#stories and archetypes and escapism

[commsroom]

i think one of the boldest and best moves wolf 359 makes in its character development is that, in terms of the major defining events that led him to where he is, eiffel doesn't have a tragic backstory so much as he is responsible for the tragic backstory of someone else.

(the archetype of the everyman protagonist who copes with past trauma via humor does in many ways describe eiffel, but like with every character in wolf, it's the complexity of their circumstances that make them feel like real people with believable inner worlds. they don't subvert the archetypes they represent, exactly; they're just people, complex and contradictory, who ultimately can't be constrained by the expectations or defined lines of the narratives imposed on them.)

eiffel believes this is an intrinsic part of who he is, that he was "just those mistakes"; he externalizes his desire for redemption and that manifests as lenience towards people who lack his fundamental desire for growth. and in failing to recognize his own ability for growth, he presents himself as a doomed character archetype more than a person; he sidelines himself as an observer within his own story. his guilt and self-hatred allow him to in some way abdicate responsibility, to see his failings as inevitable, and it's only accepting his own complexity and capacity to be more, the human quality he recognizes so fervently in others, that frees him from those self-imposed conceptions.

(once my friend kit said that eiffel “defines the tone and the moral compass of wolf 359 so strongly that if you put him into any other series he would turn it into wolf 359 too” and i think about that a lot.)

doug eiffel is wolf 359, in all it believes, and despite his perception of himself as the weakest link, he is so interwoven with both the crew of the hephaestus and the themes of the show that he is inseparable from either. he doesn't always embody the show's values or its morals - in fact, he frequently fails to live up to them as much as he'd like - but he is the one who advocates for them. "it's not just about surviving; it's about being able to live with ourselves after we get off this tin can."

it's a show about communication; he is an intermediary, a vessel for communication - sometimes literally, and he's also just a guy who is still trying to learn how to communicate better himself. what eiffel represents is a flawed, contradictory, unpredictable, irrepressible humanity, singular, and so desperately in need of connection. the show's love of humanity is truer for that. he has genuinely done wrong, in ways he may not ever be forgiven for. he has very real flaws, some of which persist through the entire show, even as he's consciously trying to do better. and he is very much human, and very much loved.

[comicaurora]

Hey Red, sorry if this was asked already, but do you have any advice on writing a trickster hero? And do you have any favorites yourself?

Huh! This is something I've never really thought too hard about before, but I do have some loose and unformed thoughts!

So the trickster archetype is, broadly, a character who wins by being cunning and tricking the people around them. Typically this is because they are an underdog facing a powerful opponent, and if they face that opponent on the terms that opponent defines, they'll lose. For instance, a physically strong opponent might want to make everything into a contest of raw force; a politically powerful opponent might want to make things a legal battle; a commander of a large army might want to battle on a flat terrain-less battlefield and overpower the smaller enemy force through raw numbers; etc etc.

A trickster doesn't have the raw power to make a scenario happen. Instead, they achieve that scenario by making other characters make it happen, usually by misleading them into thinking it'll have some other outcome they want.

A classic example of this is found in a Brer Rabbit story where Brer Rabbit has been snatched by Brer Fox, and Brer Rabbit begs and pleads with him to not throw him into that briar patch, oh the torment he would experience in that briar patch would be unimaginable, drowning or burning would be bad but still better than that briar patch. Brer Fox naturally throws him into the briar patch, at which point Brer Rabbit vanishes into the underbrush and helpfully clarifies that he was born and bred in a briar patch. He was unable to escape through his own power, so instead he convinced Brer Fox that yeeting him into the briar patch would give Brer Fox something he wanted (Brer Rabbit's unimaginable torment) when in actuality it gave Brer Rabbit exactly the cover he needed to escape. It only worked because Brer Rabbit understood that Brer Fox was fundamentally not just hungry, he was cruel.

Tricksters usually achieve victory through lying, stealing, sneaking around and generally being dishonest. These are usually not seen as heroic traits, but the trickster hero is an archetype of character who is broadly heroic - and uses trickster tactics to win. It's an interesting suite of character traits to balance. In order to make a trickster heroic, them being the underdog usually needs to be played up. It's not really easy to root for someone with power to manipulate people for their own ends, but it's easy to root for someone scrappy and underleveled to manage to gumption their way to a victory over a broadly superior opponent.

A sympathetic trickster usually isn't someone who picks fights. Trouble comes to them, and then they need to find a way to escape or stop it. This is the paradigm that makes Bugs Bunny work as a trickster hero - he starts off basically every adventure minding his own business, and when someone comes around with a blunderbuss and a hankering for rabbit stew, their actions are what prompts him to unleash absolute hell on them by using toon physics and trapping them in ironclad social conventions to completely unbalance them until they're eventually defeated.

If we see a big, loud, powerful jerk try to stomp on someone small and innocuous, we're inclined to root for the small and innocuous person. This setup makes us very eager to see the small and innocuous person use tricks and shenanigans to make a fool of the powerful jerk, and it automatically makes us more okay with the sympathetic character doing on-paper unheroic things like lies and manipulation as long as they're doing them to someone we're primed to dislike.

So trickster heroes are usually fundamentally reactive characters. Something bad happens and they respond by unleashing hell. Another easy way to make a character instantly more heroic is to give them an even weaker, even more sympathetic character to protect or assist. Thus, many trickster heroes have a suite of supporting characters they're protecting who are not tricksters by nature, and are instead just there to be endangered or bullied by Nasty Mean Powerful People. Our trickster heroes stepping in to aid and protect other people thus gives their actions an even more heroic cast, because not only are they reactive to an outside threat, they're selflessly reactive.

This is the framing that's used in Leverage, where every episode has a victim of the week being cruelly taken advantage of by a jerkass of the week, at which point our team of liars, grifters and thieves roll up to ply their trade on the jerkass and award the spoils of war to the victim of the week. Because the person they're tricking is proven unequivocally to be truly awful and completely insulated from legal consequence a solid 98% of the time, we don't feel particularly bad seeing our team of heroes manipulate, gaslight and eventually absolutely destroy them over the course of a crisp 40 minutes. The vileness of the villain combos with the innocent powerlessness of the person they're advocating for, and thus their assorted unheroic qualities become reframed as absolutely heroic due to the circumstances under which they use them.

Crucial to the formula is the horrendous nastiness of the villain of the week, because if we were even kind of sympathetic to them, the schemes of the protagonists would be kinda scary. They are very good at quickly getting the bad guy to trust them and then taking apart everything they've built, and that's only fun to watch if the audience is 100% sure the villain deserves it and is not going to spend too much time thinking "wow, it would be terrifying if that happened to me." The fact that our heroes almost always take them down simply by leveraging (heh) the bad guy's badness is a big part of what makes the formula work. Almost every episode is functionally similar to a Briar Patch scenario - "oh gosh I sure hope no SOULLESS CAPITALIST VAMPIRES take advantage of how MANIPULABLE I am to try and get my MONEY and/or VALUABLES", and then the villain's own established cruelty cascades into their downfall when it runs into the dominos our heroes have set up to expose them. And that does a lot to make the audience sympathize with a crew of four self-admitted terrible people (and Hardison, who's an angel and we're delighted to have him)

Another way to get the audience to root for a potentially nonstandard protagonist is to set them up against a villain who is smug. Smugness is a very dangerous trait for any character to have, because it primes the audience to want to see them break. A villain who thinks they are too powerful or too strong or too smart to be defeated has the audience immediately rooting for them to be proven wrong just so they can watch the expression on their face. This is the strat they use in Columbo.

Every Columbo villain is rich and powerful and very insulated from legal consequences, and we start every episode seeing them arrange and execute an attempt at a perfect murder. We know from the start how they did it and usually why, and because they are smug - they are almost never regretful or reluctant - we become invested in seeing how Columbo figures out what they did, how they did it, and how he can prove it and get them arrested. Columbo is a nonstandard kind of trickster hero, because he is deeply and fundamentally a Lawful Good archetype, but he is also a very casual liar. The only time the audience sees Columbo almost certainly telling the truth is when he's dealing with background characters, his fellow policemen or his dog, or when he's by himself silently putting the pieces together; at all other points in the episode he will typically conceal how much he knows, how he knows what he knows and why he's asking specific probing questions. The audience has a tremendous amount of dramatic irony in terms of information about the perfect murder Columbo has to disassemble; we'll see Columbo zero in on exactly the one small detail that pokes a hole in the supposed airtight alibi, but instead of saying "I think you killed them and I am determined to prove it" he'll dance around why he's focusing on those details - just curiosity, just a desire for completeness, his superiors told him to continue the case and he doesn't know why, his wife is just such a big fan of their work, etc etc.

As a rule, the first time in any given episode that Columbo admits he's suspicious of the villain is the beginning of the last scene of the episode when he proves that they did it and they subsequently surrender. When Columbo is dealing with the villain, absolutely nothing he says can be trusted until that final scene - and it's a rare treat to get a glimpse of Columbo showing an honest emotion, especially something like genuine fury. Most of the time he maintains a very harmless and affable attitude, but sometimes when the villains are very smug and they know he's suspicious of them but can't prove anything yet, his righteous anger peeks through and we see why he does this.

He's a trickster hero because he can't unravel the case, the villain's motivation and the shape of the crime if the villain knows everything he knows and can correspondingly keep up with him. But he is 100% committed to exposing the truth of the situation and making the murderer face justice. Their perfect alibi is supposed to protect them from everything, but it's their confidence and certainty that they could never be caught that Columbo leverages to win. They never know entirely what to make of him, and he's never wholly honest with them - and with the audience - until the very end of the episode. It's good, cathartic payoff to an episode's worth of lies and manipulation from both main players, and it's always fun to see the non-smug party on the side of justice come out on top.

Some trickster heroes are more like standard heroes with trickster tendencies that occasionally surface. These guys are usually pretty straightforward, but in a pinch they can bust out a surprisingly cunning scheme or two - one such moment hits at the climax of Across the Spider-Verse, and it's a great moment of characterization for Miles, who has thus far been a pretty typically heroic guy who has unfortunately spent the entire movie thus far being lied to by people he trusted. It kicks off an enormously long and complicated chase sequence that takes the entire spider-community out of the home base chasing him through an absolutely massive complex and eventually onto a space elevator. It's such a fluid scene, you kind of just accept that it's a desperate chase sequence - Miles is just running. It doesn't occur to the other spider-people that Miles might have a plan beyond running until he basically tells Miguel that, hey, he did just get every other spider-person out of the facility that has the portal to get him home. He wasn't just running away, he was luring everybody away so he can leave.

And this moment is fantastic on a meta-level, because Spider-Man is traditionally a bit of a trickster hero. Most of his enemies are able to physically outpace him, and he needs to use mobility and strategy to take them down, often luring them into environments that work against them - like a fun moment in Spectacular Spider-Man where Spidey defeats the Rhino by luring him into a steam tunnel and basically giving him heatstroke through his armor plating. But because the entire core theme of this movie is "Miles isn't a real Spider-Man," it literally doesn't seem to occur to the other spider-people that Miles's seemingly panicked running might be him pulling a Spider-Man on them. We're so used to being in Miles's head and knowing when he's got a plan or a ploy that this is a very fun moment to watch. He's successfully deceived an entire army of spider-people, and the audience is just as blindsided as Miguel - and a little less electrocuted, so it's a lot more fun for us.

So yea, trickster heroes are a fun little space of character, but you gotta be careful to put them in the right kind of situation, lest their fundamental dishonesty come across as alarming rather than extremely rad.

[pandoratheprocrasticreator]

Oh god now that toh ends with luz being able to travel between worlds ppl are using that to dunk on amphibia. And now that belos died ppl are using that to dunk on su.

They are different shows people! They have different themes! Amphibia is a classic take on isekai as escapism! Marcy went to amphibia to avoid her real life and while she had fun she didnt mature until after she accepted she needed to embrace change in her life! Anne matured in amphibia bc she always recognized that she has her own life to get back to! Sasha matured after realizing that too! Leaving amphibia for good means to embrace the step out of childhood! Something thats inevitable for everyone!

The owl house is about finding a community in midst of ostracization! Luz stayed in the boiling isles because she found people who accepted her quirks! The boiling isles was in danger from a bigot and luz helps her new community defeat him! Its a very queer story! Community is the center of the story so it makes sense for luz to be able to go back to the boiling isles since shes maintaining her place in the community!

Steven universe is about choosing to be kind! Its that everyone has their own specific traumas that they can overcome with the right support! Its about surviving in a world of bigots at any cost, even if it you have to work with the bigots to carve out a space for the people you love! Because people like you exist and theres nothing anyone in power can do about it! Its also a very queer story! The diamonds can never stamp out the off colors because they will always be there! Steven works with the diamonds not because he likes them but because they can improve the world for his family if only he could get through to them! Hes rewarded for choosing to be kind with success because the theme of the show is hope! Hope that anyone can change! But even though the diamonds stop being fascist steven still doesnt like them because its not about forgiveness! Its about fixing things! Stevens just polite about it!

The owl house starts off with the assumption that everyone can change but its not about the potential its about the willingness to change! The focus is on belos, whos had every chance to turn his life around but will never admit that hes wrong! And the show posits that if someone isnt willing to change theyre not worth helping! Its not about whether or not the character is fascist its about if theyre willing to stop being fascist! Several characters stop being fascist and are welcomed by the characters with open arms belos just wasnt one of them! Several characters clean up their acts but dont adequately address the previous harm they did and are STILL fully forgiven eventually! For toh forgiveness is paired with fixing things you just need to give it time!

And theres an argument that some of these shows didnt do their themes well. If you wanted to portray amphibia as an escapism world that the girls need to leave behind to get to their richer futures then having them get such caring found families go against that by giving them a potential of a good life in the isekai world. Steven universe uses the diamonds as metaphors for mental illness and relationships but its hard to stick with that when you also need to consider the countless other gems they hurt. I think its also fair if people prefer one theme over another.

But a lot of stuff i see comparing these shows just go over surface similarities? Like oh shit! These two shows have the same character archetypes! They have the same inciting incident! This must mean that theyre exactly the same in everything but names and artstyle and are trying to say the exact same things! Like. No. Sometimes,,,,,two stories,,,,,,can talk about two different things,,,,,,,

[pagannatural]

2.07 The Usual Suspects

-Sam being interrogated about Dean is so so good because we get to see Sam being told that his brother is a scumbag criminal and the way he reacts by rolling his eyes like he’s heard this before. It’s almost like seeing a teenage version of Sam. The detective keeps telling him to throw Dean under the bus and the whole time he’s just giving attitude and plotting how to help Dean and work the case. He keeps looking out the window. Some of his reactions are raw and some are fake and some are both and his mind is running through his options assessing what to do and how to get out of this.

When confronted with the cliff notes on his and Dean’s life, Sam runs the gamut of emotion from sad and grief-stricken about Jessica to defending Dean and acting all scandalized to being a smartass, to whatever the hell this is when she says “it’s not your fault he’s your brother, we can’t pick our family”

The double meaning here. The not meeting her eyes, the tension on his face, the disdain. It’s giving Bitch don’t I fucking know it, yet I would choose him a thousand times and every time I would be a little bit miserable. “It’s not your fault he’s your brother, we can’t pick our [soul mates]” is probably what God tells him in his most comforting dreams.

-So the detective’s theory is what? That after a shared sordid serial killer childhood Sam escaped the life and then Dean murdered Sam’s girlfriend in a house fire to lure him back in and make him his crime wife?

Because I mean yeah I would read that AU. That fits their vibe pretty nicely.

-She says “Dean’s a bad guy….his life is over, yours doesn’t have to be” and Sam looks at her like that’s the dumbest thing he has ever heard.

She doesn’t know that they become sickly and depressed when they’re apart like a pair of bonded sewer kittens.

