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laventadorn · 7 months ago

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This is half about danmei, which isn't the main or even tertiary purpose of this blog, BUT also half about writing in general, so here I stick it.

I've been reading danmei since 2020 but I've really struggled to write anything for it. If i measure success by just getting something going, the fic I'm currently working on is the most "successful" venture I've had. It took me ages to even crank out the opening scenes. Despite longing to write in the New Hyperfixation for a long time, I just couldn't grok it.

Initially I thought it was unfamiliarity with the background of the culture the media was based in. With HP, for example, there is a whole lot of English culture that's easily accessible to me, and I studied British literature in school for years. Obviously this isn't the same thing as being English, but it gave me enough of a background to fake it that once when i applied to a graduate program in England, they thought I was actually English.

But with china, there is so much I don't understand and can't access in the same way, so I thought perhaps that was the problem.

But now I'm thinking it's more about the literary approach.

The tradition I learned to write in is one of realism. I often cite Jane Austen as my favorite author; she was a writer of realism: people, situations, and style are all as close to reality as possible. She was actually one of the most hard-line realist writers of the time, even meticulously accurate in minutiae such as how long it took to travel between cities, or when you could reasonably expect to receive a letter. The way she renders character is also heavily based in the psychology of real people, especially in the latter half of her career. And I love the psychology of character. Nothing interests me more as a reader or a writer. It's what I use as a foundation for writing: how to render people and their emotional responses within a tradition of realism, so that they feel (as much as possible, given that i also love fantasy) like genuine human beings.

But this is not, in my experience of it, what Chinese BL is about.

Now, the first of my caveats is that plenty of western media isn't, either (though fandom tends to be obsessed with it to the point of mania, where a character's psychology is microscopically detailed, in particular their responses to trauma). But western media often maintains a veneer of it -- my favorite marvel movie is Captain America: the Winter Soldier, which features Steve feeling purposeless and empty in a world he no longer fits in. (And then his internal conflict is symbolically made external with the reappearance of his dearest friend, whose mind has been wiped to forget him.) That whole movie revolves around Steve's psychology. And that's a big budget blockbuster movie chock full of punchy, blow-uppy action scenes. It still finds time to make a character feel depressed and lost.

(They then did absolutely nothing interesting with it, but you know. They had a single moment.)

To a certain extent, if western media is character based, it has to explore the characters' mental state, and tries to do so in a way that enlightens both the audience and the character, opening up their dark parts and forcing them to change. We probably have Joseph Campbell to thank for a lot of this; his Hero's Journey was modeled heavily on the works of Carl Jung, the psychologist. In fact, Carl Jung was hugely influential in English-speaking literary criticism of the 1970's. (I say "English speaking" because that's the only field I'm familiar with.) To give you the biggest example I know of, Ursula K. le Guin's phenomenal Earthsea trilogy is steeped in Jungian psychology, no book more so than the opening novel, A Wizard of Earthsea. The climax of that novel blew my mind, by the way.

My second caveat is this: it's not that the patterns of Chinese BL don't have character work, or that they aren't concerned with the character's interiority. With my fixation on character, if those things were entirely absent, I wouldn't be reading these books. It's more that the media tradition of hyper-focus on the characters' mental state, the delicate unfolding of their psychology, is not what drives the media. The characters do suffer, and they have feelings and desires, but they are often preternaturally strong-willed and able to withstand horrific trauma while still maintaining their sense of self.

(Two characters really come to mind. One is Chang Geng from Sha Po Lang, whose "mother" repeatedly puts him through such intense physical and psychological abuse in his childhood that you wonder how anyone could possibly stay sane. But he's also been injected with a magical poison that will drive him insane, and gives him bloody nightmares every night, and requires him to drink blood -- you get the idea. The other is Gu Mang from Yuwu: Remnants of Filth, who goes through things that are just mind-bogglingly Yiiiikes. Each of them feels the pain, but realism isn't where we're trying to arrive at, because it would be impossible for a real person to hold it together under the things they endured. But neither of them is supposed to be like a real person. Chang Geng, Gu Mang, is supposed to be more.)

Nothing is always. To use the novel I'm writing for as an obvious example toward some measure of realism, Xie Lian spends Book 4 being deeply traumatized; it's part of his character journey and essential to the plot. But his character psychology is still not based in realism. It wasn't designed to be. MXTX herself said in her afterword for TGCF that neither Hua Cheng nor Xie Lian were remotely like real people, because they weren't supposed to be. They were supposed to be larger than life, more than mere existence.

