

B = Body Part (Their favorite body part of theirs and also their partners)

Uh, how ‘bout the artillery canons strapped to his arms? C’mon, I mean, who wouldn’t want a ticket to the gun show? 

Face. Is saying your face too cliche? Hear him out! You want specifics? He can do specifics! He likes the dimples that pop in your cheeks when he finally gets you to laugh at one of his jokes, the little crease you get between your eyebrows when he’s pissed you off, the adorable way your nose scrunches up when he does that one thing with his tongue that drives you crazy. See? Specifics!

C = Cum (Anything to do with cum, basically)

Pull out game…very weak. Embarrassingly weak, actually. He swears he’s never had this problem before. His ability to pull out in the nick of time has always been something he’s prided himself on. However, he vastly underestimated just how good you’d feel. He’s clean, you’re clean, and, hey! You both prefer the feeling of hitting it raw, the way nature intended it. However, your pussy’s like wet kryptonite. And he’s only a man. A very awesome man, but a man nonetheless. So birth control it is! Or, if you’re turned off by all the side effects, he can be talked into a vasectomy. It’s either that or give up the sweet, sweet embrace of your walls when he’s balls deep. 

On second thought, that vasectomy sounds pretty tempting. It is reversible, right?

D = Dirty Secret (Pretty self-explanatory, a dirty secret of theirs)

Johnny would leak his own sex tape. Plain and simple. He’d leak it from a burner account and watch the chaos ensue. There’s no shame in his game. Hey, it’s ranked the Number 1 Celebrity sex tape for a reason.

E = Experience (How experienced are they? Do they know what they’re doing?)

Is this even a question? Actors, singers, models, directors, producers. He’s THE Johnny Cage, Hollywood royalty. He’s fucked actual royalty. You’re in good hands—as long as he cares about you. If you’re a random hookup, then he’s not really working for your pleasure here. You’ll definitely cum, but it’s mainly a pit stop on his way to the finish line. 

F = Favorite Position (This goes without saying)

Reverse cowgirl. Johnny’s an ass man, through and through. He loves fucking up into you and watching your ass ripple with both of your movements. And he loves holding onto you. Big hands grabbing your waist, hips, thighs, and especially your ass. He also loves seeing you both in action. So reverse cowgirl + some artfully placed full-length mirrors = Him wrapping his arms around your stomach, rubbing at your clit, and forcing you to watch yourself as you desperately grind against him, AKA Heaven. 

G = Goofy (Are they more serious in the moment? Are they humorous? etc.)

Oh, c’mon. It isn’t like him to be serious in any situation. He’s gotta slip a joke in every now and then. Get it? Slip a joke in?

H = Hair (How well-groomed are they? Does the carpet match the drapes? etc.)

Wax on, wax off, baby. Smoother than a seal. Or, uh, some other sexy, hairless animal. You mourn when he waxes his happy trail. 

I = Intimacy (How are they during the moment? The romantic aspect.)

You’ll be surprised by how charming he can be. It’s not all jokes and great orgasms. It’s also loving touches, reverent compliments, and amazing orgasms.

J = Jack off (Masturbation Headcanon)

He’s got a healthy libido and a pretty stacked schedule, so sometimes a quick introduction between his hand and mini Johnny can’t be helped. But he’s also got a smoking hot girlfriend (you), so jerking off by himself is a rare occurrence. 

K = Kink (One or more of their kinks)

Exhibitionism. What can he say? He’s a performer at heart and he loves an audience. But nothing crazy, just your average celebrity having sex on a yacht that’s in full view of the paparazzi. Or the occasional jerking off with you telling him how fast or slow to go. Oh, and you can’t forget about the sex tapes. Man, with the amount of videos he has of the two of you going at it, he could start an archive. You two have definitely ended up on the cover of TMZ and the front page of Twitter.

Voyeurism. But only for you. He’s enthralled by anything you do, including how many of your much smaller fingers will you stuff inside yourself to replicate the feeling of him stretching you wide. It usually leads to you begging for him to touch you, something else he’s in love with. Nothing wrong with a little hands-on audience participation.

