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alice-after-dark · 2 days

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back at it again with my shitty fandom hottakes — if you’re still accepting asks about the whole “canon v. fanon” thing, that is — because i have ✨ opinions ✨ that have been ruminating in my head for a while now and i kind of wanted to throw them out into the void (i DO humbly apologise for the length — i have more than one talking point and am not known for my brevity lol)

(1) Alastor being sex-repulsed, or just sex negative in general.

yeah, we’re getting the controversial one out of the way first: probably should clarify that i personally AM a sex-repulsed aroace and therefore, i can See why people, including our fellow aces, naturally come to this conclusion — really, it’s only when people tote this statement as fact *specifically* to deter shipping that annoys the hell out of me. Alastor is a mysterious character: we REALLY don’t know much of anything about him in the grand scheme of things beyond what he *chooses* to reveal and that includes the matter of his sexuality — and frankly, he doesn’t reveal much of anything on that front, man doesn’t even know what an “asexual” *is*, XD. Most evidence I’ve seen citing his so-called sex repulsion that *isn’t* just dubiously canon at best supplemental material such as the Hunnicast or simply headcanon being repackaged as fact are the two scenes where Alastor turns down Angel Dust — a character who, especially at that point in the narrative, is VERY forward in his hypersexuality. The thing that i just don’t see a lot of people acknowledge, however, is: (1) Alastor turns him down, yes, but not in any way that would characterize him as being *particularly* sex negative (“Ha! *No.*”/“Haha! Never going to happen!”), he’s just bluntly rejecting Angel Specifically; and (2) Husk *also* rejected Angel and far more overtly before the two started to genuinely bond + is much more open about his discomfort with Niffty’s kinks, and yet he isn’t treated as sex-repulsed by the much of fandom — quite the opposite, in fact. Frankly, while i can *see* the reasoning behind portraying Alastor as sex-repulsed, the idea of him being this sex negative person who lashes out or faints at the notion of literally *anything* that can be perceived as sexual to be laughable when you consider his long-lived friendship with Mimzy — a *flapper* — and that he grew up in a period of great sex revolution in the United States: just because the 1920s is considered “prudish” by today’s standards doesn’t negate that fact; i can easily see Alastor as being repressed as a consequence of the time period and his unwillingness to adapt, but not to the extent that he’ll keel over seeing a fucking ankle getting flashed or while getting hit on — he *is* an adult, after all, and has had plenty of time to adjust to Hell’s general hedonism while not partaking in it himself.

(2) the infantilization of Charlie, Niffty, and Velvette. pretty self explanatory, i think: fandom in *general* has a pretty glaring issue of treating happy-go-lucky or just...short characters, especially women or neurodivergent characters, like children and it’s not *just* limited to hazbin fandom — it just makes me sad.

Charlie gets it slightly less *severely* compared to the other two, i believe, but i still see it crop of in some sects: yes, she’s clearly sheltered, and yes, she wears her heart on her sleeve to her detriment, but she’s also a grown ass woman (Faustisse — who i don’t personally consider a reliable source for most things relating to the current day show by virtue to them having left the project in 2020 — has stated that she is around 200 years old, so i’m going with the general assumption she’s older than MOST sinners here) and she *is* trying to run a business beyond feel good therapy exercises, however messily because, frankly, she isn’t particularly *good* at doing business: still, i see certain sects of the fandom treat and portray her as having the naivety of a child, reducing her to an “uwu smol bean” blindly trusting even the shadiest of fuckers like Alastor without any hesitation or critical thinking whatsoever under the notion of “well, EVERYONE can be redeemed” and relegating characters like Vaggie to be glorified babysitters at *best*: in canon, yes her ideas of redemption aren’t particularly well-rounded *yet* and it’s clear there’s a disconnect between her and other sinners due to her upbringing, but she *isn’t* an idiot — she’s well aware Alastor is shifty as fuck and doesn’t have her best interests at heart no matter how much she hopes he secretly *does* care, that’s *why* she held off on making any deals with him until she was driven into a corner, and she has no problem calling people out on their shittiness or showing her teeth just because she leans more towards pacifism compared to the rest of the cast.

Niffty, frankly, isn’t treated *much* better in canon compared to fandom, but that’s honestly a rant for a *different* day: it’s obvious she likely has SOME kind of disorder to explain much of her more eccentric behaviour, frankly we can speculate but we simply won’t know for sure until we know more about her in general, which *may* come in s2 considering where things left off with her. Oftentimes in fanon, she’s pigeonholed into simply being “Alastor’s hypomanic daughter” rather than her own individual character, which is a shame — it’s obvious the two have an amicable relationship despite her being his thrall, but it doesn’t read as particularly familial to me personally beyond him finding her antics amusing (and in a, frankly, patronizing way typical of Alastor) — and she’s regularly coddled, not allowed to have relationships with other characters *beyond* a parental dynamic with deerboi or husk: despite the actual show pointing to her having, at the very least, a friendly relationship with Mimzy and the rest of the hotel’s guests, and her being a former housewife who’s explicitly into hardcore kink/BDSM.

Velvette getting this treatment is the most egregious to me, tbh: i’ve frequently seen her be boiled down to being staticmoth’s glorified wingwoman/their daughter rather than their *equal* and business partner — frankly, i think people hear that she was the “youngest Overlord” and took that in the most literal way possible to portray her as a glorified teenager, her being a social media influencer not helping matters in that regard because people tend to subconsciously associate social media primarily with teenage girls due to bias. i can’t speak on *some* aspects of her infantilization in fandom that gives me a particular case of the “ick”, but I can’t help but be bothered by it showing up even in work I *enjoy*. Food for thought, all that jazz.