When she tells him he can get on with his life and Dean’s as good as gone you can almost see him tuning her out and calculating how to lie about this.

-Sam starts on his cover story, using his trademark Sweet-Innocent face. He relies on his charms and on appearing helpless to manipulate people into doing what he wants. He would’ve learned to do this when he was a child as a survival skill, and I can just imagine how well this complemented Dean’s tough but earnest seduction thing. Acting sweet and helpless when you’re actually savvy and resourceful is a trope commonly used in female characters. These traits (innocence, sweetness, feigned helplessness) are associated with women gaining/utilizing agency in the ways available to them.

Because narratively, Sam is the girl. It’s stuff like this, plus the way he’s depicted as Dean’s tempting damsel in distress in other episodes. It increases the sexual tension between Sam and Dean when they rely on these archetypes because we know what it means when two leads are masculine and feminine, when they need each other and the plot hinges on their conflict. It means they’re the love interests.

-Dean makes a joke about Sam being Scully, and Sam’s like I’m not Scully you’re Scully, and Dean says “No I’m Mulder. You’re a red headed woman.” Really spelling it out.

Dean is smirking and making prolonged eye contact and just— he’s flirting. There’s a Bruce Springsteen song titled “Red Headed Woman” about how “it takes a red headed woman to get a dirty job done.” I have no idea if this is what Dean’s referencing or if it’s just a Scully reference but it’s a very specific thing to say and Sam is brunette. The song is very suggestive.

-Dean HATES waiting around while Sam works. Within seconds he becomes insufferable and has to leave to go do something, flirting with Sam again on his way out.

-“Sam’s story matches Dean’s to the last detail” they didn’t even SEE each other before talking to police! They’re just so connected that they tell the same exact story. Then they both work on the case in their separate interrogation rooms using different methods and arrive at the same conclusion at the same time. They also make the same joke about their public defender.

-I keep seeing this post about who knew Dean better, Sam or Castiel, and I just want to point out that these two are so in sync they can essentially read each others minds.

-We have an outsider perspective on their lives and relationship a few times this episode, and the detectives comment more than once on how weirdly connected the brothers are. Like, Dean communicates to Sam via movie reference to escape and Sam is already all over that, he’s been assessing how to climb out the window since his first scene.

-Dean tells the detective to go to Sam so that Sam can save her life, giving her their info on “how we find each other when we’re separated.” That’s very practical. It’s also true that when they aren’t together they are obsessed with finding each other and making sure they know exactly where the other is at all times. They must have felt so untethered when Sam was at Stanford. I’m imagining Sam going on a little trip over spring break and feeling like he’s forgetting something really important and starting to panic only to realize it’s just that Dean won’t know where he is.

[thewriteblrlibrary]

A Step-by-Step Marketing Guide so we can spite traditional publishers (and make people cry).

~ This is a guide specific for fiction/writeblr. All of this is for free and there is little social media posting/ads involved (unless you want to venture into that). ~

Within the writeblr spheres, there's this underlying hope that our stories will find their audience. Perhaps we'll have a fandom full of fanart and video essays, or maybe we'll be an instant classic and sit on collectors' beloved bookshelves. Our stories could sit within the deepest corners of someone's heart and maybe they never tell a soul about what's so special to them. Maybe our stories become those 'underrated masterpieces'.

Or we just want to see people ugly cry over our writing.

Whatever your hope may be, marketing is an important path to venture on (especially because traditional publishers are rejecting diverse books in favor of ones that are already famous + the whole sub-par machine thing they seem obsessed with.)

And thus, my childhood marketing obsession will hopefully be of use to you. This is all for free (unless you want to spend money) and you don't need to figure out social media platforms (unless you want to, and this guide works if you decide to take that route too.)

Step One: Characters

Marketing spheres will define these fictious people as 'avatars' or 'the target audience'. You could also call them characters. Because that's what they are: fictional people.

For this step, you shall create characters that would love your story.

And here's some great news: You've already done this.

Perhaps you wrote your story to comfort a prior version of yourself. Perhaps each character in your story holds an aspect of your personality. Perhaps you were ridiculously self-indulgent and made the story you would've loved to read. These are all possible characters you can reuse for marketing.

Write down 2-4 quick archetypes for these characters. You'll chose an aspect of your story (characters, themes, or the younger-self that you wrote it for) and write a thumbnail sketch. (Main issue, fears, wants, personality traits if they relate to the main issue.)

I'll do it for my story (the Land of the Fallen Fairies) down below:

Anuli-like (my MC): Overthinking and aloof. Wants a happy ending but thinks their current personality/character isn't good enough for one. The present stales in comparison to the past/the childhood they lost. The 'gifted theater kids'. Kamari-like (side character): Postpones happiness in favor of creating a perfect schedule/getting accomplishments. Heavy masking. Creative but doesn't create anymore. Promises themself they'll enjoy themselves later, when they've earned it. Workaholics. My younger self: Wanting a fantasy escapism to embody the traits they wish they had in real life. Dissatisfied and worried about reality. Perfectionists. Self-indulgent: People who love plants and forests and fantasy worlds far away from reality/humanity.

Great! Now it's time to find these characters.

Step Two: Setting.

(Let's assume you're using the internet for your marketing. But a similar method works for real life too.)

Where do the characters live?

In order to figure that out, we need to discover the characters' interests, what they watch to solve their problems, and who they find #relatable.

(You can do this for each character or for all the characters at once.)

For example:

Anuli-like -

interests: Stories. Analysis videos. Fantasy escapism. Things that remind them of their childhood. (so nature, warmth, comfort, play, imagination and the times they would actually enjoy learning.)

Places to look: Nature quotes, ambience videos, children's shows and fairytales (comfort shows). Fandom culture - fanfic video essays, fan art.

Solving problems (the problem being wanting a 'happy ending' but feeling that their personality/lifestyle/characteristics aren't right for one): Mindfulness things. Self-healing. Quotes and meditations and candles galore. Slow living. Nature vlogs. Self care. All that 'live in the moment' culture.

Places to look: Slow living. Nature vlogs. The 'softer self-help' (spirituality stuff. Magic/ overnight answers). Witchcraft. 'aesthetic nature' places. Guided meditations.

#relatable: Burnt out gifted kids. People who think so much that their life passes them by. Storytellers and creative who create to make sense of the world. People who like dark, gory things in spite of who they want to be. People who don't like reality.

Places to look: Those 'learn better and remember everything' places. (The 'burnt-out gifted kid' recovery places.) Stop overthinking spots. Those quotes on Pinterest from poetic people who think too much /aff. Storyteller places. Dark academia. Classical music. One off quotes/ poetry.

Okie dokie. Once you have this, find channels, social media accounts, blogs, songs, books, etc. that fit with the categories you wrote down. (They should appeal to the characters) You can search up some of the terms you listed into searches and see who pops up. Bonus points if you find people that overlap with multiple sections.

I know I didn't include booktube or booktok in here. You can if you want too. But those can be a bit... 'consume these 500 books'. You also want to find other places where people who would like you story live, even if they don't follow booktube or booktok.

Congrats! Now you know where your characters live!

Step Three: the scary part

Take everyone you found on your search for the settings and write them down a list. Make sure you get an email/contact info. (they usually list them somewhere under 'for business inquires') Also feel free to watch their content and get to know what attributes these settings have.

And now... we talk to them. about our stories. You can do it. I believe in you.

This called 'pitching your product' in marketing spheres. But you can be informal about it.

I know it can be difficult to talk about your work, so here's a tone to have:

'I made this thing I like and I think you'll like it too'.

What you'll do is send an email (or dm) that goes like this (inspired by Creative Hive on youtube):

Hi [name],

[Genuine compliment]

[Quick sentence or two about your story. Include the themes and who it appeals to. If you have a logline/sentence summary, include that. But I find that the underlying themes and 'who's it's for' is more engaging.

For my story, I might say something like.

I've written a story you might enjoy, since you like [interest]. It's called the Land of the Fallen Fairies. It's a nature-themed commentary on the pursuit of happiness and fixing yourself to deserve that happiness, told by an overthinking, unreliable, houseplant narrator. It was supposed to comfort me when I got frustrated with myself and my happiness chasing, and I hope it can comfort others too.

(That's probably a bit long and I can trim it down a bit.)

You can phrase it like a gift if you want too.]

[Call to action.

'If you like it, I'd appreciate a mention on your [platform].

I know this part may be difficult to mention (imposter syndrome is not fun.) But I promise that if they do like it, they'll be happy to mention it.]

If they don't respond within... four-ish days? (A week at most). then you can include a follow up. For this you can include a template with info about your story. This way it's easy for them to talk about your story.

The template:

title

genre

blurb

Author

where to find the book

Bonus points if you have an additional, physical thing to send them.

Congrats! Now do this pitching process a few times until you've covered most of your bases. (Pitch to as many people as you can. It will get more comfortable as you do it. Play your favorite song and don't let yourself think too hard about it.)

----------

The benefits of this process are that you find people that are already interested in the themes and vibes of your story (in comparison to to ads, which get shoved in everyone's faces.). Someone your audience already trusts will talk about it, which means you don't need to do all this trial and error to find your audience and make content for them.

It's basically a bunch of people talking about something they like!

AND you diversify your audience across niches, but with an underlying theme/interests. Booktok/booktube must appeal to everyone, so it's a hit or miss for recommendations. (Unless there is someone that specifically does one genre/type of story.)

From here you can do fun little things to build up hype and make the book launch feel like this fun event. (I love it when that happens so here's my thoughts about trying to create an event with your story... although that may require another post entirely.)

preorder goals

charity goals

Arg's and puzzles

fund with side plushies and trinkets

Book blog tour

book boxes

as many memes as you can make

rewards (like bookmarks or posters or smth) that people can get for supporting

Talk about the process of creating your story. I know this one channel called 'Dead Sound' that creates 'making of' videos for his short films and they are some of the best videos on youtube.

Okay dear storyteller! Now go forth and share your story with the world!

Additional resources:

Creative Hive <-- a youtube channel that goes through the pitching process.

This video is also very good <-- Haven't watched the rest of the channel but I assume it's also good.

One of the best marketing channels on the internet (the videos are actually entertianing to watch.

Seth Goldin <-- I read his book and took the parts I liked and modified for storytelling marketing.

Dead Sound <-- propaganda to watch the short film series he has (he did the whole 2-d 3-d style wayyyy before spiderverse did... and he's one person making these. One person. It's amazing.

Glitch <--- If someone can figure out how The Amazing Digital Circus was marketed then I will pay you money. It seems to be a lot of memes and funny things.

[percheduphere]

LET'S TALK ABOUT THE LOKI SERIES' ROMANTIC TROPES AND JANE AUSTEN

I am going to compare the relationships and romantic undertones of Loki, Sylvie, and Mobius with my all-time favorite Jane Austen adaptation because the character archetypes and plot-points are strikingly similar with Ang Lee and Emma Thompson's 1995 Sense and Sensibility.

This sounds cracked, but stay with me. Tropes are tropes for a reason. They are often repeated in writing subconsciously because they are very old and near-universal story arcs regardless of the literary genre we are discussing.

Please note that this is not a 1-to-1 comparison. This is an analysis of basic archetypes, tropes, and plot-points: the barebones skeleton of story structure. With that said, let's dig in:

Loki = Kate Winslet's Marianne Dashwood

Sylvie = Greg Wise's John Willoughby

Mobius = Alan Rickman's Colonel Brandon

For those of you who have not seen (or read) Sense & Sensibility, the story is about a family of women who are rendered near-destitute when the patriarch passes away and, due to English law at the time, all the family finances fall to the only son. The only hope for the women to escape the edges of poverty is to marry into wealth.  

The Loki series’ main storyline is a far cry from that of Sense & Sensibility. It is first and foremost a sci-fi action-adventure, but don’t let that genre fool you. Well-written stories are always character-driven. The setting serves to establish the rules of the world and the tangible challenges the characters must confront to achieve their goal. The end goal for Loki is his ascension to the God of Stories (and time). Therefore, his character arc must follow a trajectory that prepares him for that ascension.  

Love, above all else, is essential for Loki’s journey. In order to understand and be capable of love, Loki must experience love in all its forms including but not limited to romantic. I've seen a lot of social media posters mocking shippers with comments saying, "the story is not about romance." I wholeheartedly disagree. While romance is not the main concern of the series, romance does serve Loki's character development.

It is critical that we remember romance does not require physical contact or even blatant declarations of love. If that were true, unrequited love would not be thought of as romantic, which we know is not the case. Further, it is possible for physical intimacy to exist without any romance at all. One does not require the other.

While dismantling HWR’s old regime is the Loki series’ “Plot A” thread, Loki’s emotional experience serves as the series’ “Plot B” thread. Love and romance exist in Plot B.

THE CHARACTERS & THEIR ARCHETYPES 

LOKI & MARIANNE 

Within Sense & Sensibility’s plot, one of the main heroines, Marianne, has the archetype of the mercurial, passionate, and freewheeling spirit. She is rebellious at heart, chaffing at society’s rigid expectations of emotional repression and polite rather than fiery courtship. Much like Loki with Sylvie, Marianne is drawn to John Willoughby because his temperament, values, interests, and talents very closely mirror her own.  

Like Loki, Marianne is emotional. Her emotions drive many of her decisions, some of which are rash and socially unacceptable for her era. 

Like Loki, Marianne detests social norms. Refusing to contain her nature for anyone, she is unafraid of the stares and judgment of others. 

Like Loki, Marianne is poetic, a lover of words and metaphor. 

Like Loki, Marianne is a hedonist. She will follow where her heart takes her regardless of the consequences. Just as Loki runs after Sylvie through the portal door, Marianne chases after Willoughby.

SYLVIE & WILLOUGHBY 

Willoughby fulfills the archetype of the ideal lover at first sight. He is young, handsome, strong, deeply romantic, and a lover of poetry, pleasure, and unfettered emotion. I will not go into the deeper details of his character and plot here as I don't find them relevant for the purposes of this analysis. The key point to remember is that Willoughby is meant to be Marianne's perfect match by virtue of similarity.

Like Sylvie, Willoughby is emotional and consequently chaotic in nature. At his worst, Willoughby is unafraid of hurting others in the pursuit of his desires. 

Like Sylvie, Willoughby chooses absolute freedom over the genuine love and care he has for Marianne (Loki).  

Like Sylvie, Willoughby views institutions with social authority with contempt.  

Like Sylvie, Willoughby judges character based on association with institutions rather than the individuals themselves. He holds repugnance for Brandon’s (Mobius’s) association with the military (the TVA). Fair enough, both the TVA and the military (especially the British military) are institutions that have committed horrific global atrocities.  

Like Sylvie, Willoughby is unable to separate the institution from the individual people living and working within it, who are capable of goodness.  

MOBIUS & COLONEL BRANDON 

Colonel Brandon, a decorated military officer, fulfills the trope of the “dark horse” in love. He is Willoughby’s opposite: older, "less physically attractive", reserved, practical, and orderly. The main character (Loki/Marianne) appreciates his friendship yet does not feel any romantic affection for him (Mobius/Brandon) until the primary love interest (Sylvie/Willoughby) abandons the relationship for absolute freedom.  

Like Mobius, Brandon is drawn to intelligent, artistic, footloose nonconformists. 

Like Mobius, Brandon accepts and loves Marianne exactly as she is, including her faults. He does not want her to change against her will and gently reprimands her older sister, Elinor, at such a suggestion.

Like Mobius, Brandon serves an institution with significant influence on the lives of others. 

Like Mobius, Brandon accepts that his love is not returned yet continues to express his love through his support of Marianne’s (Loki's) wishes, including his romantic rival Willoughby (Sylvie). 

Like Mobius, Brandon is seen as a dear friend rather than a potential romantic partner in the first 2/3rds of the story. 

Like Mobius, Brandon’s personal desires are secondary to Marianne’s (Loki’s) happiness. 