Dirty talk. Normally, dirty talk is kind of basic to any old romp in the hay, but Johnny, being Johnny, puts his own Cage flair on it. Those corny oneliners somehow translate to the perfect thing to say to get you hot. He’s like Shakespear, if Shakespear was good-looking and not a virgin. You know what they say: everything sounds better when you’re horny. Who says that? Uh…

Fighting/Sparing which always leads to blood play. Winning a match gets Johnny’s blood pumping. The adrenaline of escaping death and the crowd hyping him up. And the crux of it all is you who happens to get especially wet when he comes to you covered in blood, grinning with a glint in his eyes that’s poorly hidden behind his blood-speckled sunglasses (a glint that many may describe as mania). And it certainly goes the other way. Watching you kick ass makes him harder than a diamond. Sparing together is a no-brainer that leads to fucking on his gym floor, or, honestly, wherever you two fall. Lui Kang must regret making you two his champions in this timeline with how often he’s walked in on you two. Offering to let him join probably doesn’t soften the blow, but, hey, it’s only polite.

L = Location (Favorite places to do the do)

In his mansion. In one of his lavish beds, or pressed up against the wall-length windows. In his Bentley or in the back of his limo. He’s a big fan of fingering you under the table at an award show and then fucking you in a bathroom at said award show when he should definitely be on stage presenting. For whatever reason, walking the red carpet always gets him worked up. And going to the club together always ends with you riding him in the VIP section.

M = Motivation (What turns them on, gets them going)

Such a complex question for a man with complex taste. I’m joking, Johnny is so easy. It’s actually ridiculous how easily you turn him on. Laugh at his joke, hard. Complement his acting or fighting, hard. Running your fingers through his hair/scratching his scalp, hard. Feel him up/tease him in any context, hard. You’re covered in blood after a win, hard, hard, rock hard.

“Are you King Midas? Cuz you make me hard with just one touch.”

“That one was actually kinda clever.” 

N = No (Something they wouldn’t do, turn offs)

Nothing too gross. He’s all for sloppy, messy sex, but he has to draw the line somewhere. There’s nasty 👁🫦👁 and there’s n a s t y 👁👄👁. 

He likes to tease/do the opposite of what you say, but if you’re not 100% on board with what he’s doing, then he’s stopping it then and there. Remember: there’s nothing sexier than explicit consent!

O = Oral (preference in giving or receiving, skill, etc.)

Preferred to receive before he started dating you, and only ever had the urge to go down on someone if he had been drinking before. After you started dating, he definitely loved it whenever you gave him head, but he didn’t realize how much pleasure he could get from giving you pleasure. 

He loves sloppy head, giving and receiving, so if you weren’t wet before, you definitely will be after he gets his mouth on you. 

P = Pace (Are they fast and rough? Slow and sensual? etc.)

Depends on when and where you’re doing it. And if you two are “allowed” to be doing it in said place.

Q = Quickie (Their opinions on quickies, how often, etc.)

Big fan of the guy who came up with the idea of quickies, enough said. 

R = Risk (Are they game to experiment? Do they take risks? etc.)

C’mon. He’s the leading source of your sex tapes getting leaked. I mean, how do you think the paps keep finding you in compromising positions? A little tip-off to them while you take his tip, ha!

S = Stamina (How many rounds can they go for? How long do they last?)

It’s like he runs off horsepower, good God. If you’re trying to go until he’s tired out, it’s gonna be a couple of rounds until then.

T = Toys (Do they own toys? Do they use them? On a partner or themselves?)

He’s a fan of dildos. Specifically, watching you fuck yourself with one. “Go ahead, baby. Show me how bad you want me.” And show him, you do. God, you know how to put on a show. But you shouldn’t have to settle for some random dildo. You’re with the Cage man, and he would get a mold of his dick made for you. And they say he’s not romantic. 

Strap-on. That’s it. And he takes it well ;).

Remote-controlled vibrators, for you and him. Hell, let’s make a game out of it. See who can last the longest in public, there are no losers! 

U = Unfair (How much they like to tease)

His version of teasing is doing the opposite of what you said to do. You want him to speed up? He’s slowing down and making sure you feel every inch inside you. Oh, keep his hands above his head? You gonna make him? He’s a total brat, but you knew what you were getting yourself into when you agreed to date him.

V = Volume (How loud they are, what sounds they make, etc.)

Heh, yeahhh. He’s real loud. Moans, groans, screams, whimpers. You name it, he’s doing it. It’s the performer in him. And because he knows you like how he sounds.

W = Wild Card (A random headcanon for the character)

Tattoos? Sexy as hell. If you were to ever get his name tattooed on you (preferably a tramp stamp), then you might as well start planning what flowers you want in your bouquet. I could see him getting your name tattooed on him too. Probably on his pelvis, in the middle of his v-line. In case anyone ever needs a reminder of who his dick belongs to.  