So when I am puttering around with my Psychology of the Individual writing tool, I get a bit wrong-footed because the entire way that I approach writing does not seamlessly settle into this brave new frontier. How can I realistically explore the emotions and mind of people who are not written to be like real people at all? That's what's truly been stumping me.

#laventadorn dot txt #if i said something dumb about danmei just take it with a grain of extrapolating from a small sample size #with a basis in my own literary traditions that imperfectly understand those of a different culture #just trying to diagnose myself and figure out where the Issues are this time #i also had problems cracking into star wars and honestly #even though that's a western media #i think it was a lot of the exact same issue with me #i.e. the realism smashing up against the very not realism #since star wars is hugely archetypal and archetypes work in symbols not realism

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nostalgebraist · 2 years ago

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comments on almost nowhere for new readers

A few points that may be useful to people who didn't read Almost Nowhere before it was complete, but who are planning to read it now. (AKA "archival readers," as opposed to "serial readers.")

(1)

You'll want to read it fast enough that you don't lose track of the plot.

But, you probably shouldn't read it as quickly as you can. If you "binge-read" it over a very short span of time, some of the effect will be dulled or lost.

When planning out the story, I thought a lot about the reader's evolving state of knowledge. "What the reader knows" was almost like a character unto itself, and an important one.

For example:

I tried to create a enjoyable, continual "rotation" of mysteries, with new questions arising at the same time that old questions get answered, repeatedly across the course of the book.

In between the point when a question is raised and the point when it finally gets a definitive answer, I often tried to create a succession of interesting intermediate states. For example, the reader might first encounter something important in the form of an enigmatic, unexplained name or phrase, mentioned incidentally. Later, the same term starts appearing more often, and gets more coloration, and this coloration is different each time, so that the sum total of "what the reader knows" traces out a series of different "shapes" over time.

So you'll have the most fun if you stop regularly to savor your current state of knowledge. The questions that haven't been answered yet, the partial glimpses you've seen of things you don't fully get. Maybe even go back and re-read earlier bits, if you like.

(1b)

All that said, I also want to caution against viewing the book as a puzzle you're meant to be able to solve on your own, like a "fair-play whodunit."

I intended it to be fun for the reader to wonder about how the questions will be answered, but there's no pretense of playing fair. And that "fun" is often more aesthetic and thematic than it is intellectual.

(2)

Almost Nowhere is divided into 3 parts.

You can see them if you look at the table of contents. In Part 1, the chapter titles are Roman numerals. In Part 2, chapters have verbal titles, together with Arabic numerals that start over from zero. In Part 3, the Roman numerals resume again.

The three parts tell a single continuous story, and share most of the same major characters. But each one is somewhat distinct in its style, tone, themes, and areas of focus, and each one extends the scope of the plot considerably.

Maybe the closest comparison-point is a trilogy of SF/F novels, where each of the sequels is clearly "its own book" that feels distinct from the other two books, while still continuing the story in a coherent way.

I mention this here in the hope that these transitions will be less jarring if you're prepared in advance for them.

(2b)

In another, more "spiritual" sense, Almost Nowhere really has just two parts.

The transition happens at Chapter 13, which could fairly be grouped either into the first or the second part, or both, or neither.

Why? Up through Chapter 12, my planning for future events had been fairly slapdash and vague. I was still in the "throw stuff at the wall so I can create the real story by looking for patterns in it later" stage of my unusual creative process.

After Chapter 12, I thought "okay, that's enough of that. Vague inklings of the future aren't sufficient anymore. It's time to get start being more serious about my planning. It's time to 'create the real story.'"

So I did a bunch of that, and it profoundly shaped everything from Chapter 13 onward. (I don't know how obvious this transition would be if you didn't know about it beforehand; to me it feels very obvious, but maybe deceptively so.)

It goes deeper than that. Chapter 13 is tonally different than any of the preceding ones -- darker, more personal, with a new focus on obsession, bittersweet reflection on the past, regret, resignation. And, semi-accidentally, that ended up setting the tone for the whole rest of the book.

It's not all like that afterwards, to the same extent. But that stuff is always there, at least in the background.