(3) Vox being portrayed as this overly flirtatious and horny 24/7 voyeur creep guy, *especially* around Alastor. this may just be my bisexuality speaking, but it just...*doesn’t* sit well with me when so far the only *confirmed* bisexual male character in the show is written with this sleazy behaviour he doesn’t exhibit in the show proper — yes, he’s suave and charismatic, and clearly not a prude considering his frenching with Val and...well, Val: “[which whore] could i be talking about?!” Vox: [points to self], and yes, he runs surveillance literally *everywhere*, but...[sighs] He Would Not Fucking Say That, guys — where at *best*, he’s a horndog, and at worst, an outright rapist, who’s *solely* driven by his obsession with Alastor and fuck the rest of his character, i guess. It just...makes me uncomfortable. but hey, that’s just me.

(christ on a stick this is a lot, i am so, so sorry :skull:)

Oh, MK, this was delicious. Do not apologize for the length, I am absolutely delighted. I am always interested in hearing peoples’ hot takes!

(1) Alastor being sex-repulsed, or just sex negative in general.

I totally get you on this one and honestly, I never thought about the Husk angle but you’re absolutely right. Husk rejects Angel way more often that Alastor and yet I have never seen Husk labeled as sex-repulsed, yet Alastor is labeled as that for…doing the exact same thing? What? I’m asexual and possibly aromantic myself, and this just rubs me the wrong way with people just assuming because he’s asexual that he doesn’t like sex full-stop. Not how it works.

I also really like how you point out the historical context of it. The 1920s were a time, man. This fic explores some of the crazy things that went down in the 1920s and it’s wild. But yeah, the idea that he would freak out over any little sexual thing (which…we actively see him not do?) is frustrating and kind of makes him out to be this delicate flower whose innocence must be protected.

Now, if people want to make him sex repulsed for various reasons, then go right ahead, but I definitely agree that it irks me when I see people trying to use it as an argument against literally any ship with Alastor.

(2) the infantilization of Charlie, Niffty, and Velvette.

Yeah, I definitely see this. Charlie is naive, but it gets ramped up a lot. People forget she is literally now an official war veteran and has actually led an army into battle. She is an overwhelmingly positive character, yes, but she’s not an infant. We even saw in the pilot that she was cautious and hesitant to even speak to Alastor, let alone make a deal with him (she slammed the door in his face twice). She is kind and emotional and optimistic, but she’s not stupid. She wants to see the best in everyone. This doesn’t make her a child. And like you said, we see her demon side come out when she’s angry. She’s not above getting pissed and letting it show when she really wants to.

I think people honestly forget that Niffty is not a child. She looks like one, but yeah no she’s an adult. Like you pointed out, this is done pretty frequently in canon and fanon. I honestly like her and Alastor more as friends than as a parental relationship, someone who entertains him and he genuinely enjoys the company of. I do hope we get to see a little bit more of her being an actual character in season 2 because I do love her and want to see better for her.

Velvette is complicated for me as the Instagram kind of did set her up as their daughter, so I think a lot of people got used to that concept. But honestly? I prefer them as equals. I can see Vox taking on more of a mentor role with her when they first started out while Valentino was more her creative BFF, but ultimately she is shown to be a capable character who can stand on her own two feet. I do think the whole social media thing and her being the youngest plays into her infantilization alongside her previous incarnation, but I definitely prefer her as an equal player in the game.

(3) Vox being portrayed as this overly flirtatious and horny 24/7 voyeur creep guy, especially around Alastor.

Fucking THIS. Okay, gonna just jump forward a bit here, but people calling him a creepy horny voyeur because of the cameras bothers me so much. HE. IS. A. CONTROL. FREAK. Those cameras aren’t for him to jack off to! They’re literally to siphon information and blackmail and anything else useful. He is a connoisseur of information. Literally every instance where we see him using his camera, HE IS INFO GATHERING. The one exception is when he is watching Alastor’s fight with Adam and that is clearly outside his norm. That being said, I think people take that scene and run with it, especially his comment about being “so hard right now,” which I think is ridiculous. He’s exaggerating, he’s having fun and joking around because the guy he hates is getting his ass handed to him. And the idea that his obsession with Alastor rules his brain 24/7 is a hard pass for me. The man is the CEO of a media and technological empire. He does not have the time to devote his every waking moment to obsessing over Alastor. In the scene where Pentious calls him, it’s pretty clear that Vox was busy doing other things both times he was called. He wasn’t sitting around with bated breath waiting for Sir Pentious to report in. He was just going about his day and getting his shit done.

Also hard agree as a fellow bisexual that it’s troubling that the only confirmed male bisexual character gets so hypersexualized in a way that he…doesn’t demonstrate at all? Literally the one time we see him get sexual is the fight with Adam. That’s it and yet suddenly it’s his entire personality. The flirtiest we ever see him act is during his part with Valentino in the finale and even that isn’t focused on sex or romance. It’s more them talking about being in power.

#hazbin hotel #hazbin vox #hazbin alastor #hazbin niffty #hazbin husk #hazbin charlie #charlie morningstar #hazbin velvette #ask #alice rambles #hazbin hotel vox #vox hazbin hotel

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nyxshadowhawk · 2 days

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A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

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This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the “aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

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