Type of guy to dedicate a Mortal Kombat match to you, and then lose. Ah, I’m joking. He’d beat his opponent’s ass all because you promised him victory sex if he won and he doesn’t take victory sex lightly.

X = X-ray (Let’s see what’s going on under those clothes)

He’s got an 8.5–8.9 inch hog, shower not a grower. Little Johnny isn’t so little. There’s a reason he’s alright with doing full-frontal nudity if the scene calls for it. They’ve had to CG out his bulge in post-production in every Ninja Mime movie. It’s not his fault spandex happens to be the clingiest material known to man.

Y = Yearning (How high is their sex drive?)

Higher than Mount Fuji. He’s a stallion in his prime with a gorgeous girlfriend. His spare time is filled with filling you. And you both tend to feed off of each other, so all it takes is for one of you to be the tiniest bit turned on, and then, boom! You’re both desperately grinding against each other in a supply closet. Ain’t that just the way?

Z = Zzz (How quickly they fall asleep afterward)

Depends. He’s kind of like a dog that needs to tire himself out before he can sleep. 

Click for a Johnny Cage-shaped surprise👀👀

[ofswordsandpens]

Okay compiling my most critical opinions on the pjo show so far (episodes 1 & 2)

The Gods' Conflict, Foreshadowing, & Big Three Kids

The show has seemingly dropped a lot of the foreshadowing and threat regarding the gods impending war over the theft of the lightning bolt. In the book, Percy remarks about how the weather's been inexplicably weird and extreme. When he gets to camp everyone is on pins and needles about something and they don't want to talk about it but its still very present. By the time he's claimed as a son of Poseidon and everyone's like "oh fuck" and then Chiron finally explains to Percy that the gods think he's the lightning thief, everything clicks into place for the reader. It all makes sense why everything seems so wrong... because things are wrong. Meanwhile in the show, that doesn't carry through as much, so the reveal of the conflict between the gods and why that's a big deal falls flat in comparison imo.

They dropped/stalled the foreshadowing of the fates and the cutting of the string. They could very well include this in future episodes, and probably will, but I think the timing of it - Percy seeing this before he even knew he was a demigod - again carries some hefty significance and helped set the foreboding tone of things being wrong even from the beginning.

They did drop Zeus's attack on Percy in the minotaur battle completely, which does disappoint me. In the book, its lightning that blasts the car off the road. In the show, Sally seemingly loses control of the car. That change is pretty significant, because it's again losing the power of RR's foreshadowing in the book. The attack on Percy outside the camp borders was a duel attack from Zeus and Hades.

Finally, I don't like the changes they made to Percy's claiming scene, namely, the reaction from the rest of CHB. Percy being a son of Poseidon is a huge deal. When Percy's claimed, the attitude is very much begrudging reverence paired with genuine fear of what it means and what he represents. In the book, Percy is claimed. People gasp. Everyone kneels. Annabeth says, "This is really not good." In the show, Percy is claimed. People... stand there? Annabeth smiles - she's going to get her quest. The only person who has the most outright negative reaction is Luke. I won't go so far to say this is out of character for Annabeth, but it is focusing on an entirely different aspect of her character in the moment, and what the audience gets from Percy's claiming scene here, the tone, is now different from the book. Basically, the reverence and fear don't really carry across to the show, which I think is important.

The phrase "forbidden child" slaps tho.

2. Gabe's Characterization, Sally's Characterization, & Why the Changes do Make a Difference

I'm going to say this with great care: The show has absolutely depicted an abusive relationship between Sally and Gabe. The show has shown Sally to be a strong woman who would do anything for her child. The show has shown Gabe to be a controlling, toxic man.

What they have depicted in the show does not read like the characters and dynamic in the books.

Book Gabe is a violent, menacing drunk. He is so disgusting and vile that monsters avoid him. This is overwhelmingly apparent from the second Percy gets home in the book, even before he is aware of the physical abuse Sally has been facing. Percy has already been dealing with physical abuse from him, amongst other things (edit to be more specific: this is including verbal, emotional, & financial abuse). I've already spoke to it here, in-depth, so I'll try to keep it short but all of this has not been translated accurately to the screen. (Is this to say that a person must be overtly abusive to be abusive? No. But does this character on-screen feel like Smelly Gabe? No.) These things have shaped Percy (and Sally) in very specific ways. As others have mentioned: Percy cannot stand alcohol. He meets Dionysus and is reminded of his step-father. He gets to Tartarus and the air reminds him of Gabe.... The character on screen, while abusive, does not share this presence at all, and that makes a difference.