I don't know if this is actually useful to know or not, but I felt like mentioning it, so there it is.

(3)

Like Floornight and TNC before it, Almost Nowhere is a hybrid.

It combines elements from a number of different genres and story types that would not normally be seen alongside one another. At the same time, it doesn't really belong to any of the genres or story types that it draws from.

This aspect of my fiction tends to elicit bimodal responses. When I mix one type of story with another, it tends to come off either as the best-of-both-worlds or the worst-of-both-worlds, depending on the reader.

Some people see five individually good "normal" books, merged into one and singing in harmony. And people see five half-assed attempts to do five different things, without following through on the promises of any one of them.

For example, I noted above that I put a lot of care into setting up mysteries, and I expected the reader to be very aware of them. And I also noted that the story isn't very rewarding if treated like a puzzle that can be "solved" in advance.

But some people are going to see the mysteries, and the care put into them, and think, "ah, I know (and enjoy) this genre, this is a puzzle you're supposed to work out in advance." And these people aren't wrong; it does kind of look like that, especially at the beginning.

Likewise, Almost Nowhere has several chapters that explain math and physics concepts to the characters and to the reader -- either real ones, or fictitious ones that have some pretense of continuity with real math and physics. Sometimes these get very involved, in the manner of Stephenson or Egan.

A reader who sees this stuff, and thinks "ah, I know (and enjoy) this genre," is likely to be disappointed when they discover that the story is not really about math or physics in any deep way. Certainly not about real math or physics. The invented "physics" is closer to the core of it, but less so than some other things -- and anyway, there is more of pure fantasy to it than serious scientific extrapolation.

Like Floornight, AN is arguably "best" described as a fantasy story, and not the GoT kind of fantasy -- the highly aestheticized, thematic, emotional kind of fantasy, where "feels" and "vibes" are almost literally magic and drive everything from the inside out.

But if you read it for that genre, specifically, it may feel odd that it keeps lapsing into long descriptions of nuts-and-bolts plot mechanics, and into laborious explanations of made-up technobabble. Or into setting up "puzzles" that almost feel solvable-in-advance.

Or just, like, being written in this really weird, particular, often opaque style.

I can't just say "leave all your genre preconceptions at the door," as if it were that simple -- as though one could just do that by force of will. But be aware that the elements you recognize, from other fiction, may not be there for the usual reasons.

But they are there for a reason.

When I think about why I write, I often come back to an answer that Andrew Hussie gave on Formspring long ago:

Q: Do you enjoy your own work? I mean if Homestuck was made by someone else and not you, is it the kind of thing you would like reading [...]? A: I am making the kind of thing I would want to read. I am making the kind of thing I wish existed, but doesn't. Yet.

I am doing that, too. I'm taking elements from all over, and building something else out of them. It looks deceptively like the sources it draws from, but it's very different from any of them, underneath.

If it had already existed, it would not have been necessary for me to invent it.

(4)

As I mentioned in the last bullet point, Almost Nowhere is written in a very particular style.

This style gets better-defined over time, and more ossified, and possibly more extreme. (Chapter 13 played the same role in this process as it did in various others, for instance.)

At various times, I've said that Almost Nowhere is my favorite of my stories, or the most ambitious or accomplished one, or the one I like most on re-reading. And that is all true -- in certain senses, anyway.

But I don't want to convey the impression that I think the "Almost Nowhere house style" is like, the epitome of Good Writing or something. Or even that it's my best writing, necessarily. It simply is what it is, as much for consistency's sake as anything else.

(I confess there were times when I looked back on something I'd just wrote, and thought to myself: "I'm not actually sure this is, like, good. Maybe it isn't. But is is definitely Almost-Nowherey, that's for sure." And then I let it stand, for that reason.)

In the best-case scenario, you'll find that you greatly enjoy the "Almost Nowhere house style." If it's not to your taste, hopefully you will find it at least tolerable enough that you can access and enjoy other aspects of the book.

But if you find that really dislike the style, this book is probably not for you, sorry.

It's over 300,000 words, and they're all like that. I wouldn't want someone to force themselves through 300k words while hating every one of them, in the name of finding out what happens, or being a nostalgebraist completionist, or whatever.

#almost nowhere

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we-can-be-heroes · 2 years ago

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1, 2, 4, 6? 📚

2) What are 2-5 already published nonfiction books you think you want to read in 2023?