THE ROMANTIC PLOT 

It is understood by the audience that love is not only a feeling; it is also an action that requires incredible responsibility. In that responsibility, both lovers must choose to take into consideration the feelings, wants, and needs of the other.

The trope of a main character meeting their perfect match and falling quickly in love informs the audience that conflict must lie ahead, and that the third party of the love triangle will be tested for their worthiness as a romantic partner.

Loki & Sylvie and Marianne & Willoughby possess a fast, passionate, and explosive love.

Loki & Mobius and Marianne & Brandon posses a slow, steady, and gently burning love.

These two relationships, which are BOTH valid AND romantic, are set against one another to contrast each suitor's strengths and weaknesses, as well as to shed light on which suitor best meets the feelings, needs, and wants of the main character.

The main character's (Loki/Marianne) love interests inevitably collide in a tense confrontation. Being the Georgian Era, Brandon and Willoughby do not discuss their dislike for one another directly but with Marianne's older sister, Elinor.

Sylvie, on other hand, is not afraid to tear into Mobius, saying exactly what she thinks of him. Both directors of photography frame their shots in a near-identical fashion, demonstrating who are at odds and the individual (present or not) who is between them.

Whether in the realm of fiction or reality, the act of love inherently requires some degree of self-sacrifice.

While Sylvie performs self-sacrifice by pruning herself in hopes of finding and rescuing Loki from the Void, that self-sacrifice does not extend to her personal values and beliefs with respect to free will.  She therefore fights Loki, ultimately kissing him farewell before kicking him through a time door to get what she wants.

Likewise, Willoughby, cut-off from his family's estate due to indiscretions he refuses own, prioritizes wealth over his relationship with Marianne in order to continue his lifestyle of luxury and absolute freedom. Willoughby therefore marries the exceptionally wealthy Miss Grey to achieve this end, abandoning Marianne and breaking her heart in the process.

At the midpoint of each storyline (where the narrative turns), both Loki and Marianne have lost the person they felt most strongly about because they were not that's person's priority.

Marianne's quote in the above gif is significant. It is a poem she and Willoughby recited together when they first met. She recites it again, alone, as she looks upon the estate Willoughby has married into in the rain. The poem is as follows:

"Love is not love which alters when it alteration finds, or bends with the remover to remove. Oh, no. It is an ever-fixed mark that looks upon tempests and is never shaken."

This poem defines love as not fickle but persistent in the face of challenges and "never shaken".

THE DARK HORSE IN LOVE

Brandon, who falls for Marianne first, establishes himself as not only a friend of Marianne's but her whole family's. All of his actions throughout the film are performed out of love for Marianne, but these actions are not read as romantic by Marianne because there is no fast-burning fire and (seemingly) little commonality between them.

Marianne's mother cautions her, pointing out that the romances she cites all meet pitiful ends. In return, Marianne describes such love as not pitiful but "glorious."

Brandon and Mobius express their love for Marianne and Loki through practical means. Their actions are predominantly viewed as marks of friendship rather than marks of romantic love. It should be noted that in both cases, no verbal declaration of love, nor any physical declaration of love, such as a kiss, is ever made by either Mobius or Brandon on screen. Brandon's unrequited love, however, is readily apparent to everyone (the characters and the audience) due his presentation of the opposite gender.

Brandon, upon seeing Marianne struggle cutting reeds for weaving, offers her his pocketknife. Mobius, knowing that confrontation with Sylvie at Roxxcart will be dangerous, offers Loki his daggers for protection. 

Brandon, recognizing Marianne’s need for artistic pursuits, gifts her a piano. Mobius, recognizing Loki’s need for validation, provides him with words of affirmation, encouraging Loki’s talents in magic and cunning.

Brandon, acknowledging Marianne’s love for Willoughby, invites Willoughby to a picnic at his estate despite his distaste for him.  Mobius, acknowledging Loki’s love for Sylvie, frees Loki and is pruned despite his jealousy of her. 

Marianne, out in the rain and in distress over her loss of Willoughby, succumbs to a deadly fever. Loki, kicked through a time door and in distress over his loss of Sylvie, succumbs to time-slipping.

Brandon and Mobius actively make themselves available in response to their loved one's individual break-ups with ZERO expectation of having their love returned.

Brandon, concerned that Marianne's illness may kill her, rides nonstop for hours to retrieve her mother during a storm. Mobius, concerned for Loki's wellbeing, risks his life on the loom's gangway, risking exposure to temporal radiation and death.

In the end, both Brandon and Mobius are the triumphant winners of Marianne's and Loki's hearts.

Indeed, Brandon reads poetry to Marianne, and when he announces he must "away", Marianne worriedly asks "where?", demonstrating her desire for him to stay. Brandon teases her, fulfilling Marianne's need for romance and excitement by saying, "it is a secret."

Mobius, meanwhile, begins to open himself up to worldly pleasures, allowing himself to drop the strict, no-nonsense behavior he exhibited in S1. Loki, in turn, begins to provide him with the type of emotional support Mobius has consistently given him since the beginning (yes, he has a jealous meltdown, but he recovers relatively quickly).

The outcome of their successes, however, diverge due to their gender presentation.

Whereas Brandon happily marries Marianne ...

... Loki returns Mobius's selfless love with a sacrifice of his own, and they are separated.

[aspoonofsugar]

Have yo read Captive Prince? What do you think of Laurent's character? Does he foil any other characters (besides being mind to Damen's heart)?

Hi!

Yes, I have and I love Laurent <3 He has the most complex arc and is at the centre of the major conflict, so he foils several characters, who are used to explore his personality and to progress his arc.

In general, I would say three major jungian archetypes are used in Laurent's story:

Inner Child = the childish and most vulnerable part of a person, which is influenced by one's younger years. Laurent's inner child is embodied primarily by Nicaise, but also by every boy abused and raped by the Regent.

Shadow = the repressed part, which the person doesn't want to aknowledge. Laurent has severals: the Regent himself, Aimeric and Jokaste. They all embody Laurent's most negative side.

Anima/Animus = the anima is the female side of a man and the animus is the male side of a woman. It is usually used in romantic subplots to show two characters growing closer. Here, it is embodied by the bond between Laurent and Damen.

Laurent's arc is one where he integrates with Damen, but to succeed he also needs to save his inner child and to face his shadow. Or to fail and try again.

BROTHERS AND LOVERS

Laurent and Damen foil each others' brothers:

Laurent foils Kastor: both are the unfavourite child, but Laurent adores Auguste, while Kastor resents Damen. At the same time, Damen perceives them in opposite ways. Damen initially doesn't aknowledge the good in Laurent, while he doesn't see the evil in Kastor. It is as Nikandros says. At the beginning of the story, Damen sees things in black and white. By getting to know Laurent he learns complexity and that the world is in shades of grey. He integrates his own heart with Laurent's mind. His own idealism with Laurent's wisdom.

Damen foils Auguste: both are strong fighters and beloved leaders, able to inspire others. The moment Auguste dies, Laurent loses his heart and it is only with Damen that he learns to trust and to open up again. It is also through Damen that he overcomes Auguste's death and his sense of inferiority, which is carefully nurtured by the Regent. Laurent is brilliant, but his arc is about showing vulnerability and find new faith in others. He integrates his mind with Damen's heart. His wisdom with Damen's idealism.

So, as you said, Laurent is the mind to Damen's heart and has to rediscover his own interiority. He needs to love himself again. Only by doing so he can truly escape the Regent and grow up. This process of growth is the main focus of the trilogy and it happens twice:

Laurent fails to grow in the second book

Laurent succeeds and completes his growth in the third book

Let's see how.

NICAISE AND AIMERIC = LAURENT'S DARKEST HOUR

Laurent's darkest hour happens at the end of the second book. This is common for a trilogy. It is not rare for the second installement to end in a negative way. Now, The Prince's Gambit doesn't end badly. Laurent and Damen win and grow closer. Laurent even frees Damen and they have sex for the first time. Still, psychologically, Laurent risks a huge brakdown because of Nicaise and Aimeric's deaths.

Nicaise and Aimeric are two parts of Laurent:

-Nicaise is Laurent's child-self. He is petty and capricious, but he cares deeply. And yet, he can't show any vulnerability. The moment he does, he is killed. Moreover, Nicaise plaids for Laurent because he deep down thinks the Regent won't kill him. This is true for Laurent, as well:

"I didn't think he's really try to kill me" Laurent said "After everything... even after everything".

-Aimeric is Laurent's shadow. He is a young man, whose life is defined by the Regent's sexual abuse. Aimeric confuses the Regent's imitation of love with true care and fights to get it back, even if it means hurting people, who truly love him. Unconsciously, this is true for Laurent too:

"You play his games like you want to show him you can. Like you're trying to impress him. Is that it? You need to beat him at his own game? You want him to see you do it? At the expense of your positions and the lives of your men? Are you that desperate for his attention? Well, you have it. Congratulations. You must have loved it that he was obsessed enough with you that he killed his own boy to get at you. You win."

Damen's speech to Laurent is basically the same one Laurent gives Aimeric. Aimeric shines light on this specific aspect of Laurent. Laurent too still loves his uncle. He too wants his attention and on some level thinks of his uncle as his only family:

"When you lost your brother, was there someone to confort you?" "Yes," said Laurent. "In a way".

So, Nicaise and Aimeric embody Laurent's vulnerability. Nicaise is the child who still feels safe with the Regent. Aimeric is the young adult, who wants the Regent back. Both are Laurent. This is why Laurent wants to rescue them both. He grows close to Nicaise and tells him he will buy his contract and free him. He accepts Aimeric into his guard and refuses Damen's advice to send him away. And yet, the Regent uses them both against Laurent. He kills Nicaise and has Aimeric betray Laurent.

Laurent wants to help both Nicaise and Aimeric and the Regent tells him he can't. Just like he can't save himself.

According to the Regent's narrative:

Laurent is fond of Nicaise, but eventually leaves him alone out of selfishness

Laurent welcomes Aimeric in, but this is a blind spot that is used against him

By using vulnerable and abused kids, the Regent conveys to Laurent two messages. On the one hand Laurent isn't selfless enough to truly save anyone. He isn't good enough to be a protector like Auguste. On the other hand he is still foolish enough to trust others. He isn't smart enough to be a mastermind like the Regent. Too cruel and too foolish is how the Regent wants Laurent to see himself. So, that Laurent would feel trapped and cut others out.

And Laurent almost gives in, but is stopped by Damen:

"You tried to hurt me, and you have. I wish you would see that what you have just done to me is what your uncle is doing to you."

Damen goes through to Laurent and stops him from losing himself. He saves him from turning into a copy of the Regent.

THE REGENT

The Regent is Laurent's negative foil. He is who Laurent could become if he gave in to his worst instincts. As a matter of fact Laurent shares many similarities with his uncle:

Both are very intelligent master manipulators

Both are able to seize people's weaknesses and to use them

Both can be cruel and ruthless

Both tend to complicate things

This isn't by chance because the Regent does his best to break Laurent's heart and to warp his mind into a frailer copy of his own. He needs Laurent to think like him and to follow his rules, so that he can beat his nephew. This is why the Regent spends the years after Marlas by abusing Laurent in different ways.

The Regent's abuse has a double nature:

It has a sexual component: the Regent rapes Laurent multiple times as a child and shows possessiveness of him as a young adult. For example, many of his assassin attempts come with a sexual element. The assassins instructed to rape Laurent by using a drogue the Regent clearly used on his nephew as a child. Having Laurent and Damen sleep together, so that Laurent would eventually kill himself. Twisting Laurent and Damen's love story, as if to frame Laurent as dirty and despicable. Spreading voices about Laurent's supposed romantic feelings for Auguste. And so on...

It has an emotional component: the Regent keeps mentioning Auguste, which hurts Laurent in two ways. On the one hand it doesn't let him move on from his brother's death. On the other hand it drills into Laurent he isn't as good as the previous prince

"I hate to see you grown up like this," said the Regent, "when you were such a lovely boy."

The Regent basically blames Laurent for both growing up (physically) and not growing up (psychologically). He manipulates him by treating him as a child, while implying he isn't pure as a child anymore. The result is that Laurent hates himself.

This self-hate manifests itself in recklessness, suicidal tendencies and self-destroying behaviors. Like Laurent lashing out at others, when he is actually furious at himself. This is why specifically Laurent breaks Aimeric by using their shared trauma as a weapon. He hurts both Aimeric and Jord (who hasn't done anything, but being loyal to Laurent) because to truly face Aimeric means to accept himself and he can't.

Symbolically, Laurent kills Aimeric like he is slowly killing himself. This is why Aimeric's death happens after the reveal of Nicaise's murder by the Regent. Laurent kills Aimeric, just like the Regent kills Nicaise. Both victims are abused kids with frail and unstable senses of self, who deep down seek love and vulnerability. The lesson Laurent needs to learn is that he can't save the Nicaise within himself, if he doesn't help the Aimeric too. This is why it is important that Laurent is able to express empathy for Aimeric and to recognize he is a wounded person, just like Nicaise:

"Nicaise knew that when he got too old, he would be replaced." "Like Aimeric," said Damen. Into the long silence that stretched out between them, Laurent said: "Like Aimeric."

It is the first step to aknowledge his own hurt too.

AUGUSTE WASN'T GOOD ENOUGH

The second step is instead to face Auguste's ghost. Laurent's big brother is a double edged sword for the Prince. On the one hand Laurent deeply loves Auguste and is devastated by his dead. On the other hand his idealization of Auguste is unhealthy and leads to Laurent undervaluing himself.

These powerful contradictive feelings come to the surface in his "sparring" match with Damen. There, Laurent for once is able to show all his anger and grief. He lets it all out and is forced to accept he would have never been able to kill Damen in a fight. Still, another realization comes to the surface:

"I know," said Laurent, "that I was never good enough." Damen said, "Neither was your brother." "You're wrong. He was -" "What?" "Better than I am. He would have -" Laurent cut himself off. He pressed his eyes closed, with a breath of something like laughter. "Stopped you." He said it as though he could hear the ludicrousness of it.

Damen's words might seem cruel, but they are actually necessary because they break Laurent's internalised idolisation of Auguste. Laurent has been brought up with the convinction that Auguste is somehow better than him. This idea is present even before Auguste's death because of their father's favouritism. The early loss of his brother and subsequent abuse only makes this feeling stronger. Hence why Damen refusing this helps Laurent grow. Damen is the first one to see Laurent as his own person and to give him a choice:

Damen picked up the discarded knife, and when Laurent's eyes opened, he put it in Laurent's hand. Braced it. Drew it to his own abdomen, so that they stood in a familiar posture. Laurent's back was to the post. "Stop me," said Damen.

Laurent chooses to give up on his revenge. He chooses his present relationship with Damen over Auguste's ghost. He starts wishing for something positive for himself. He starts caring for himself. He starts looking toward a possible future.

JOKASTE = OPENING THE DOOR

To reach this future Laurent has to face Jokaste, who is really another version of Laurent:

"You're lucky we're alike," Jokaste said, stepping down. She and Laurent looked at one another like two reptiles.

Not only that, though, she is Aimeric and Nicaise combined in a single character:

Like Aimeric, she betrays a lover for selfish reasons (apparently)

Like Nicaise, she is caught up in a power struggle and has to choose the side, which ensures her survival, even if it means negate her heart to do so

"You mean, the only difference between us is that I chose the wrong brother?" As the stars began to drift across the sky, Laurent thought of Nicaise, standing in the courtyard with a handful of sapphires. "I don't think you chose," said Laurent.

This time Laurent is able to see this. He empathizes with Jokaste and gives her freedom. He opens her the door:

"We're alike. You said that. Would you have opened the door for me? I don't know. But you opened one for him."