Edit: To emphasize once more, I am not saying that the show has not depicted a realistic portrayal of abuse. It has (verbal, emotional, & financial so far). It has also distinctly changed the tone and Gabe's presence from the book, to the extent that it no longer feels like the same character and that does have a rippling effect on the dynamics he shares with both Sally and Percy.

3. The Lack of Annabeth

Annabeth in the show is just like... really not as present as she is in the book so far, and I'm just kinda like, why lol?

Annabeth in the books is already way more involved in Percy's life. She was in the infirmary feeding Percy ambrosia after the attack (ulterior quest motives lol), she's the one who lead Percy around camp and re-explained godly parentage to him - and its a moment where she's very sincere with him, and even trying to help him! Instead these moments are given to Chiron and Luke, which I do get the merit of, but still, these were her moments!

Annabeth in the books had already surmised that the gods were fighting, something was stolen, and the something bad was going to happen, all before Percy had even been claimed. And she shared that with him! Again, the loss of foreshadowing and little bonding moments has me :(

I'm a little worried how they're going to deal with her crush on Luke because its pretty central to her character in the books! It helps Luke to manipulate her and also keeps her from admitting he's done something wrong. Also, it was very sweet and funny reading her get flustered - It drove home the point that she was just a kid with a crush that she didn't know how to handle. But in the show Luke spoke to her and I was expecting there to be some sort of reaction to it and there just... wasn't? (This is not something I'm laying at Leah's feet btw! Only the writers/directors!) We're only two episodes in tho so maybe we'll see it some more moving forward.

4. The Minotaur Battle

Again, I've already spoken about this in depth here but !!

The lack of Zeus's lightning strike, them all coming to a standstill and just chatting instead of running for their lives, Grover being awake and just sort of off to the side watching the fight, Sally being like "Promise Me Grover Swear it"... it all just doesn't ring right to me

I wanted more panic, more terror, more urgency. Higher stakes. I wanted Grover unconscious, I wanted to see Percy drag him into camp, and I wanted to see more of Percy's grief alongside his rage. Like the book did.

The pacing in the show here, and just overall, is weird

5. Other Stuff

Mrs. Dodds fight kind of fell flat too. It was honestly too sudden and Percy killing her in the show seemed even more accidental than in the book lol. Like, accidental impalement vs intentional swing of the sword.

They really had show Grover throw Percy to the wolves and not just gaslight him, but low-key have a part in getting him expelled? Not sure how I feel about it tbh.

More New York. I wish we had gotten the part of Percy taking the bus home with Grover included cause like? Him ditching Grover was funny, but it would have been the perfect opportunity to show Percy traveling through New York and establish it has his home. Shots of him looking at the city, walking the streets, interacting with people near his building.. yeah.

More Montauk too tbh. Like more shots of him and Sally on the beach rather than just the cabin.

Nectar and Ambrosia! Unless I missed it, which I might have, why have we still not gotten an onscreen depiction of it yet lmao.

[daydreamerdrew]

it's been very compelling to me how Tony Stark has already been characterized in so many different ways just up to the point in his comics that I'm at, early 1972.

Tony’s always vacillating between like ugh finally I get to be Iron Man and get a break from being Tony Stark… ugh being Iron Man is taking over my life and preventing me from being Tony Stark… ugh Tony Stark is a terrible person and I need to go be Iron Man to make up for being Tony Stark… ugh I’m sick of being Iron Man but my heart condition means I can never live a normal life because I can't pursue certain things knowing I could die at anytime so I’ve got to make the most of the time I have by being Iron Man even if by doing so I’m putting my health at risk and making it more likely I’ll die… wait ugh being Iron Man sucks I’m going to abandon that and commit to being Tony Stark and yay this is awesome but oh no tragedy has struck proving to me that I have to always be Iron Man! and etcetera

that he's a playboy has been portrayed as something that he is unabashedly and naturally and is frustrated that being Iron Man takes him away from it. it's also been portrayed that he feels disgusted with how he's wasted his life being a playboy and frames it that being Iron Man is what makes up for that. that he's a playboy has also been portrayed as something that he does just as an act to protect his secret identity as Iron Man by making Tony Stark seem like a less serious person. and that he's a playboy been portrayed as an act that he puts on to push women away that he would want to have a serious romantic relationship with but feels that he can't for various reasons.