Ok so I’m waiting for this one to arrive and I’m extremely excited :

And my dream is to read this one entirely :

She passed away in 2016 and her writings have not been published in years… I’m a bit of a paper fetishist (especially for people I adore) so of course I want the physical version 😭 but I’m afraid it might be hard to find and most of all very expensive. So either I keep waiting for a miracle either I accept to read the pdf version hehe…!

And finally these two :

These also are two very rare books I plan on finding and buying lol 🥲 ! These were supposed to be a triptych/trilogy but life is hard and making books costs money so unfortunately it didn’t happen. The first volume is about the international post-punk, cold wave, techno-pop, dark folk, gothic rock, electronic, EBM, industrial metal scenes, basically all the related movements that have appeared since the 70’s etc……. And the second volume apparently tackles the….French gothic scene ??? As well as other francophone gothic scenes such as the Swiss, Belgian and Luxembourgish, which I don’t know shit about. As far as I know these are THE MOST COMPLETE publications about the subject written in French !!!!

4) Do you plan to read any genres you haven't read much before?

Hummmm as funny/crazy as it sounds I’ve never read any horror novels lol ! (Except for Carrie when I was a preteen) I watch horror, I read horror mangas, horror comics, even theorical/philosophical stuff about horror in magazines but no horror novels. Reading horror novels sound way scarier than any of the other stuff I listed that contain CLEAR IMAGES 😭 ! But I’m ready and would like to give it a shot. Other than that any good books that contain magical realism ? English Gothic Literature, French romantisme noir. And more theorical/philosophical/scientific stuff about subjects I care about !

6) Do you have any conceptual reading goals?

E.g., I plan to read books on food history.

Yes absolutely, as you can see in the previous book choices & the answer just above, I would like to read more theorical essays about music genres and their historical and political aspects, same goes for genre cinema, and the different themes and recurring patterns found there .

But also more books about cultural studies and critical theory. A few years ago for a long time I was going through a very strong feeling of DÉSIDENTIFICATION (disidentification) which was painful at the time, but also freeing ! [ I am still and constantly going through it tbh but in a very less violent way, the freeing part is starting to kick in hehe !] so, I was saying this word constantly to talk about how I felt and I ended up doing research and learning that this term had already been invented/theorized by someone called José Esteban Muñoz, in his very first book :

It made me very emotional to know that someone had written an entire book around the topic lol and now I really want to read it ! I found myself wrapped in feelings of unbelonging since forever so I’m always very attracted to and interested in what other people may have said or thought about these matters.

I will probably go through these rollercoasters of identification and disidentification my whole entire life but that’s also what makes it exciting and interesting and worth living I guess !

Not being able to categorize and decrypt you easily or at all is something that always enrages aaaaaaaall types of people ! And this is something I absolutely love and hate and find very interesting.

Pissing of and disturbing people by my very existence has always been my little specialty ! At some point I even started cultivating this by trying to scare people (through my art, looks, and unconsciously, probably, some aspects of my personality and life ““choices”” such as isolation) as an attempt to protect myself and free myself from this weight loool ! Which in my experience really isn't always a good idea, and once again is as liberating as it is painful !! For myself and others !!

Partly for all these reasons i have always been very drawn to the idea of “monstrosity” and have identified with monsters in art for as long as I remember so I’m always very happy to come across writings/books about this ! (if any of you have any recommendations btw don’t hesitate 🤍 ! Except for Paul B. preciado’s book that I have already heard about)

Anyway !!! So yeah basically I want to read these 5 books 😂😂😂….The only link I see between them is the idea of community that I have loved and hated and loved and hated and LOVED again 🔄🔄🔄🔄🔄♾️♾️♾️ and that I keep deconstructing and reconstructing perpetually !!!!

Thank you very much for the very interesting questions, loved answering these and sorry if « 2023 book ask » might have turned into « over sharing » ?? I just thought that it was related, and wanted to explain the book choices !

Have a great night !! 🫶🏼🫶🏼🫶🏼

#books #kier-la janisse #Pauline Oliveros #José Esteban Muñoz #asks

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violethowler · 5 years ago

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The Greater Your Shadow Becomes

A recurring pattern in the Kingdom Hearts series is how often it misleads and misdirects us. We are told that Nobodies do not have hearts only to learn several games later that this was a lie. Our knowledge of Xehanort’s backstory has changed from one game to the next. The series itself even acknowledges its dishonesty, with the Master of Masters telling Young Xehanort that “the truth is what you see with your eyes, not what you hear[1],” while explaining that anything he says about his motivation and identity should not be trusted.