In this way Laurent understands the Aimeric he could not understand and saves the Nicaise he could not save. By the end, Aimeric (Jokaste) is shown mercy and Nicaise (her baby) survives. Laurent gives Jokaste and her family a future. And in this way, he symbolically gives himself a future and a family. He opens his own door.

THE TRIAL

The climax of the trilogy is Laurent's trial in Ios. This choice is interesting on multiple levels:

It is an inversion of the ending of book 1, where Damen is blamed for the assassination attempt on Laurent's life and Laurent protects him. In fatc, it is not by chance that Damen mentions the episode in his initial defense of Laurent.

It shows Damen and Laurent's integration. As a matter of fact Damen is the one who realizes Paschal has the key to dethrone the Regent. He is able to do so because through Laurent he has learnt to observe others, to understand them and to empathize with them. Laurent instead selflessly gives everything up for the person he loves and bravely faces off the Regent with no plan, but simply with his heart. The Regent tries to turn it into a weakness and to force Laurent to give it up, but fails. Finally, he and not Damen is the one who fights Kastor and kills him. He uses the skills he has learnt for his revenge and uses them to protect Damen, instead. He chooses life and love over death and hate.

Most importanlty, though, the trial starts as a farce, but by the end it becomes a fair administration of justice, which punishes the criminal and recognizes the innocent. Let's see how this change happens.

NICAISE = VICTORY

Laurent wins not because of his mind, but because of his heart. Specifically, he wins because of the relationships he builds and of his ability to empathize with the humblest people, those nobody cares about.

First of all, Laurent obviously wins thanks to Damen. It is Damen choosing him over his kingdom that makes it possible to the tides to turn. So, it is because Laurent overcome his internalized hate for Damianos and slowly comes to accept and love him, that he is saved in the end. In a sense, the night where he has to choose if to let Damen die or to save him out of loyalty in volume 1 is when Laurent chooses who he wants to be. He can let a man he hates die without risking anything, like the Regent would. Or he can save that man our of a sense of fairness, like Auguste would. Laurent chooses the latter and makes the first true move towards his victory.

Secondly, Laurent is able to touch the councilors' sense of morality thanks to Loyse, Aimeric's mother. She reveals that her husband basically sold Aimeric to the Regent in exchange of power. She also explains how the Regent conspired with Kastor to kill Theodemes. This testimony isn't decisive because the assassination of Theodemes is a matter of Akielos. Nonetheless, Loyse re-opens the trial and gives importance to Aimeric's story and pain. It is also important that she is a woman because the Regent hates women. She is the character nobody considers, as everyone is focused on Guion's, the powerful councilor. And yet, Laurent does and convinces her to break free from her husband influence for the sake of her son.

Thirdly, Laurent is saved by Paschal's testimony. That said, Paschal is only able to reveal the truth about the Regent's murder of the King only because of Nicaise. In general, Nicaise is a character, who ends up being important in the finales of all three books:

In book one, Nicaise goes to Laurent's apartments after the attempted murder. He is clearly worried and can't decide if to openly switch sides and tell Laurent the truth or not. He also appears to tell Laurent goodbye and to give him his earrings. Symbolically, Laurent is saying goodbye to his younger and most innocent self, as he prepares to enter war with his uncle.

In book two, Nicaise's death is revealed in the climax and it leads to Laurent's decision to march on Charcy. It also kickstarts Laurent's deepest psychological crisis, as he struggles to keep a clean mind and shows how deep he is hurt and desperate.

In book three, Nicaise is the one who indirectly hands Laurent victory, as it is him who stole Govart's papers and gave him to Paschal.

In other words, Nicaise is the one who leads to victory, which fits his name. As a matter of fact Nicaise means "victorious", the person who brings victory and he delivers.

Thematically, this is very important, as Laurent initially regrets to have grown close to Nicaise:

"I killed Nicaise when I left it half done. I should have either stayed away from him, or broken his faith in my uncle. I didn't plan it out, I left it to chance. I wasn't thinking. I wasn't thinking about him like that. I just... I liked him."

He believes that because of their sibling-like bond Nicaise is now dead. He believes his influence isn't enough to break the Regent's control over Nicaise. And yet, it is precisely because of Laurent's love and care for Nicaise that the boy is able to rebel himself enough to steal key documents and to hand them to Laurent's side. Nicaise dies tragically, but his life and Laurent's kindness to him are not in vain. They change the destiny of two kingdoms. Laurent isn't able to save his child-self, but his child-self is strong enough to save him. Just like Laurent might not cancel what happened to him in the past, but can still move forward:

"Stop it, you're hurting him. You're hurting him. Let him go." A soldier was holding him back, and the boy was fighting him. Laurent looked at the boy, and in his eyes was the knowledge that some things couldn't be fixed. He said, "Get that boy out of here."

The new Regent pet once again mirrors a part of Laurent. The side of him that still sees the Regent at family. And yet, Laurent is finally able to accept this part of himself, but is strong enough to start healing. Just like as King he has now the chance to help as many children as the Regent hurt. Laurent ends is arc by growing up. He isn't a child anymore:

"You think you can defy me?" the Regent said to Laurent. "You think you can rule Vere? You?" Laurent said, "I'm not a boy anymore."

He isn't a boy anymore, he can't be controlled by the Regent anymore. He can now start a new life as his own person, free from the Regent and from Auguste's ghost. A life of love and new relationships.

[intermundia]

the thing i love about how lucas designed obi-wan as the 'good father' and vader as the 'bad father' aka two opposing and complementary halves of a single archetypal figure, it means that in a way, anakin made himself into vader. not just that he chose to fall, but also that he chopped himself into pieces and set himself on fire. he fought against the good part of himself and both won by losing, and lost by winning, you know? he was irrevocably damaged by the fight and the good part of himself withdrew, leaving him as vader ascendant, which is what he wanted, but god at such a high cost.

it's just that narratively anakin HAD to either kill or remove the obi-wan part of his character during his fall, or else he would never be free to be vader, but you cannot destroy a part of yourself without consequences. so he suffered a painful echo of the damage he'd done to the galaxy and his own soul for the rest of his life, courtesy of obi-wan's violent departure. luckily that rejected part of himself left mustafar to go hover around luke (his legacy) instead, guiding the son figure who would ultimately return his goodness and heal the divide in his character.

idk man obi-wan is just such an interesting figure in the tragedy of anakin skywalker, so deeply interwoven in his entire life, from childhood to death, like there's a reason he's in all 6 OT and PT movies, even death can't remove him from the story. he is wherever vader is, in vader's mind, in his words! they can't escape each other, and don't even want to. obi-wan gives luke anakin's light in the narrative (and his lightsaber) and then lets vader kill him, waiting in the force for anakin to die so they can reunite forever. they're two halves of a single character and i'll never be normal about it.

[straightplayshowdown]

Rosencrantz and Guildenstern are Dead: Rosencrantz and Guildenstern have been summoned to Elsinore by the king, Claudius. He and Queen Gertrude, wish for Rosencrantz and Guildenstern to glean what sudden sway of madness has affected Hamlet. The duo sets out to achieve their task, meeting a ragged troupe of players along the way. Brief glimpses of scenes from Hamlet show the trials and tribulations of the royals; our two heroes are largely left in a state of waiting. They pass the time playing games, posing questions, and tossing coins, until they gradually realize that their fates have been taken out of their own hands. They are merely characters in a larger story in which they have no say.

Hamlet: Hamlet is home to mourn the death of his father. He is disgusted by the marriage of his mother to his uncle, Claudius, who now has the throne. The ghost of his father reveals to Hamlet that Claudius poisoned him in the ear. Hamlet vows to avenge his father’s murder. Hamlet’s sanity begins to be questioned by all. He accidentally kills Polonius, thinking it was Cladius. Ophelia has gone mad with grief over the death of her father. Claudius suggests that Laertes duel with Hamlet. From there, the play ends in tragedy. 

Propaganda under the cut!

Rosencrantz and Guildenstern are Dead:

what if we were both minor characters in Hamlet forced to die over and over again in a timeloop and we were both guys 😳. basically one of the only modern straight plays i know and its just so good!!!!!!!! Rosencratz's death monolouge gets me everytime

This play is for people that love Shakespeare, but also love weird shit. It somehow offers really insightful commentary on stories and fate and purpose while also feeling like a fever dream.

an existential and brilliant deconstruction of hamlet

it’s good 

Hamlet fanfic involving the game of questions and frequently not being on boats.

No, I'm tired sorry

waiting for godot meets hamlet. best of both worlds

A heartbreaking examination of the archetype “tragedy” — the knowledge that, essentially, the characters are doomed from the beginning, and cannot escape their fates, the inescapable feeling that they’re simply characters in a story. RAGAD treats the genre with comedy and makes two seemingly meaningless characters into an everyone’s favorite duo.

what if we were doomed by the narrative and flipped coins and licked feet and hid in barrels and hung out with a suspicious actor troupe who eventually turns against us and also we have to figure out what's up with hamlet because claudius told us to? and we were both boys? just kidding! ....unless?

I know the whole thing off by heard and I’ve never been in it. Does that count. Also it deserves to win because of what the awful awful film did to it.

Hamlet:

its hamlet. do i need to say anything more?

i mean. it just is the best play of all time. like it almost sucks that we peaked 400 years ago but it is the best play ever written and there's nothing you or i can do about that

it’s THE play

ghosts! revenge! madness! murder most foul! how could you possibly ask for more?

What a heartbreaking exploration of grief…

[sunflowervoltwentyeight]

Hello! This is a fic rec of my all-time favorite fics. These fics have really stuck with me over the years, and I've read many of them multiple times. This is an ongoing fic rec, that I will continue to update. These fics are organized by word count from longest to shortest. You can view my other fic recs here. Enjoy!

Of Mates and Men by bananaheathen / @bananaheathen (630k)

In which, Louis and Harry meet as best men for their best friends' wedding... well... sort of.

Or, the one where Harry's just moved back from New York and Louis doesn't believe in romance.

Or, I guess... the one where Zayn and Liam are getting married.

Hiding Place by orphan_account (365k)

Louis never wanted a soulmate, didn’t really care for the whole Bonding thing at all, really. Enter Harry Styles, who’s wanted to be Bonded for as long as he could remember. With one fateful meeting in an X Factor bathroom, Louis gets a dagger on his arm and the realization that just because Harry is his soulmate doesn’t mean it’s mutual.

From the X Factor house to Madison Square Garden, from the Fountain Studios stage to stadiums across the world, Louis has to learn to love without losing himself completely, because someday his best friend will Bond to someone and replace Louis as the center of his universe. Meanwhile, Harry begins to think that maybe fate doesn’t actually know what it’s doing after all, because his other half has clearly been right in front of him the whole time. All he has to do now is convince Louis to give them a chance.

Or, the canon compliant Harry and Louis love story from the very beginning, where the only difference is that the love between them is literally written on their skin, and there’s only so much they can hide.

You Can Hear It In The Silence by imogenelee / @imogenleefic (234k)

When Harry Styles was accepted into a post-grad degree, he knew he could no longer afford his flat, leaving him with three options: 1) Move back into student halls. 2) Become homeless. 3) Move in with his best (and only) friend, Niall, and three of Niall's other mates. He went with the third option. But it was a close race. Shame one of his roommates reminded him why he only has one friend. If there is one thing Louis Tomlinson can't stand, it's pretentious tossers, having grown up around enough of them. If there is one thing he can't live without, it would be his friends. So he was proper thrilled to move in with his best mates and a couple of other lads. That was until he discovered one of them was the archetype for a pretentious tosser.

In the interest of seeing out the twelve-month lease without killing each other, they both try (debatable) to get along despite believing they are opposite in almost every conceivable way, each having the communication skills of a cucumber, and secrets that have no business be kept secret.

One More Time Again by orphan_account (232k)

Harry looks down to where Louis is cradling his hand between his own. Louis' hands are slender, the bones delicate, the nails bitten short. The 2-8 on the backs of his fingers is gone, but the faded scar from a skateboarding mishap in Year 7 is still there.

Harry's hand is awkward, knobby-boned and naked, no rings, no tattoos. It's too big for his wrist and his wrist too big for his arm. Yet it still somehow fits in Louis' in the painfully perfect way it always did.

He blinks back the sting in his eyes.

On the morning of his second sold-out performance at Madison Square Garden, Harry wakes up to find that he's sixteen years old, on The X Factor, and that he has a chance to make things right.

A canon-compliant fix-it fic (sort of).

Stranger Stars by shaylea (212k)

Five years ago, Africa offered a grieving Louis Tomlinson an escape from an England he couldn't tolerate. Now it's become home as he leads overland tours across the continent with his best friend and driver Zayn Malik. What's meant to be just another ordinary six-week trip from Cape Town to Nairobi turns into anything but, when future lawyer/current photographer and songwriter Harry Styles and his friends join Louis' latest set of passengers.

Given A Chance by fabby / @fabby1d (173k)

Five years after One Direction took their last tour, the last thing Louis Tomlinson ever expected to happen while on a tea run at the local Piggly Wiggly was to run into his ex-boyfriend and ex-bandmate Harry Styles.

The odds of them ever running into each other again had to be super slim, right?

Wrong.

What happens when you mix ex-boyfriends with a large serving of Small Town America? Will Louis and Harry be able to set aside their differences, or will Louis be able to stay breezy as fuck in the wake of Harry’s arrival?

(or, the one where Louis and Harry run into each other five years after One Direction ends and learn how to love each other again. Featuring: Reggie as the overweight labrador, Niall as Louis’ last grip on reality, and Nowheresville, North Carolina as the setting for Louis’ worst nightmare to come true.)

The Wonderlands by stylinsoncity /  @aliensingucci (150k)

"Somewhere between chaos and control — these are the wonderlands."

Harry's daughter, Andy, is signed to Louis' girl band. Her path to success is marked by competition, chaos, and for Harry, a love affair.

As You Are by Zarah5 (139k)

AU. Five years after The X Factor launched his career as a radio host and songwriter, Louis Tomlinson returns as a judge. Falling for a contestant is the last thing he needs. It's also against his contract.

The only reason Harry auditions for The X Factor is because his best mate signed the two of them up as some kind of joke. Harry doesn't get the big deal—not until he's faced with this season's judges and realises that one of them used to be his desperate, impossible teenage crush.

Unbelievers by isthatyoularry / @isthatyoularry (136k)

It’s Louis’ senior year, and he’s dead set on doing it right. However, along with his pair of cleats, a healthy dose of sarcasm and his ridiculous best friend, he’s also got a complicated family, a terrifyingly uncertain future, and a mortal enemy making his life just that much worse. Mortal enemies “with benefits” was not exactly the plan.

Or: The one where Louis and Harry definitely aren’t friends, and football is everything.

Empty Skies  by green_feelings / @greenfeelings (134k)

For three years, Harry has been running from his past. Now, he is moving to London and pledges to fulfil his only dream – making it big in the music industry. Not everyone has a place, though, and the competition is tough. As is his past catching up on him.Louis is part of the biggest boy band of the world, and getting there had meant a lot of hard work, as well as sacrificing parts of his heart and soul. He’s still happy. Maybe not as happy as he could be, but who is he to complain?

Let's Fall in Love in a Place You Want to Stay by embro (134k)

A George of the Jungle / Tarzan AU where Louis is a model who meets Wild Man Harry in the Congo. He was raised by apes and barely speaks a word of English and turns Louis' life upside down.

Love Is A Rebellious Bird by 100percentsassy, Gloria_Andrews / @gloriaandrews (134k)

AU in which the boys still make music. Louis is the concertmaster of the London Symphony Orchestra, Harry is the New! and Exciting! interim conductor/ex-cello prodigy who "has made Mozart cool again" according to Esquire Magazine (Louis hates him immediately, which is definitely why he internet stalked him in his dark bedroom late at night that one time), and Niall is the best. Zayn and Liam are around too.

Don't hum Bolero.