sometimes he feels trapped behind the mask of Iron Man and calls it a prison for how the role dominates his time and takes him away from being a regular person as Tony Stark. but he also often thinks that he doesn't have the option to live a regular life because of his heart condition meaning that he could die at any time, making it so that he can't really enjoy his life and making it so that he feels it wouldn't be right for him to form a serious romantic relationship with someone because how likely it is that he would die on them. and he's also before questioned whether or not he could do more good as Tony Stark and so if being Iron Man is really selfishly only just for the thrill of it. he's also framed his Tony Stark identity as also another prison that he's stuck behind and that prevents him being a regular person in the sense of emotionally connecting to others, he instead has to be this cold businessman. but Tony Stark has also been portrayed having a reputation for being a really compassionate businessman. but also sometimes he wishes that he actually was that unfeeling machine because it would be easier than dealing with his emotions. and he's also wondered if the beliefs that he it wouldn't be right for him to form a serious romantic relationship because it could pull him away from the responsibility of being Iron Man or because of his heart condition are really only excuses to avoid uncomfortable emotional vulnerability.

it seems to that he has constructed these different identities for himself but cannot determine what is natural to him and what is acting and so is always shifting based on how well it's working for him between that a facet of these roles is who he actually is or that it's not who he is but who he thinks he has to be for various reasons, but can never settle on that something is an act because he has such a limited understanding of himself, but also enough of an understanding to articulate that the way he's acting is unnatural to himself, but what I haven't yet figured out is when I would think that construction process would have taken place.

in Tony's first appearance he was presented as pre-Iron Man being an uncomplicated playboy millionare inventor that had a perfect enviable life. after he became Iron Man he was presented as essentially still being that except with the secret that he's actually a deeply tragic character because of his heart condition. him being a playboy was maintained and then later was characterized as an act, but it's tricky because that's not a characterization change that just moved in one direction but legitimately shifts back and forth.

the idea has been presented that being Iron Man has prevented Tony from being a playboy because it takes up so much of his time. but the idea has also been presented that Tony thinks negatively of him having been a playboy in the past and so at some point in time genuinely changed to not actually be a playboy at heart. what hasn't been presented is that that change of opinion occurred during the events of his origin story as Iron Man and I don't find that at this point in time to be a viable reading because of how him being a playboy was played straight in his origin story's aftermath.

when Tony talked about Tony Stark being a mask he was stuck behind, that he couldn't show compassion because that wouldn't be Tony Stark, he says nothing that gave any clues as to when and why people would have formed the idea that Tony Stark wasn't compassionate in the first place or even why he can't disprove that.

so it's not suggested if he had once been that way and then changed because of the experience that made him become Iron Man but then felt he couldn't let people know that he'd changed because it would give away that he's Iron Man. or if he had never really been that way but adopted the guise after becoming Iron Man and made people think that he was, perhaps just leaning into it and sticking with it when the assumption was made once when he ran away and seemed to abandon people in need so that he could put on the Iron Man armor and come back and save them, so that they wouldn't connect him with the heroic figure of Iron Man. or if it had been a guise that he had adopted before he became Iron Man because of something to do with his upbringing and the world that he was a part of.

which is not even getting into the fact that Tony Stark had actually been portrayed as compassionate before that specific story without it being a problem. and Tony Stark not being allowed to be compassionate wasn't connected to that Iron Man is but was intertwined with how he was stuck behind cold masks in both identities and there was no way for him to ever be tender. he's deeply unhappy about it but doesn't see it as something he could do anything to change, he was just trapped.

but he doesn't come across as trapped all of the time! he's not conflicted about things in every single story. he's also got standard straightforward superhero stories, it's just that over time that's been interspersed with stories of him being very conflicted about it all.

and that's also not even getting into that there are stories where Tony's problem is that he's not differentiating between Iron Man and Tony Stark enough. like when his heart problems got so bad that he needed to full Iron Man armor to stay alive and so was trapped inside it and he just told everyone that Tony Stark went on a trip and left Iron Man in charge and then tried to resume his life as normal, not realizing how that would come across to other people and not realizing that he couldn't just maintain his relationships with Pepper and Happy exactly as they were before without them getting upset, which ultimately ended up with them suspecting that Iron Man was trying to steal Tony Stark's life and getting him made a suspect in Tony Stark's mysterious dissapearance.