So despite Kingdom Hearts III, Back Cover, and Union X appearing to position the Master of Masters as the next main antagonist, I remain suspicious that the role the series seems to be setting him up for will ultimately be filled by another. A big part of this has to do with the patterns I have noticed among stories that follow the Heroine’s Journey.

In a Heroine’s Journey where there is a direct antagonist whose actions must be overcome in order to resolve the story’s conflict, that antagonist has commonly been presented as a narrative foil to either the protagonist or their Animus. In storytelling, a Foil is one character who is contrasted with another in order to highlight the other’s traits[2]. Most stories will emphasize the protagonist’s noble qualities by contrasting them with a character with similar personality traits or a similar backstory but who lacks the qualities that make the protagonist heroic. More often than not, these literary foils function as Shadow figures to the protagonist, and in many cases embody the negative elements of the story’s main themes.

For example, Gaston is put on a pedestal by the people around him as a paragon of what their society considers desirable. He’s handsome, skilled, and charismatic. Yet he constantly disrespects Belle’s agency and intelligence, not caring whether she’s willing to marry him or not. This positions him as a foil to the Beast, who is rude, monstrous, and has to learn how to perform basic tasks like eating with silverware. Despite his gruff exterior, he respects Belle’s intelligence and agency, holding her to the terms of their deal while also growing to prioritize her happiness above his own desires.

Something that the overarching antagonists of every Heroine’s Journey I know of all have in common is that the audience is made aware of their existence very early on in the story. Their motivations may change over the course of the story, and when we learn about their goals can vary, but we generally learn of their existence before the end of the first act.

We meet Gaston in the opening musical number of Beauty and the Beast.

Dr. Facilier from The Princess and the Frog also makes his first appearance in the opening musical number of his film.

President Snow gets at least a mention in the background in the first book of the Hunger Games trilogy even if Katniss doesn’t meet him face to face until the second one.

High Priestess Haggar is introduced in the first (technically second) episode of Voltron: Legendary Defender Season 1.

Meanwhile, the Master of Masters was only introduced near the end of Act II in the overarching narrative of Kingdom Hearts. Likewise, his goals are still unclear, in contrast to other Heroine’s Journey antagonists whose objectives are given to the audience at some point during the second act. So unless he turns out to be a familiar face under the hood, I find it unlikely that the Master of Masters will be the main antagonist of the next act. He’ll certainly play an antagonistic role, and definitely a major one, but everything I know about story structure is telling me that the “Big Bad” of the next arc is ultimately going to be someone else.

The repeated emphasis on prophecy, fate, and destiny in Act II of the series creates a strong undercurrent of defying fate being a major theme of the final arc of the Kingdom Hearts story. Sora’s ability to connect with others has enabled him to pull off feats that should be considered impossible up to the point of rewriting the fated defeat of the Guardians of Light at the Keyblade Graveyard in Kingdom Hearts III. So it stands to reason that the main antagonist of the final act will be a character who either tries to defy fate in a negative way, or a character who does things because fate dictates it be done.

So the major antagonist of Act III will most likely be someone who expresses the themes of fate and whether to defy or accept it in a negative way. Someone who serves as a foil to Sora. And someone who was introduced to the audience during Act I - meaning the original game, Chain of Memories, or Kingdom Hearts II. Given the amount of focus he has received since his introduction and how important Kingdom Hearts III revealed him to be in the lore of the series, there’s really only one person who qualifies:

[Image Description: Luxu stares at the camera after taking off his hood in front of the Foretellers, revealing the face of Xigbar. End Description.]

As someone noted after the release of KH3, there are many similarities between Luxu and Sora when you sit down and think about it[3]:

Back Cover portrays Luxu as a young teen curious about the world, just like Sora.

Much like how wanting to be with his friends is shown to be one of Sora’s major motivations, Luxu’s Secret Reports in Kingdom Hearts III portray him as wanting nothing more than to be with the people he cares about[4].

Both of them take up these cosmically significant roles with no idea of what lies ahead for them - all the pain, separation, and loss. But they cannot stop or rest and go home until they finish their task because people are counting on them.