Wild Love bypurpledaisy / @harrydaisy (130k)

“Good,” Julia says, clearly pleased to have them both uncomfortable and unable to look at each other. “Now, I only have one more question before you can go. What are you planning to do when this experiment ruins your friendship?”

“We said we’d stay friends no matter what,” Harry says smoothly, his chin lifting in defense.

“That was our one thing going into it,” Louis agrees. “Stay friends no matter what.”

Julia raises a perfectly manicured brow, “That’s all fine and good. But I hope you realize your emotions aren’t going to realize this is an experiment in the end. If one of you falls for the other and finds out those feelings are not reciprocated, you’re not going to be able to laugh it off as a social experiment. I’m not saying you shouldn’t do this, I’m just hoping you’ve considered all of the possible outcomes.”

- AU: Two best friends try to date each other for forty days. It’s supposed to be fun until emotions make it complicated.

After All These Years byLifeInAColorWheel (127k)

It’s been seven years since One Direction went on hiatus and it’s been eight years since Louis and Harry broke up. They’ve been strangers to one another since then.

But, over the course of a weeklong boys’ trip, history between Harry and Louis resurfaces.

Or,

The one when Louis and Harry don’t talk, connect again years later, and reflect on why their love collapsed.

Wild and Unruly by 100percentsassy, Gloria_Andrews / @gloriaandrews (123k)

Harry is a cowboy sitting on the biggest oil reservoir in Wyoming, and Louis is the paralegal assigned to pressure him into selling his land.

I'll Fly Away by juliusschmidt / @juliusschmidt (122k)

Harry and Louis grew up together in Lake County, Harry with his mom and stepdad in a tiny cottage on Edward’s Lake and Louis in his family’s farmhouse a few minutes down the road. But after high school, Louis stuck around and Harry did not; Harry went to Chicago where he found a boyfriend and couple of college degrees. Six years later, Harry ends up back in Edwardsville for the summer and he and Louis fall into old patterns and discover new ones.

ft. One Direction, the local boyband; Horan’s Bar and Grill; families, most especially children and babies; Officer Liam Payne; many local festivals and fireworks displays; and Anne Cox, PFLAG President.

Bitter Tangerine by purpledaisy / @daisyharry (119k)

Maybe it’s Niall, he reasons to calm his storming heart. Maybe he’s not actually gone for the holidays yet, maybe Harry got the dates confused. Slowly, he holds his breath and pushes the kitchen door open. The first thing he sees make him jump, a wooden spoon held out like a sword. Once his brain processes the sight in front of him, it’s less the sword that gets him than who is attached to the wooden spoon.

“Harry,” the swordsmen speaks before Harry can, his voice low and steady though confusion laces each word.

Harry’s breath catches. Every string around his heart, all the protection he spent nine months building, rips out and tears open all at once as he says, “Hi Louis.”

-

AU: Nine months after they break up, a twist of fate brings Harry and Louis back together at Christmas.

Never Be by cherrystreet / @cherrystreet (117k)

Monica: You've got to see her again.Ross: And why do you care so much?Monica: Because! You could get to live out my fantasy!Ross: You had fantasies about Emily?Monica: No! Y’know, the fantasy! Meet someone from a strange land, fall madly in love, and spend the rest of your lives together.  

The one where Harry Styles moves to Connecticut from England for nine months as a part of a study abroad program, and he just so happens to move in with Louis Tomlinson and family.

Burn to Ash by bethaboo (116k)

Harry is sitting there, so fucking casual, and Louis realizes in a split second he was not ready. When Harry walked out in Detroit and never looked back, he was a boy verging on a man, still only twenty years old, but there's a man in his place now. Hard and resolute, yes, but still, for the first time in a long time, Louis can kind of see the old Harry in him. The soft, directness of his gaze, the hesitant smile he gives to Lou, the way he wrings his ridiculously large hands in his lap.

He's a little bit the eager sixteen year old puppy dog again, his innocence and sweetness resurrected miraculously, and Louis freezes in place. He was prepared to face the asshole Harry. He was prepared to meet a whole new Harry.

Louis is not prepared to meet one of the old incarnations of Harry, and it absolutely tears him up.

Or the fic where Harry spirals out of control, the band breaks up, and then he shows back up, five years later.

Mine Would Be You by crinkle-eyed-boo / @crinkle-eyed-boo (114k)

Louis blinks his eyes open, his eyelids fluttering as the room swims around him. He takes several gulps of beer once he confirms that he’s definitely not hallucinating, that the very first portrait Harry Styles ever painted of him is hanging on that wall.

Louis stares at the wall, his heart jackrabbiting in his chest as he realizes that there’s not just one painting of him, there’s five, the portraits lined up like they’re some sort of storyboard depicting the rise and fall of his deepest love. His greatest heartache. A pain that cut him so deep that he left the fucking country, severing all ties with his life in New York, now suddenly surrounding him as if he’d never left.

Fucking shit motherfucker fuck.

Louis returns to New York City five years after he left it – and the love of his life – behind. He didn’t intend to see Harry again, but fate has a funny way of pulling them together, whether they like it or not. After making a begrudging truce, they both start to wonder: Would it be so bad if history repeated itself?

Tired Tired Sea by mediawhore / @mediawhorefics (113k)

As a B&B owner on the most remote of all the British Isles, Louis Tomlinson is used to spending the coldest half of the year in complete isolation, with his dog and the sea as sole companions. Until, one day, a mysterious stranger on a quest to rebuild himself rents a room for the winter.

Babydoll Blues by devilinmybrain / @thedevilinmybrain (111k)

Louis is a high profile, filthy rich label executive who has the world at his feet - a music god.. Harry is the sugar baby trying to make a name for himself singing in shady bars and hanging off the arm of Louis' biggest rival. What Louis wants, Louis gets. But what if the game gets too hot and hits a little too close to the heart?

Carnation, Lily, Lily, Rose by certainsadness (103k)

“There’s something so great about watching you interact with art,” Harry said quietly. “Like, when you were giving the tour, you were just so you, and so happy and excited and funny and engrossing. But then when you’re looking at the art, when it’s, like, just for you, you get so quiet and observant.” He pressed a kiss to Louis’s shoulder. “But you still seem so you, and so happy. I don’t know if I’ve ever seen you as happy as you’ve been tonight.” He kissed his shoulder again. “As you are right now.” A shiver went up Louis’s back. “I’m happy when I’m with you,” he said.

Or, Louis loved art and Harry was a masterpiece.

Emperor's New Clothes by sunsetmog / @magicalrocketships (92K)

The fact that Louis’s most precious belonging was a cat with a face like thunder and an uncanny ability to cover every single inch of Louis’s clothing with cat hair was something that Louis chose not to think about too much.

or: Harry’s a pop star and Louis isn’t, and there’s a non-disclosure agreement where there used to be a relationship.

Behavioural Ecology by turtlekz / @turtlekz (81k)

Louis Tomlinson is a primatologist working with the Jane Goodall Institute for primate conservation; and Harry Styles is the photojournalist sent from National Geographic to write a piece promoting awareness about the endangered species. They meet, and love is never, ever simple, as we know.

Featuring Eli the chimpanzee, bickering humans, storytelling, and five men who come to gain an understanding of what it means to be human; all stationed in the Republic of the Congo.

Do Not Go Gentle by afirethatcannotdie / @afirethatcannotdie (70k)

“This is all a game to you, isn’t it? Well, it’s not for me. This is a real life or death situation,” Louis says, spitting the words at him. “And I just don’t think you’re cut out for it.”

For a moment, they stare at each other in complete silence. Harry can feel his blood thrumming between his ears, can see Louis glaring at him, feels red-hot anger. And then all he feels, oppressively and desperately, is lust.

Suddenly Louis is surging up to him to press his lips against Harry’s. Harry walks the two of them backwards, pressing Louis back against the door. Louis oomphs in surprise and brings his hands under Harry’s scrub top, scratching at his lower back.

“Lock — oh — lock the… fucking door,” Louis mutters.

When Harry Styles starts his first day as a surgical intern, he expects a lot of things: to treat patients, to observe a surgery, to feel a bit overwhelmed. What he definitely doesn't expect, however, is that the handsome guy he kicked out of his bed this morning is also an intern.

A Grey’s Anatomy AU where tensions are high, Harry and Louis are hooking up in secret, and no one has time for love. Or do they?

To the Ends of the Earth by stylinsoncity / @aliensingucci (68k)

During a yearlong hiatus, Louis visits Harry at his cabin in Idaho, where long-buried feelings ignite like the fire keeping them warm.

A Yuzu Grows in Brooklyn by stylinsoncity / @aliensingucci (66k)

Harry is a recent implant in new york and a young chef opening a restaurant called yuzu. louis, a music teacher and broadway lover, has been around the block for a while. in a city that's so fast-paced, they're slow to catch on to each other.

The Dark and the Dentist by sunshiner / @theprizeofcoolness (66k)

“I know this song,” Louis whispers, and Harry has to lean his ear toward him to pick up what he’s saying. “It was written for people to dance to it. We should be dancing.” We can’t, Harry almost spits, but it’d be stupid of him. Louis knows they can’t. Even if he looks like any regular Parisian in their twenties, and Harry looks like any hipster Parisian in their twenties, they can’t anyway. To be fair, they probably wouldn’t do it even if they were out. But if they were two uni students, both in Paris for an exchange, meeting over fallen books at the library, or because of mutual friends, or watching Monet’s Water Lilies? “How would we dance?” Harry murmurs, mouth almost pressed to Louis’ cheek, so close he can feel his warmth. What a picture they must make, two millionaires freezing in a park and dreaming of a different life.

An account of the events of November 2014. Canon-compliant.

Time Passed by coffinofachimera (66k)

Louis struggles with their relationship as Harry grows into his identity.

Outwit, Outplay, Outlast by dancesongsoul, lookatyourchoices (60k)

“Tommo and Harry are gonna do it. I don’t know when, but they’re gonna do it. They’ve got the mattress, the pillows, everything’s in place, and they’re gonna do it. I really wish those two the best of luck.” –Taylor Swift, "Chapera"

Or a Survivor All-Stars AU in which Harry and Louis are just in this game to win the million dollars, but they end up with something better.

Featuring Harry's yellow swim shorts, Louis in snapbacks, and OT5 shenanigans.

No One Does It Better by nodibs (49k)

Harry’s an alcoholic and Louis is a bartender. The first time they meet isn’t the first time they’ve met.

Sail Away With Me by star_henderson / @star-henderson (47k)

“It’s inhumane putting four blokes in one cabin.” Louis stripped off and climbed up into his top bunk. “And why did we get the smelliest twat on the whole ship and bore of the century?”

Harry shrugged. “We clearly pissed someone off along the way.”

Louis snorted softly. “Who do I have to bend over for to get us an upgrade?”

Harry barked out a laugh. “If only it were that simple.” He rolled his eyes wistfully at Louis.

“The only way I’m going to get a two berth is to throw Payno overboard and be next in line for the deputy cruise director's job.” Louis leaned up on one elbow to look over at Harry. “Would you help me weigh his body down so I don’t go to jail?”

“Only If I can share your cabin.” Harry shuffled about, tucking the duvet between his legs, sweeping his hair up into a bun and securing it in a band. “I’m not being an accessory to murder and then still having to share with them two, no fucking way.”

Or

Louis and Harry are part of the entertainment team on board a luxury cruise liner. They hate sharing their four berth cabin with two other guys and would do anything to get a cabin of their own. One drunken night the solution was simple. They'd just get married...

Be My Little Good Luck Charm by 100percentsassy (34k)

In which Harry is a promising amateur golfer making his debut at the PGA Championship, and Louis is a Sky Sports anchor who would really rather be commentating on footie.

The other boys are around too: caddy!Niall provides victory pints, Liam is Louis's Very Serious co-anchor, and poor Zayn just gets his face drawn on.

Have You Coming Back Again by whoknows (31k)

It’s five o’clock in the morning. Louis has a lecture at half eight. He could be using this time to study or to do his readings or to go to the gym, but - well. He doesn’t have any exams coming up, he’s not going to his seminar today anyway and he hates the gym.

Instead he’s using this time to fuck with Harry Styles’ poor little brain.

Louis jogs across the street and jabs the key into the car door. It opens easily, not that he was expecting anything else. He copied the key for a reason, after all.

He’s got Harry’s schedule memorized, more because the guy keeps following him around than anything, so he doesn’t bother looking around before climbing behind the wheel and setting his bag on the passenger seat. It’s a Monday, which means that Harry doesn’t even get out of bed before noon unless he’s planning on harassing Louis.

Loved By Your Mother by superglass / @gaymoustache (31k)

Harry stretches out like Venus with her lover, growing sleepy in the late afternoon light with a baby growing inside her. Perhaps not literally, not physically. Not exactly.

or

Harry struggles to come to terms with wanting to have children, and what that means for their relationship. Canon compliant, set a few years into the future

[absolutebl]

This Week in BL - Gangsters Win

Organized, in each category, by ones I'm enjoying most at the top. Delayed October reviews included this week! (Still traveling but now in home territory and familiar hotels.)

Nov 2023 Wk 2

Ongoing Series - Thai

My Dear Gangster Oppa (Thurs iQIYI) 2 of 8 - GIVING ME LIFE. How dare they be this… this... Just. How dare!

Twins the series (Fri GaGa) ep 1 of 10 - I have been waiting for another truly sports centered BL since HIStory 2: CTL. This is nowhere near as good, but I don’t care. It’s great pulp and Sprite is a fab central character. I've realized that I love the pulps most when they’re ridiculously soapy (identical twins identity trope for sport’s fuck’s sake) but ERNEST about it (not campy). This one is taking itself seriously and it's so cute that it's trying so hard. Good little pulp. Dee mar.

Dangerous Romance (Fri YT) ep 12fin - was it me or did this show kinda flag on you too?

Poor, struggling Sailom is forced to tutor his bully, Kang, and they fall for each other despite circumstances. I loved it for the first 4 eps, liked it for the middle 4, and then kinda lost interest. I think it's because the focus shifted from Sailom to Kang, and I just find a disenfranchised character more interesting than the poor little rich kid archetype. Ultimately the script waffled and failed these actors - the leads and sides were solid, and support cast on point. 8/10 pretty standard 2023 GMMTV fair

Absolute Zero (Thai Weds iQIYI) ep 6 of 12 - It’s sort of a paradox of emotions not just time. It remains sad and I remain wary. 

My Universe (Sun iQIYI) The Camp Fire ep 11 of 24 - Launched with an argument over rude pronouns and mistaken identity. Highlights the joy of camping. Ugh. I don't think this one is for me despite the pair.

Venus in the Sky (Tues iQIYI) ep 10fin - NO SINGING. I can't believe they brought in rando SIDEs just to sing! WHHHHYYYYY? Sigh.

An indifferent pulp with indifferent acting and poor chemistry (despite high heat) based on the reunion romance trope that was just... so... slow... It wasn’t entirely a waste of time but I can’t in good faith recommend it. unless you have a very high tolerance for Thai pulps and ultra tsundere characters. 5/10 ONLY WATCH IF YOU'VE NOTHING BETTER TO DO

Ongoing Series - Not Thai

Kiseki: Dear to Me (Taiwan Tues Viki & iQIYI) ep 12 of 13 - I don’t mean to be rude because you know I love the main couple in the show, but they are simply being out acted by the sides. They are so damn good. Ai Di and his dumb oversized sweaters and flappy flappy sleeves is EVERYTHING.

Bump Up Business (Korea Gaga) 5-6 of 8 - More language negotiation, so of course I like it. I also like that they openly let Eden admit to a crush on a boy. I like this whole thing way more than I should. Save me from myself?