[butchhamlet]

do you have any good shakespeare retelling book recs?

what a beautiful time to ask this, says guy who has left this ask collecting cobwebs in his inbox for months! because guess who has two thumbs and just finished queen goneril by erin shields! WHAT a fucking play, holy SHIT, this is some of the best characterization of the lear sisters that i've ever read and the exploration of womanhood as filtered through class + race + shitty families + political maneuvering is so so so good. also the things shields does with the og playtext... chef's fucking KISS

anyway, recency bias aside, i've been meaning to make a post about my favorite shakespeare retellings for a while, and i think i never actually did it because i wanted to make a lear retelling ranking list and then i never read some of the ones on my TBR. so whatever. the learlist will happen someday. here are my favorites in general. (here is my goodreads shelf for the retellings i've read, good and bad, and here is the shelf for the ones i have yet to read.)

in no particular order:

a thousand acres by jane smiley: outsold. epitome of what makes an effective retelling--a book that clearly has something to say about and to the original text, but that also isn't afraid to diverge, to exclude here and zoom in there. ungraciously, this is "lear on a farm" and it starts a little slow, but holy fucking shit, i can't do justice in a paragraph to the way this book unraveled me. one of the best books of all time mayhaps. also, introduced the edmund character by describing his ass. 10/10

the last true poets of the sea by julia drake: i don't read that much YA anymore but jesus fucking christ. books tailored for me specifically. twelfth night retelling about siblings + mental illness + being bisexual + love triangles that actually make sense (emotions are confusing!) instead of being contrived + beautiful description + excellent dialogue + THE MENTAL ILLNESS. books that made me start crying in zoom class in 2020

rosencrantz and guildenstern are dead by tom stoppard: kind of a cop-out answer because we all know this one. but that does not detract from how good it is. this is one of those plays, at least for me, that makes me think, "ohhhhhh, THIS is what theater can do. this is using its medium to the absolute utmost." it is so clever and it makes me want to cry. i think about "i don't know. it's the same sky" more often than i can say

american moor by keith hamilton cobb: not exactly a retelling, but a one-man play about a Black man auditioning for the lead role in Othello, tangling as he does with his relationship with shakespeare's work and cultural dominance. suuuuuch a good fucking play even beyond the analysis of othello (which is excellent); the language is so fucking incredible. everyone who likes shakespeare should read this.

teenage dick by mike lew: modern teenage richard iii; this one's more reimagining than retelling, because it diverges pretty sharply from the plot of richard iii, but god, it's so fucking fun. and upsetting! really upsetting also.

foul is fair by hannah capin: i will be so real. i read this in high school and some of the YA books i've revisited since did not hold up for me. so idk if i can tell you this is "good" with my full chest. but the pitch is "lady macbeth gets sexually assaulted at a party and decides to fucking kill the boys who did it" and i stayed up until like 1am to finish it because it was such a vicious gleaming wild ride

the stars undying by emery robin: does this count? hard to say, because it's just as much a retelling of roman history than shakespeare's antony and cleopatra (honestly, more, since it focuses on the era where caesar and cleopatra were lovers, which is before shakespeare's play). but i'm counting it anyway because it's bisexual space opera cleopatra and it's the best book i've read so far in 2024 and it's making me crazy and i'm writing a thesis on it < genuinely

peerless by jihae park: macbeth, but college applications, featuring asian macbeths (they're twin sisters >:3) who think their classmate has taken their place in their dream school because of affirmative action/DEI. this play is absolutely VICIOUS. it's macbeth x heathers. think it mirrors macbeth in faltering a little in its final stretch, but it still fucks hard

the wednesday wars by gary d. schmidt: okay, not a retelling; this is about a preteen boy in the 60s. but it's one of the best most genuine and heartwarming books i've ever read and it manages to be hilarious while also foregoing cheap slapstick punching-low humor for a hell of a lot of warmth and passion. and the main character interacts with shakespeare a lot as a running theme so i can justify putting it on this list. #evangelizing

of course, i would be remiss not to mention that @suits-of-woe / @mjulianwrites has written the best take on Two Gentlemen of Verona to ever exist, and i mean that quite seriously. unfortunately it hasn't been published yet so we'll all just have to prayer-circle about it. i would also be remiss not to take the opportunity to. uh. coughs. do a bit of casual self-promo. if you 1. have ocd 2. have gender or 3. think about malvolio a lot. boy do i have the novella for you

will definitely add to this when i read more retellings; feel free to drop recs in the tags/replies/reblogs/my askbox!