Where the two diverge is in their circumstances and how they reacted:

While Sora stumbled onto the mantle of a Keyblade wielder by accident and chose the responsibilities that came with his mission on his own, Luxu was given his by the Master as part of a greater purpose, and he carried out that role at his mentor’s instruction.

Both of them hide their pain and weariness under a playful façade.

Sora has spent his journey in the company of his friends and has relied on their support. Luxu has always been alone, relying only on himself.

Sora holds onto his connections with others even at significant cost to himself, while Luxu casts aside his bonds and puts his mission above all else.

In addition to his narrative connections to Sora, there is also his connection to Riku as well.

The scene where he reveals his face to the audience for the first time in Kingdom Hearts II begins with Sora initially mistaking him for Riku.

In Kingdom Hearts III, he’s paired with Dark Riku at the Skein of Severance, a combination that stands out in contrast to the obvious narrative meanings behind the choices of the other boss groupings in the Keyblade Graveyard.

Series producer Shinji Hasmimoto has said that Sora and Riku are the core of the story[5], so it would make sense, then, if the primary antagonist of the final act is someone with already established narrative connections to both characters.

Tetsuya Nomura had the end of the Dark Seeker Saga outlined since Kingdom Hearts II was finishing development[6]. This indicates that everything done with Xigbar across the entire series was planned with the Luxu reveal in mind. The fact that he chose to give Xigbar such a significant part and planned it that far in advance signals that our dear Number II has a major role in the overall narrative of the series. Between the implications of the reveal setting him up as a foil for Sora and the patterns exhibited by major antagonists of other Heroine’s Journeys, I’m confident that role will likely be that of the overall villain of Act III.

There is always the possibility that I could be wrong and that the Master of Masters will be the primary antagonist of the story’s final act. His influence of others and his writing of the Book of Prophecies appear to set him up as the author of our characters’ fates, which satisfied the narrative pattern of the antagonist reflecting the negative side of one of the story’s themes.

However, as I said, he was introduced much later in the narrative than is common for the overarching antagonist of a Heroine's Journey. I also have my doubts that it will be that obvious, as Kingdom Hearts has pulled that kind of bait and switch before. The first game initially sets up Maleficent as the main antagonist, only for Ansem to step out of the shadows and take the stage as the Big Bad for the remainder of the game after her defeat. Given how many parallels to the first game are found throughout Kingdom Hearts III, Xigbar being unmasked as Luxu and the information that came with it in the Secret Reports have the makings of an excellent parallel to that switch on a series-wide scale.

Sources:

[1] Kingdom Hearts III Re: Mind; Square Enix; 2020.

[2] Foil (fiction) - Wikipedia. https://en.wikipedia.org/wiki/Foil_(fiction)

[3] Galaxy Brain Take: Luxu and Sora Parallels; February 12, 2019. https://strangefellows.tumblr.com/post/182774246545/galaxy-brain-kh3-take-luxu-and-sora-parallels

[4] Kingdom Hearts III; Square Enix; 2019. (Secret Report #13: Observations, Excerpt 3)

[5] “How Kingdom Hearts III Will Grow Up With Its Players.” September 24, 2013 https://www.ign.com/articles/2013/09/25/how-kingdom-hearts-iii-will-grow-up-with-its-players.

[6] “Kingdom Hearts III Ultimania interview with Tetsuya Nomura”; March 12, 2019 https://www.khinsider.com/news/Kingdom-Hearts-3-Ultimania-Main-Nomura-Interview-Translated-14763

#kingdom hearts meta #kingdom hearts and the heroine's journey #story structure #kh speculation #kingdom hearts theory #kh luxu #kh xigbar

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strawberrysoup · 5 years ago

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Let’s Review || Chapter 10

Peter Parker knew that his big sister would do anything for him to be safe and happy. She’d given up everything for him twice over already and would do it again in a heartbeat. And that’s why, when the criminal mastermind Tony Stark started inextricably following him around, he didn’t say a word. Because he knew without a doubt Penny would do whatever she had to if it meant keeping Peter safe. He had to protect her, just like she always protected him. He never considered what would happen if Stark decided both Parker siblings were worth taking. Never considered who else in Stark’s inner circle would agree. He just wanted to protect her and yet somehow, they both ended up with needles in their necks.