You Are Mine (Taiwan Fri Viki) eps 9 of 10 - I don’t understand why baby boy is trying to escape so badly. (Except for plot reasons.) Running of the gays! Look at you Taiwan stealing Japan’s favorite trope. This show is fun but it’s a bag of tropes held together with some very thin fraying mesh plot. 

If It’s With You AKA Even If I Fall In Love With You AKA Kimi to nara Koi wo Shite Mite mo’ (Japan Gaga) ep 5fin - The leads are so painfully cute portraying a softly simple story of teen first love. This was a nice little piece with an early yaoi feel that come off as brief, as if it were meant to be a short story that had been extended into a series. Sweet but ultimately rather forgettable. 7/10  

Mr Cinderella 2 (Vietnam Sat YT) ep 6-7 of ? - yeah I forgot to watch again, I may be dnfing this by accident.

It's Airing But...

I Cannot Reach You AKA I Can't Reach You AKA Kimi ni wa Todokanai (Japan Tues Netflix-Japan & ????) - in classic JBL fashion, I Cannot Reach You could not be reached. It looks good though so I mgiht put some effort into finding it grey.

Look at Japan dropping all the tropes in on scene: rooftop, kabedon, hand hold.

SHADOW (Thai Gaga) 1-7 of 14 - this is a horror BL with ghosts & paranormal elements in a boarding school setting. I'm not wild about Thai horror (or horror at all). It features Singto (who did paranormal BL He's Coming to Me) opposite Fluke N (who's done a couple horror's before). Also Fiat. Dan suffers from sleep paralysis, and in his dreams he sees a shadow that suffocates him. It gets worse when he transfers schools. I'm holding off on this one and if told it's good I'll binge watch.

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) ep 1 of 10 - I find this series more fun to binge, so I'm waiting until it completes its run.

One Room Angel (Japan Gaga) - adaptation of Harada’s manga of the same name (which I did not like) about a convenience store clerk who's stabbed, nearly dies, and returns home to find an angel waiting for him. With only 5 eps and a good chance this won’t end happy, I'm gonna wait and let you tell me how it goes.

Can I Buy Your Love From A Vending Machine? AKA Sono Koi, Jihanki de Kaemasu ka? (Japan cinema release in-country only) - This one is a movie from Japan so in customary fashion who tf knows when (or if) it will get international distribution. Salaryman Ayumu Koiwai just can't tear his eyes away from the strong, muscular man as he checks on the stocks of the vending machine in his office. I did some hunting but only found the manga, so I'm marking it cnf and moving on with life. This will be its last appearance on the weekly update.

I Finished It!

Love in Translation (iQIYI) ep 8 - solid ending, man these two are a great pairing.

A sweet little pulp about a Thai boy with a crush on a Chinese influencer who ends up in a business relationship with her ex-bf. This show had truly great chemistry between the leads, cute found family with good rep, and an exciting (if silly) ending that almost, but didn't quite, make up for how incredibly annoying the main character was in the first half. Gotta say the make-out scene in the convenience store is one of the greatest in Thai BL, tho. 6/10 DEF WORTH WATCHING BUT FLAWED

I Feel You Linger in the Air (grey) ep 8 of 12 - so that was A THING. I did a seriously extensive deep dive analysis, historical & linguistic extras, and review here.

I truly loved this time travel romance. IFYLITA is an exquisite BL, from filming techniques to narrative framework (much like Until We Meet Again). Steeped in history and family drama it edges into lakorn (but no as much as To Sir With Love and with way less scenery chewing). This is an elegant and classy BL… from Thailand which normally doesn't even try for classy. The main couple (both as a pair and individuals) were excellent, particularly Bright (Yai) whose eye-work acting style is a personal favorite of mine. Pity about the ending. Oh it wasn’t that sad but it wasn’t good either. This show should easily have earned a 10 from me except that it fumbled the… erm… balls. Argh. Whatever. 9/10

Only Friends (YT) ep 11-12 - What can I say, this wasn't my thing, it was never gonna be, and I didn't like it. Basically Thailand did the L-Word but with branded BL pairs and the only agenda seemed to be slut shaming and making sure those pairs stayed healthy and sponsor ready. Consequently, the pairs were all executing well and to the best of their ability (of course) but all other characters got shafted, both in the good and the worst possible ways. Unrated but if falls somewhere between 5 (hot mess) and 3 (what am I doing with my life?)

Next Week Looks Like This

11/10 Middleman’s Love (Thai Fri Mandee's YT & iQIYI 1 of 8? - TutorYim (brand pair origin = Cutie Pie) with side couple KingUea (Bed Friends) from Domundi trailer here. This used to be a JimmyTommy vehicle before the pair split (also prev title Middle Love). Adapted from a Y-novel. Jade works as a graphic designer and has always been stuck in the middle - average. His heart is hardened after a life spent being overlooked because he is not as charming or good looking as the rest of his family or friends. When his office gets a hot new intern, Mai, Jade assumes Mai couldn’t possibly be intersted in him. Mai, of course, has other ideas. Warning this is a Cheewin comedy so tonally it could be very OFF, but the cast is solid, and I have liked his stuff on occasion.

11/10 Last Twilight (Thai Fri YouTube) - JimmySea are bakc and maybe it's good this time? I dont' know, GMMTV isn't doing great right now. Burdened with heavy debt, Mork, a mechanic, is forced to take a high paying job as a caretaker for Day, a rich heir who suffers from partial blindness after an accident. Day recruits Mork as he realizes the latter does not see him as a disabled person, but rather as co-equals. As they spend time together, the two begin developing feelings for the other. However with Day just having 180 days until he becomes permanently blind, how will the two weather the trials ahead?Upcoming November BL

11/11 Beyond The Star (Weds iQIYI) qp 1 of 8 - Looks like House of Stars meets Boyband. I am not excited.

Upcoming in November

11/16 PLAYBOYY (Thurs ????) ?? eps - trailer here, high heat and it's helmed by Cheewin (shudder) with screenplay by Den (Only Friends) under Copy A Bangkok. It's gonna be a shizz show people. It's predicting Thai style "dark" (War of Y) one of my least favorites. Apparently there is a "plot" but when has Cheewin ever bothered with plot? A university kid who was involved with escorts, sex-trade, porn, online hook-ups, drugs, prostitution, blackmail, revenge, and so forth goes missing. His twin (sigh) and two friends look for him.

11/17 Pit Babe (Fri iQIYI) ep 1 of 14 - high heat teaser here, based on alittlebixth's omegaverse novel #พิษเบ๊บ’ set in the world of car racing (author says show will not be omegaverse). Charlie (fresh face), a young hot nerd, approaches his driver idol (Pavel "my love" 2 Moons 2) to borrow a racing car and win one for the team. Production house is new to BL but behind the Club Friday stuff. Show stars many known actors: Nut (Oxygen), Pop (Ram in La Cuisine), Pon (Phai in Gen Y, we LOVE him), Benz (twins in En of Love: This Is Love Story).

11/19 Bake Me Please (Sun Gaga) ep 1 of 6 - trailer here, stars Ohm (of OhmFluke) opposite Guide (bestie from IFYLITA) and possibly also Poom (well known, but not for BL). This looks like an actually gay version of Antique Bakery (play it again, BL). Still, I'm intrigued, it looks HELLA pretty.

11/22 7 Days Before Valentine (Weds ????) ep 1 of 10 - trailer here, horror-esk. Adapted from y-novel of the same name, directed by Tu (180 Degree) stars Jet (Why You… Y Me?). When you want your old love again, but fate sends you a reaper instead. All he can do for you is kill people. I'll likely give this a pass and wait to binge later. I'm planning to try SHADOW and I can only handle one Thai horror at a time.

11/25 The Sign (Sat ????) ep 1 of 10 - trailer here, horror-esk, but with a suspense and adult characters. Special investigators who loved each other in previous lives reunite with their new bodies, stars Billy Patchanon (BillySeng) & Babe Tanatat (new). Includes other SCOY favorites as a special investigation team. I may give this a try because I like the non-horror bits.

11/26 The Whisperer (Sun ????) 1 of 10 - trailer here. Thai horror BL that ALSO involves cheating (what joy is mine). He has dimples (My Ride) but I don't think even that gives me the will. Maybe a binge for me.

11/26 Cooking Crush (Sun YT) 1 of 12 - OffGun are back, trailer here. Adapted from the novel “Love Course! เสื้อกาวน์รุกเสื้อกุ๊กรับ” by iJune4S this is about Prem who runs a not-so-popular restaurant with 2 friends. About to go on a cooking competition with a huge reward, Prem gets involved with Ten, a stressed-out med student who wants Prem to teach him to cook.

11/30 For Him (Thurs ????) ep 1 of 10 - high heat trailer, I suspect iQIYI will scoop this one up. From the people who brought us Unforgotten Night (please no) based on a y-novel, man nursing a heartbreak has a one-night stand, but the other boy didn't want it to end. It looks terribly trashy so I'm in! Maybe I'll do a trash watch?

VIP Only (Taiwan) - may be delayed/canceled

Wuju Bakery AKA Space Bakery (Korea) - this one may be DOA

A Breeze of Love (Korea) - I know less than nothing about this.

Nov 2023 line up with screen caps here. Not kept updated.

Original 2023 forthcoming BL master post (see comments, some are inaccurate, NOT KEPT UPDATED).

THIS WEEK’S BEST MOMENTS

Yang's little smile! Argh. (Love in Translation)

This is our mean and grumpy gagster character talking about playing in game support roles. It's fucking adorable. Such a nasty criminal. (My Dear Gangster Oppa)

(Last week)

[utilitycaster]

Dimension 20's Failed Genre Experiments

(This is the "Has Dimension 20 lost its touch?" post I’ve alluded to; please enjoy some genuine criticism masquerading as a riff on those sorts of articles for other shows.)

Dimension 20's debut and flagship burst onto the scene with a simple and elegant premise. What if a John Hughes movie were set at a high school for D&D adventurers? Its next full length pre-recorded season was the similarly strong urban fantasy The Unsleeping City, which in turn was followed up by the channel’s most ambitious outing yet: the Game of Thrones in Candyland mash-up, A Crown of Candy. 

Widely considered to be a watershed moment for the show, A Crown of Candy explored darker themes on a famously comedic platform, was the first on the channel to have permanent player character deaths, added new mechanics and limited what the players could choose to fit the world to support this more serious tone, and on a structural level, was a welcome departure from the prior rigid alternation between episodes of combat and episodes without. It was filmed prior to the pandemic but went to air in early April 2020, when many livestreamed actual play shows were on pause and even some podcasts were scrambling to figure out remote recording. D20 introduced their talkback show as a way for the cast to hang out remotely and chat about each episode, and Adventuring Party has remained a companion to the main show. The channel had hit its stride.

Its House of the Dragon sidequest, The Ravening War, aired three years later. Despite a complicated reaction to its announcement, it was a well-received outing, but one on what had by that time become a noticeably bumpy road.

Sidequests like The Ravening War are what D20 calls its shorter, 4-10 episode seasons that do not feature the main “Intrepid Heroes” cast in full nor necessarily feature Brennan Lee Mulligan as DM. We've seen everything from the perspective of the villains in both a Lord of the Rings clone (Escape from the Bloodkeep) and a Dracula homage (Coffin Run); to a Regency romance in the Feywild (A Court of Fey and Flowers). In addition to Mercer, Jasmine Bhullar and Gabe Hicks have each run a sidequest, and Aabria Iyengar has run three. And while the Intrepid Heroes' only venture outside D&D so far is the D&D-inspired Star Wars 5e, sidequests have been run in various Kids on Bikes hacks and Hicks' own Mythic system, as their shorter format makes it even easier to experiment with the parodies, pastiches, and mash-ups the channel is known for.

There have however been two notable failed experiments, and their close proximity (both released within the past year) could be a hiccup, or could be a sign that D20’s ambition, while admirable, could use some serious reining in. They are Neverafter and Burrow's End.

Marketed as the horror season, crossed over with fairy tales, Neverafter started out strong. Only three episodes in, there was an unprecedented (for D20) total party kill. The subsequent episode is the zenith of the season, in which each character is brought back, most of them changed and twisted by the experience, playing out an analysis of their role as an archetype within these stories: Sleeping Beauty and the classic roles of The Princess (introducing such NPCs as Cinderella and Snow White), for example; or Puss in Boots as The Trickster.

Unfortunately, the quality dropped soon after. It was revealed that the darkness spreading across the fairytale multiverse was due to the influence of The Authors, and the story began to be one about the concept of stories...while still trying to incorporate not only the plotlines of the fairy tales the main PCs were from, but also an intertwined conflict between the fairies and the princess NPCs. With this, the horror, with a few exceptions, melted away: violence and monsters are standard D&D fare, and when heroes race to save the world and victory seems not only possible but likely, any distinction between horror and a typical D&D heroic fantasy is lost.

It’s not the first overstuffed campaign, but it certainly is the first one that fails to land on several levels. Starstruck Odyssey is similarly chaotic and rushed at times, but it consistently sticks to a broad message of personal autonomy and freedom within late-stage capitalism. Mulligan is famous for his capacity to spin endless dense lore off the cuff, and if it at times overcomplicates the plot of the packed and colorful comedic space adventure, at least it contributes to the baked-in excess of the setting. But Neverafter's postmodern flourishes against a horror backdrop desperately needed an injection of sparseness and silence it never received. 

This is enhanced by the nature of actual play: with a few exceptions, even when filmed and even with the elaborate production values of Dimension 20, it is first and foremost primarily an auditory medium. We only know what is narrated to us. Neverafter did not permit its audience the time and space to fear the unknown. The existential horror of the metanarrative, of being a character doomed to a specific ending, while touched on by some of the cast (particularly Siobhan Thompson’s Sleeping Beauty), took a backseat to models of giant spiders and tales of undead dwarves. The story lacked the room to build real tension, but also failed to adequately create the claustrophobia of being truly trapped within its narrative. It feels more stuffy than unsettling.

Burrow's End is far less airless, but profoundly disjointed. Neverafter thought it knew what it was, but Burrow's End went through multiple identity crises by the halfway mark, and the marketing for the series reflects this.

The initial trailer makes it seem like a cute if dramatic story about a family of stoats - think Redwall, think Wind in the Willows. The first episode was excellent, however, and sold many who had been unimpressed by the trailers on the series, with its well-played setup of the clear Watership Down/Mrs. Frisby and the Rats of NIMH parallels with a unique twist in the form of The Blue.

The promotion took a strange turn, however, with the second episode and its infamous bear carcass battle map. It was hyped as uniquely horrifying, with a teaser video posted of the cast shrieking as the map, unseen by the audience, was wheeled past them. This seemed rather cavalier of the channel once the episode was posted, accompanied by a gore content warning covering a period of well over an hour...which was then further undercut by an exquisitely crafted, but ultimately rather tame display of a bear's innards. It was left out on the table during Adventuring Party as well, further reducing the idea of any meaningful shock factor (or any attempt to accommodate those in the audience who were triggered). The combat this map was for was a creative one, and the episode itself high quality, but it furthered the sense that Dimension 20 itself was unsure of what they were trying to get people to watch.

The series continued on with two more excellent episodes as it reached Last Bast, a clearly man-made structure full of thousands of stoats, with a strong dash of the police state. The actors immediately clocking the flaws of this society, but their stoat characters having no similar sense, led to a fascinating tension. However, the Blue (called the Light in Last Blast), previously described as some animating force and driver of magical power, and mysteriously concentrated in the brain of the dead-but-animated bear, was then revealed to be ionizing radiation.

At this point, the details of my own life become relevant. My career is in the field of health physics. I hold a master’s degree in this specialty and have served as a radiation safety officer, though not at a reactor. I don’t think that this background is a requirement to understand the structural issues of this season; but it certainly made me particularly attuned to the flaws.

Before you claim that this is just a show and who cares: In addition to my love of actual play, I am also a fan of comics and all sorts of speculative fiction. I am well aware that Spider-Man’s “radioactive blood” would not realistically grant him spider powers; I know that going into a high radiation field would not create Doctor Manhattan; I know that Superman does not actually have ‘x-ray vision’, and I know that radiation creates neither kaiju nor rad roaches. This is fine. In comics, radiation is a shorthand for “mad science” or “mysterious powers” with a sense of the lethal and the eldritch and the hubristic. The story is not so much about the source of these powers, but rather the great responsibilities they require. Godzilla, meanwhile, is clearly a metaphor for the very real nuclear devastation of Hiroshima and Nagasaki, and Fallout is an anti-proliferation and anti-war message with nuclear annihilation as the set up for its post-apocalyptic setting. These works understand that radiation is a limited-use plot device, and, wisely, they keep it simple.

Burrow’s End, by placing radiation front and center, has lost the message. The themes of the story are irretrievably muddled: what seems like a tale of family displaced by human intervention now positions a man-made hazardous material as both sinister corruption and divine boon, and engages neither with a fitting narrative of both the pros and cons of technology, nor of human and animal symbiosis. The finale establishes the latter in a rushed cut scene reliant on a single persuasion roll, and the two episodes prior to that meanwhile establish that while the humans first introduced radiation to the ecosystem, the first five stoats were the ones who sought it out and disseminated it and built the police state, and their true nemesis was Phoebe, one of their own. This culminates with Phoebe, the previously unseen fifth of the first five stoats (who have by now already been killed by the heroes), piloting the body of a 20-years-dead human, threatening to somehow cause global radiation contamination as her grand Evil Scheme. Unnecessarily, from a narrative perspective, I might add; this occurs after the final combat has already begun and she is magically controlling two of the party members. They’re already going to kill her. It’s a hat on a hat on a hat, and the humans are incidental.

When I was a child, I was enamored with the sort of stories in which children are sent to another time or place and then return with seemingly no time passing, and at one point excitedly told my mother I had an idea for a story, of what happens back while you’re time traveling. My mother, a fan of speculative fiction herself, and never one to coddle, told me “nothing, honey, that’s the point.” I wonder if something similar happened here; an attempted deconstruction of those radiation-granted superpower tropes, focused so hard on being clever it overshot into something anything but. Other elements of the story - particularly the weak pun of “copper” to hammer home the already obvious theme of population support being the arm of the police - make me think this was indeed an attempt at cleverness that missed the mark.

I am happy to elaborate on the flaws of the science elsewhere but I think the most succinct way to put it is that while the biology and habits of stoats sans radiation has been considered with what seems to be at least a modicum of love and care (their use of pre-existing burrows, Viola’s pregnancy), the radiation science/understanding of recent nuclear history can only be described as abysmally neglectful, in and out of game. They let a Loss of Coolant Accident go on for three days with a remarkably casual attitude? This disaster was sufficient to result in what appears to be an exclusion zone (of which there have been three, ever, in human history; two of which are the immediately recognizable Chernobyl and Fukushima) and yet it isn’t being monitored closely enough for someone to notice that there’s been penned animals next to the building for years (let alone that the building itself is teeming with stoats)? For that matter, they’re opening the site only twenty years later? After the “radiation dust”, apparently present on the fully maintained roads by the reactor, but neither within nor in front of the reactor, just now made 14 people bleed out (not how Acute Radiation Syndrome works; also 14 deaths from ARS in 1982, when the series is set would in fact be an unprecedented disaster. In our world, Chernobyl - which had not yet happened in 1982 -  is the only nuclear accident that exceeds that ARS death toll.)

Radiation becomes an all-purpose plot engine with no internal consistent logic: it kills humans swiftly and brutally (though based on statements by Dr. Tara Steel and the fact that she seems fine in only a hazmat suit - which shields from contamination but will stop neither gamma nor neutron radiation - only via inhalation). But it infects chipmunks and bears with corruptive and bizarre neurological effects, turns wolves into horrifying but loyal hybridized monstrosities, and conveys to stoats not just human intelligence, but mastery of human language, magic spells, and the ability to come back as a revenant through force of will…though it also can immediately kill them, but also extend their lifespans, but also cause them to slowly mutate into wolves (but not through DNA splicing transfer, that would be silly). It kills 14 humans nearly instantly with off-site dust, but another survives a fiery attempted core meltdown with no apparent ill effects.

There is an excellent and thoughtful story about family, generational trauma, and political structures somewhere under here, and the incredible cast does its damndest to sell it, but it is all but lost beneath a sci-fi whodunnit that would make Ed Wood cock a skeptical eyebrow.

Neverafter and Burrow’s End’s respective collapses under the weight of ambition coincide, perhaps unintentionally, with some of the more dubious film editing choices on Dimension 20. Filmed actual play can be visually unexciting, and Dimension 20 has used simple shot/reverse shots, as well as some sound effects (notably for critical hits and fails) throughout its run to break it up. Neverafter, however, is marked by deliberate hisses and glitches, fractured split screens, echoey vocal effects, and nails-on-chalkboard screeches. This did not add to the atmosphere as intended; at best they were irritating and for many made it actively harder to hear key dialogue. Burrow’s End’s editing has been simpler, mostly relying on some, to be fair, well-placed cuts to black and voice distortion to indicate taped or radioed segments; but a key moment - Jaysohn’s potentially fatal rush into radioactive waters - is undercut with a frankly cheesy montage. Others I spoke to compared it to Indian soap operas, 1960s Doctor Who, The Oscars In Memoriam video, and reality show farewell reels. It takes what could be a tense potential character death - something D20 already handles wonderfully with their iconic Box of Doom - and makes it cheap and tacky, particularly jarring given the beautiful and haunting shadow puppet animation the season had previously delivered to convey the stoat creation myths. (And then, when Ava falls into the waters herself saving him, she merely comes back as a revenant with no ill effects. The stakes were never there to begin with in this smoke and mirrors season.)

Praise for Dimension 20 often hinges on its original innovative structure; most actual play shows skew towards more longform storytelling. However, the short format comes with a price. The fixed length of D20 seasons and the elaborate, custom made maps require a deft GM that can guide players to the exact right place without it seeming forced. Threading the needle is harder than it looks; even the otherwise iconic Fantasy High debut season stumbled towards the end when the players were too good at uncovering the mystery, and Mulligan had to place their characters in an inescapable prison in order to pad out a pre-scheduled episode before the finale. Perhaps the strain of this constant need to live up to a reputation as high-concept innovators, rather than simply create something good and cohesive, is beginning to show. The higher production values in Neverafter and Burrow’s End cannot hide their messy plots and confused messages, and indeed only highlight them. One interview said that for Burrow’s End, Iyengar wants the audience to trust her; after Burrow's End, I can’t say I do.

The next Dimension 20 season after Burrow’s End is a long-awaited return home to the flagship: Fantasy High Junior Year. Let’s hope this reminds the channel where they came from, and what magic they are capable of making when they keep it simple.

[s-aint-elmo]

digging out the eah content i created in a frenzy during last year’s summer of obsession part 1: my personal sapphic multishipping guide (created to explain to my friends which of these dolls i think should hold hands)

(more in-depth discussion of the ships below the cut)

the polycule that will take over ever after

kitty/lizzie; kitty/maddie; maddie/lizzie

self-explanatory. frequently purchased together do not separate. bonus shoutout to maddie canonically giving kitty a little kissie on the cheek and getting off scot-free in the books though. a wonderlandiful world was a banquet to me

cedar protection squad

once again a wonderlandiful world and once upon a time i owe you my life. kitty ESP being so adamant abt not giving a shit then turning around and fucking up those boys who were mean to cedar...... i love friendship

kitty/cerise

also self-explanatory. she was a catgirl she was a wolfgirl can i make it anymore obvious. also doribuki’s phenomenal fake dating fanfic....... transformative foundational transcendental

cerise/raven

YOU MUST UNDERSTAND. i entered eah a rapple shipper and exited the book series ready to burn at the stake for cerise/raven. book two was SO MUCH. it had everything. raven befriending cerise despite her attempts to isolate herself. texting in class. winking at each other. raven meeting the parents and hearing embarrassing baby cerise stories. cerise putting it all on the line to save raven. i’m ambivalent about shadow high but cerise gets literally one (1) mention and it’s in raven’s internal monologue wherein she equates cerise’s hood w feelings of warmth and safety. like how was that in any way necessary. i rest my case 

raven & maddie

self-explanatory as well. dabesties. the ride or dies. it means so much to me that raven always has a friend in maddie no matter how many clowns and jokers (derogatory) treat her like the antichrist. maddie the character ever

raven/apple

WHAT IT SAYS ON THE TIN. the gelphie dynamic is a classic and i am EXTREMELY vulnerable to it. they are THE ship and i will pay my respects to the end of time. i am a big fan of how they trade their roles throughout the franchise and how rich the drama and history are between them. it’s pure fucking poetry.

raven/darling

TBH. a serve. the only thing juicier than evil queen/damsel in distress is evil queen/princess charming. big big fan of darling giving raven the five star princess treatment after a lifetime of being feared and shunned and vilified. equally big fan of raven’s momentous act of rebellion giving darling the courage to be true to herself. ALSO. the absolute archetype-subversion slay of the Pure-Hearted Hero(TM) confronting the Mistress of Evil(TM) and dropping their sword. looking through the smoke and mirrors and the will of Fate itself to see the girl who has wanted nothing but to be kind beneath. swearing their heart and soul and sword to the one true good they have found. picture it. i can almost see the 100-word drabble

raven/apple/darling

now THIS is just THE fairytale couple. the evil queen, the damsel in distress and the princess charming ALL holding hands and riding off into the sunset together. dappling on its own doesn’t do it for me but raven in the mix just makes everything gel perfectly. she’s the tomato in the ratatouille the cornstarch in the spring roll water, etc etc

darling/holly

this is one of those ships where i read a really convincing fic and the more i thought of it the more it just made sense. like they'd read swashbucklers and tales of courtly love together. holly would 100% write a darling placeholder in her self-insert romance fanfic pre-relationship as a way to express her feelings. darling would 100% find out and gently pull her out of the pit of sheer mortification she drilled into the ground to escape. also the height difference is a thing of beauty

safe from the polycule

duchess/poppy

they have one singular episode to their name and it was enough. it was Everything. the dynamic you can extrapolate from that one single interaction is so incredibly appealing to me. duchess’s bitchiness belied by her palpable air of vulnerability coming up against poppy’s spine of steel tempered by her skill in gaining perspective. poppy can challenge duchess into being a better person and duchess can be poppy’s character flaw like idk she just has shit taste in women that was the price she had to pay to be moisturized and unbothered by destiny. i just think they have the potential to be the unexpected, inexplicable power couple of eah

briar/faybelle

do i even need to say anything they had a whole movie to make their case. they’re rapple if rapple got their shit together before armageddon, with the bonus of a potential curse-breaking true love’s kiss for the fanfic authors to thrash between their teeth. truly unlimited. also unlike rapple where raven is 100% against being a villain and therefore it’s apple who has to do the mental gymnastics to open herself to the possibility of a relationship w raven, faybelle is just chomping at the bit to make her momma proud and presents a compelling perspective for the whole “falling in love w your fated nemesis” thing

blondie/cupid

they are icons, they are legends, and they ARE the moment. these two are so chaotic individually, what with blondie’s criminal skillset and habit of menacing innocent woodland creatures and cupid’s matchmaking powers combined w her shitty aim, that putting them together can only mean good things. there’s this whole element of their shared passion as public figures who at their best seek the truth and guide others through matters of the heart respectively that’s always interesting as a point of irony/obstacle when they start catching feelings and have to decide what to do with them. their joint youtuber/podcaster slay can level nations

[kosmicdream]

Please don’t think of me as a male artist.

..is what i used to feel, for many years, even when I finally came out as trans. In a way, its one of the factors that kept me from pursuing HRT (which im so glad i finally did.) After only one year, my feeling on this hasn’t evaporated completely but i suppose I kind of don’t care anymore about how I am interpreted, as a person/artist, ect.. It isn’t something i can be in control of anyway, which upsets me less than it used to.

Sometimes in the past, the way i write characters has often been analyzed by the gender I am, or appear to be - that my male characters were written like how a woman writes men (too emotional/vulnerable, ect) , or how my female characters are written thoughtlessly- like how a man would. (too horny, stupid, violent, ect.) Its not a new way to analyze a story but I can’t say that it doesn’t annoy me. It could still be true that my characters/writing could fall into sexist/problematic archetypes, but gendering my work based on the way my characters act always reminds me of the “you draw like a girl/boy” comments, which used to be more frequent when i was a teen.. But the idea that boys = angular, good at cars! Or something and girls are, i dunno, gonna draw sexy anime men or something. Even as a teenager, i hated this idea that my art was “girl art.” Truthfully, i always viewed my art and myself as an artist as genderfluid, maybe even a type of drag performance, where i can explore any gender and not be limited by my body, it was my escape from that. Which naturally, it became my place to explore gender presentation and eventually helped me “crack my egg” of realizing i was a trans man.

I do think its important to reflect or regard my work as the art made by a trans man, or transmasculine person. I feel more and more just like “just a dude” these days. I am also a gay man. I think those things are important to my work. I think that the analysis of my work in regards to my identity as a person is important to reflect on. I also think the steps I took to get there were important, that transformation and my continued exploration of my older selves and more “label-less” self in the art i make. That’s a private space for me, that I happen to share with the world too. I feel the audience is part of my work too, I welcome it even. I have become part of the audience too and I look at my work as if I’m also a stranger. The older my work gets, the more of it I can study, the more I can see plainly how I got here and also it feels so confusing how it did. I try to study my art to help me find where I want to go to next, a map to guide me. 

In some ways, I feel more lost than I did before, where all my instinct was pushing me was just to grow and explore as much as possible. Now, I don’t have that same type of energy that I used to. Its not a bad thing, its just different. There’s a sense of duty and commitment and a sense of dread of the time it takes to do what I feel compelled to do on this step of my journey. I am trying to focus more on the things I used to think I was incapable of before and I’m trying to remember the things I used to think were so effortless. I can tell my art is sharper but it feels almost like a mimicry of my older selves - at least when I revisit old work to continue its journey past where its been frozen in time. Comics take a long time, after all, it's normal that after a few years - a story might be yours, but it feels like it belongs to the past of you too, maybe more than it does in the present. I like the commitment I have to my comics though, its not a burden to me. The feeling is strange anyway. 

I tend to think that 1-3 years of a project being made, those are the honeymoon years of the relationship. But you hit a wall in 4-5 years and sometimes you’re in denial about it, you try to keep the dreams and feeling alive as you drag it forward, and sometimes the project really reaches its end around 8-10 years and it becomes a type of empty promise to return to it. Not that this is true for every artist, every project, ect. But I think its a natural lifespan for comics that I’ve observed, and it's because it is uncomfortable to face morality and the morality of our own art. Art is this escape, and when it becomes a job - or an uncomfortable mirror into these things about ourselves, about our failures and promises we couldn’t manage to make, the pressures of the audience, the boredom of the task if you have already told yourself the story a thousand times and you have no longer a desire to continue it, ect - its a normal and natural feeling to want to drop it off a cliff. Blow it up, start over fresh - I know the feeling! Its happened many times. But its kind of temporary? Then, it cycles back to nostalgia - and the desire to create and recreate and reform the past to something tangible again.. uh

Sorry, sorry.. I am getting far from the point I started with. Not that any of this makes too much sense, I feel like writing it anyway. It bothers me that the fantasy of art to me, is the ability to dissolve yourself and stop existing, you are the creator creating. You don’t need to be confined by, really anything. It is in “your control” now, and you surrender your own control by falling into the art and letting it “lead you” places. This is a very seductive process and while it might temporarily be fulfilling (even when done for a lifetime) cannot really.. What.. completely fill the void of whatever you’re chasing down there? Its nice though. At least, when I think about when i first started drawing comics, it was to draw Vash the Stampede (from the original 98 anime series, i hate the new one. We’re not talking about there here) coming out of my television after a thunderstorm and he had to just live in my house now. It was the closest thing I could do to actually manifesting that as reality, of making this amazing anime husband come to life to just like live with me now and be my boyfriend. In a lot of ways I don’t see my pursuit of writing ocs, specifically male ones, really much different from this same desire of like “i can just make my perfect boyfriend!” born out of the loneliness I felt in my heart, and the fear that there is no boyfriend out there for me so i need to frankenstein my own - and this boyfriend will be poifect in every way. Or like, crafting the perfect “relationship” in replace the lack of one, or just the fantasy of watching very abstract extremes come to life in various puppets i crafted, beating the shit out of each other for entertainment. But to subject all these.. Abstract Internal conflicts as simply like a “boy author thing” or “girl author thing” is like.. Tiring. Are we really not past that? (Of course not.) 

Like there’s some hidden truth to the way someone might write/draw, the way that “makes sense” in retrospect once the identity of the author is analyzed and discovered.. How can you make sense of the self, let alone the other .. and In a way that’s permanent? And gendered? Does art now have an inherent sex characteristic? But I cannot deny that I do want my art to look and feel like part of who I am, what I have chosen to sexually identify as - a transgender, a man, a faggot. I DO identify as a sexual deviant, but that is hilarious because I have been single for so long at this point I can’t even remember in a tangible way what that felt like and I question if I ever felt it or experienced it “for realsies” because of the experiences I have had or havent didn’t feel very fulfilling or romantic, despite that being something I desire so much - and so I feel like a failure. And to create art just based on the fantasy of desire rather than the lived reality, can it even really display what that would actually be like. So its embarrassing, right? 

I have worked on my art a lot and I have often thought, or come to the conclusion (true or not) that my singleness is the result of my pursuit and dedication to art - which is the pursuit of self isolation and protection from harm. From influence, from acknowledging that life can exist and someday end. And when you work on projects for years and years, the pride/shame dichotomy only gets more.. Weird. It gets weird, guys! It always was weird, but.. I just think about so many my heroes, my art inspirations, working decades on their art.. I follow in their footsteps too and it feels scarier and lonelier than I expected it to be. And the more and more I realized that as a reality, as my 20s faded away, the more I kept walking. I wasn’t gonna stop now, even if I could, I don’t want to and its not hard to do other things too. I have a slower pace than I used to (thank god) and gets slower but I’m still moving. 

I don’t post or write my little art journals as much as I used to. Mostly cause I don’t really have anything good to say and it kinda feels embarrassing to post them too LOL. But.. whatever!! Its been a weird four months of me being off work and I’m about to go back to being a normal working person again.. But its like, its weird to tell people about your art when they ask about what you do. Its like “oh yeah, i draw webcomics” and they wont get it, you’ll say - “yeah its 8,000 pages long” and they’ll say, “thats a lot!” and it is. They’re very nice about it, but there’s a lack of satisfaction there with what that means. I don’t expect it, that’d be dumb as hell. Its nice to take a break from it too, to discover other sides of myself I never let shine because i stayed indoors for a decade, but its a weird feeling too. Like, what will it mean in the end? I don’t really know. 

I don’t think I need “success” to feel like this was worth it, its not like a trophy is gonna come in the mail for the good workTM I’ve done - there is no closure to the work I make even when a story finishes. I have to keep going regardless of that, and its strange to know it won’t ever feel done. But I am so thirsty for that temporary itch to be scratched, it keeps me working every day for the “maybe” of what that might feel like. Kinda silly, really. Is it my “male” pride that demands recognition? Would respect be given more freely if I had “remained” to be perceived as a woman, for subverting the expectations for what a woman can/can’t write? (lol) Is my value as a person determined by that sort of thing in my art? I don’t think of my pride as gendered, but I know its there and I know because of who I say I am, my pride will be gendered by others. I think when I was a woman, that pissed me off more than now because.. Well.. I wasn’t even living as the way i wanted to. I still don’t really live as the way I want to, the way I want to be perceived, but even being on HRT for a little more than 1 year, without much else lifestyle changes, I feel a little more at peace not mattering what others will take away from me or what i write about. I have a lot of my own expectations for myself and what i write about and that concerns me far more. 

I don’t really know how else to end this, I’m going to eat chocolate now. Oh, to answer your question (?) if you might have this one: can I think of you as a male artist, kosmic? sure. I am one after all.

[libbee]

The girl of her dreams.

🌼 For sun in 1st/7th/8th/12th; venus in 8th/12th; venus in scorpio, sun in pisces, sun in libra (my astro observation).

🌼 Naturally, we assume that it is men who dream of their dream girl, who they like and who they want to be with. It is strange to think that girls too dream of girls - albeit not the girl they want to date but the girl they want to "be". Have you ever sat in a social setting, checking out the faces of everyone and laughing loud/do something quirky to get a reaction out of people? In your mental world, they adore you, praise you, are captivated, bewitched and admire you. Aren't you just so perfect?

🌼 Sit with yourself for an hour and see through your fantasies. The random images, memories, movie scene, music lyrics, conversation - what is it that pops up in your mind? I did this and saw a fantasy of Barack Obama dancing to Cheap Thrills. Well, I know the meaning behind the symbolism because I know myself. This is a symbol of a powerful, important, competent man dancing to a quirky, playful and youthful song - it is the merger of the two fantasies I have, on one hand desiring to be grandiose and on the other hand craving to be carefree and silly.

🌼 I am talking of the PUELLA AETERNUS. The spontaneous, autonomous, dissociative and fanatical archetype of a young girl who is outwardly a mess but inwardly a princess. The eternal child. The eternal youth. Unrealistic adolscent fantasies. Often manifested in motion pictures like movies and TV - so it creates a social pressure to conform to the idea of a woman who is very desirable to the masses. On a personal level, the girl herself lives in the fantasy world of how life is supposed to be, how people should comfort her, react to her and care for her. The paradise of childhood. The birdy in the nest. Flees from the cold cruel world and its realities. Daydreams and reacts to passive fantasies. Fatasies of future, what would be, could be, should be, without taking any actions. She has an imaginary attitude towards life, escaping to temporary comfort and running as far as possible from the reality.

🌼 Her problem is that she is missing a sense of identity, she feels fragmented and worthless. It is too much for her to cross the borders from fantasy to real world. In the modern world, she is expected to get education and do job, but all she wants to do is to be on social media all day. If you know someone like this, she is a puella - a little girl in an adult body with a father complex. Her playful and carefree facade hides deep insecurities. She idealizes the other people and craves their admiration. When the sun is weak in birth chart, it shows a father who was emotionally unavailable, distant and not there - resulting in low self esteem, stunted psychological growth and childish fantasies in the girl. A lot of women are like that, a lot of fathers were not available and active in their daughter's life, a lot of women stay puella even after marriage and children through their 40s 50s 60s. The forever 21.

🌼 If you can see yourself in this archetype, I have a bad news and a good news. A bad news is that you have essentially drifted your whole life in a fantasy. A good news is you can quit today. There is no "closure" or "the end" to your past story. The day you decide to quit is the day you commit to it. That ultimately is the only solution for this trouble. Work. Any work. Chores. Responsibilities. Immerse yourself in something. Study paint write work exercise. Just work. Test yourself. Challenge yourself. Every time your mind drifts to a fantasy, bring it back to reality. Remember that the social media even tumblr is a world of make believe. How many of us are puella but in denial? Throw yourself into the fire of life and let it rebirth you. Break down the ideal imagery in your mind and accept your humanness.

🌼 The shadow of this archetype is the Crone wise "old" woman. She is balanced, disciplined, hard working, realistic, conscientious, controlled and mature. Committed to work and immersed in whatever is her calling in life. She has sacrificed the wonder of fantasy realm. She immerses herself in the external world to find her individuality and to learn skills for life. There is no magical way. Just the practice, learning, practice, learning, practice. You can cultivate these qualities in yourself. Think it is too easy? Why not try. Habits are hard to break, sometimes very hard. Sylvia Plath was one puella who desired reconstruction of her life but took her own life when the conflicts were too much to bear.

🌼 I am reminded of the tarot card two of wands in this context

The globe in his hand is the projection of the inner fantasy world while he gazes out over the bay at the real world, the realities of life, the potential in him, the challenges he must face, the risks he must take. He has to choose a decision, to leave comfort zone, and compare the two worlds side by side. On one hand is the inner fantasy world that he holds in his palm that he escapes to for temporary comfort while on the other hand is the external reality, hardships and worldly successes. You cannot live in your inner world forever. Commit today and henceforth the fantasy world is meaningless to you. I read this somewhere: *"Sometimes people have to injure themselves very badly in order to awaken to what life really is"* - that is sometimes the only solution to life problems. The anxiety and fear never end, you just work through it and claim your life in your hands.

🌼 "If you want to go your individual way, it is the way you make for yourself, which is never prescribed, which you do not know in advance, and which simply comes into being of itself when you put one foot in front of the other. If you always do the next thing that needs to be done, you will go most safely and sure-footedly along the path prescribed by your unconscious. Then it is naturally no help at all to speculate about how you ought to live. And then you know, too, that you cannot know it, but quietly do the next and most necessary thing. So long as you think you don’t yet know what this is, you still have too much money to spend in useless speculation. But if you do with conviction the next and most necessary thing, you are always doing something meaningful and intended by fate." - Carl Jung.

[theweeklydiscourse]

The dynamic and initial characterization of the Archeron family in ACOTAR is…frustrating.

Trying to make sense of the Archeron sister’s backstory in conjunction with their future character development is enough to drive a person to the brink of madness. It’s a straining experience to try to accept the story on Maas’s terms due to how jumbled the continuity becomes as the series progresses. Specifically, the dynamic of the Archeron sisters feels artificial and contrived. It’s a dynamic meant to evoke as much pity as possible from the reader and in doing so, it creates a clash between Maas’s first draft of these characters and their future developments. I find that it makes it difficult for one to immerse themselves in ACOTAR’s world building and characterization because it lacks harmony with the rest of the series. Furthermore, Maas writes a kind of suffering that is indulgent and gratuitous, not seeming to care about how doing so might create problems in her story later on. It makes analyzing the later developments in the story akin to fist fighting the narrative in a Walmart parking lot at 3am.

Example #1 : The Dissonance of Nesta and Elain

The initial characterizations of Nesta and Elain is shallow and although they develop farther along in the series, they can never quite escape the impression of their introductions. In the early chapters, Nesta is a haughty ingrate who staunchly refuses to help Feyre with running the household while Elain is clueless and unhelpful. They behave terribly towards Feyre, but in a manner that feels like something out of a stand-alone story for young children and not the first book of a trilogy.

“Nesta picked at her long, neat nails. “I hate chopping wood. I always get splinters.” She glanced up from beneath her dark lashes. (…) “Besides, Feyre,” she said with a pout, “you’re so much better at it! It takes you half the time it takes me. Your hands are suited for it—they’re already so rough.””

“Her brown eyes--my father's eyes remained pinned on the doe. "Will it take you long to clean it?" Me. Not her, not the others. I'd never once seen their hands sticky with blood and fur.”

They are the embodiments of the “evil stepsister” archetype but are written with no nuance or thought for how their future development might look. They are tools that exist solely to make Feyre’s life as hellish as possible and this is especially apparent with Nesta. Nesta’s initial one-note meanness confounds me, especially when her character is expanded upon later in the trilogy. But here, she acts cartoonishly cruel and spoiled like the sisters in Cinderella and her initial moments do not do enough to suggest her complexity that is eventually used in ACOSF. This dissonance in Nesta reflects the flaws of Maas’s characterization and follow-through. The story indulges in Feyre’s suffering and asks the reader to feel terrible for the plight of this poor and unfortunate soul… but it all feels so gratuitous.

I was never fully convinced by The Archeron family dynamic, how could I be when the characters are not characters but instead are torture devices for the main character? They are elements that converge to make Feyre’s life as miserable and pitiful as humanly possible, but does so in a way that feels utterly shallow and cliche. I can’t become invested in the way Feyre is mistreated because it reads as pain for the sake of pain, it’s shallow and uncompelling.

Example #2 : Feyre’s Non-Existent Relationship to her Unnamed Mother

“My mother. Imperious and cold with her children, joyous and dazzling among the peerage who frequented our former estate, doting on my father the one person whom she truly loved and respected.”

Another example of this relates to Feyre’s relationship to her deceased mother. Feyre is intent on honouring her vow to her mother and yet, it seems like she harbours no positive emotions towards her. Descriptions of her relationship with her Mother are scant and reveal very little about any potential closeness between them. From this passage, a read could surmise that Feyre’s Mother cared more for wealth and status than her children and had little affection for them as a result. It wasn’t as if Feyre and her mother were uniquely close or had a strong bond or something that might justify honouring that promise (especially when she comments on the unfairness of placing that burden on a child very early on in ACOTAR).

“There were times when I hated her for asking that vow of me. Perhaps, delirious with fever, she hadn't even known what she was demanding.”

So what is the narrative purpose of Feyre’s loyalty to a parent she was never that close with and breaking her back to fulfill a promise made in delirium? Her mother is a complete afterthought and yet Feyre for some reason puts herself through the wringer so that she honours that promise? Why? It isn’t compelling for the heroine to sacrifice that much of herself for a family that has no real emotional stakes in the relationship dynamic. THIS does not make a good story, it is so fixated on creating a tragic background for its heroine that it strips the supporting characters of all intrigue and ironically makes the mistreatment Feyre faces feel flimsy and almost comically exaggerated. HER MOTHER AND FATHER DONT EVEN HAVE NAMES!

Example #3 : Feyre’s Father

Feyre says that their family had been impoverished for 8 years, but I fail to grasp how a family of four could subsist on the income from an amateur huntress and her sales of animal pelts. Am I to believe that all of them spent those past 8 years twiddling their thumbs while Feyre did everything on her own? While I’m aware that this is a fantasy series, it seems unrealistic that Nesta nor Elain ever gave Feyre any substantial assistance when it came to running a household. The idea that their prissiness and spoiled attitude prevented them from lifting a finger makes no sense because a mindset like that would never allow them to survive in such an environment. None of them have jobs or bring in any income to support the family and somehow I’m meant to believe that Feyre’s earnings were enough to support all of them. Meanwhile, her father is too ashamed to even attempt to aid his daughters.

Feyre’s father is presented as feckless and an object of resentment for Feyre and Nesta. Although he is given slightly more depth than Nesta and Elain initially, he is never truly expanded upon as a character and is confined to a pathetic characterization.

“What I really wanted to say was: You don't even bother to attempt to leave the house most days.Were it not for me, we would starve. Were it not for me, we'd be dead.”

Oh look! Her father is useless too! Her only living parent who “hadn’t argued when I announced that I was going hunting.”. Although papa Archeron is kind to Feyre, this doesn’t culminate in a meaningful character arc later in the book and his inaction as a father is left to fester. Feyre’s relationship with him is similarly shallow with her relationship to her mother and does not offer the reader anything to latch onto when Feyre leave her family towards the end of the book. I just feel that the story would become so much more emotionally compelling if there were any reasons for Feyre to truly have a connection with her family and if it were not a barrage of misery.

So basically…

I just can’t become invested in Feyre’s plight when it is so indulgent in her suffering (at the expense of some potentially compelling characters). It feels manufactured, it doesn’t feel real (in the sense that it is extremely contrived) and I hate how Maas makes the family dynamic more emotionally nuanced later on in the series, but is constantly at odds with the initial impressions of these characters. The potential is there, but Maas seemed to care more about making the backstory as sad and tragic as possible rather than considering any potentially complex emotional realities the characters would have to grapple with later on.