relationship: Steve Rogers/Original Female Character/Bucky Barnes, background Peter Parker/Tony Stark rating: Explicit/18+ warnings: Dark Steve Rogers, Dark Bucky Barnes, Dark Tony Stark, Dark Avengers, kidnapping, non-con/dub-con elements, underage Peter Parker, emotional and psychological abuse, very dark

Penny never had difficulty sleeping. She was exhausted 90% of the time, between three jobs and everything that went into raising Peter, and could take a nap whenever the opportunity arose. It was a joke amongst all of her coworkers, that if you gave Penny an idle 10 minutes, she'd find a place to curl up and nap. She could sleep 16 hours straight happily if given the chance.

Insomnia wasn't a part of her life. It was why finding herself unable to sleep was shocking to her entire system. The day of her punishment she took a nap and that was the last time she slept more than an hour at a time for the next three days. She wasn't sure if it was the fear and anxiety or the stress or any other combination of things, but she simply couldn't sleep.

She didn't know if her kidnappers had noticed, strangely enough. They watched her constantly, tracking her movements and making notes of her habits, but never mentioned her sleep patterns. Or her eating patterns, for that matter.

When Steve got up in the mornings, she waited about half an hour before getting out of bed herself. While he went for a workout, she pulled all of the curtains back from the floor to ceiling windows in the living room and laid on the floor in the sunshine. It was the only time she really slept soundly for longer than 20 or 30 minutes. By the third day, when she got up and went into the living room, the curtains had already been pulled back and the couch cushions were arranged like a pallet on the floor where she usually lay. An apple, which she had a tendency to grab in the mornings to hold her over until breakfast because half the time the only kosher food in the kitchen was fruit or vegetables, was already washed and cut and set on the coffee table.

They never said anything about what she ate, even when Bucky made large, intricate meals and she avoided most of it. The first night he made spaghetti and meatballs with a side salad and she'd only eaten the salad. The second night had been pork chops and pasta salad— she'd dug out the last of the salad from the previous meal and a bit of the pasta before realizing there was bacon in it. Honestly she was starving, there was hardly anything kosher in the apartment and she was living off vegetables.

Her captors were strange dudes. Sometimes they seemed chivalrous to a fault, set in some sort of bizarre gender stereotype; they would never sit before she did or start eating until she took her first bite. But Steve didn't like when she cursed or rolled her eyes and Bucky told her smoking wasn't ladylike when she asked for cigarettes. There was a weird dichotomy where they desperately wanted her to be happy in her imprisonment but simultaneously wanted to micromanage her behavior.

After the fourth near sleepless night, she’d once again retreated to the living room once she was sure Steve had left. The spot in front of the windows was comforting for some reason, the warmth of the sun was encompassing like a hug but didn’t require touch. It felt safer than anywhere else in the apartment.

She slept for at least an hour and only woke up to the sound of JARVIS playing a chime every few seconds, the noise slowly increasing in volume. As she blinked, slightly disoriented by the sound, and realized she was no longer laying on the cushions. At some point while she was asleep Bucky had managed to wedge his way beneath her, leaving her to lie on his chest. His arms were raised on either side of her head like he was holding something over her and the top of her head brushed his chin.

At that point, her body didn’t even bother to instinctually tense. Even after such a short period of time, the panic response had lost its grip in the face of resentful acceptance.

“Good morning, doll,” Bucky’s voice was a rumble beneath her more than a sound and she heard a page turning above her, “I can see why you like to lay here.”

Penny didn’t bother answering, tired eyes tracking his movements as he lowered his arms and put a book on the floor. He didn’t look tired at all with his hair carefully pulled back into an artfully messy bun, fully dressed despite the fact that it couldn’t have been past 7 am. It was unfair how attractive they were, considering the position they had put her in. She’d never even considered a man bun atttractive before for fucks’ sake. After a short moment, his hands came back up to cup her face.

Knowing the kiss was coming didn’t make it any easier to process or mentally prepare for. She didn’t want him to, it was disgusting, how dare he kiss her— but it was also so nice. Bucky was a really good kisser, both of the soldiers were, and it sent tingles down her sprine every time. The warmth from the sunshine was amplified by the feeling until it seeped into her veins and rendered her boneless against him.

“Really good morning,” Bucky smiled against her lips, brushing his nose against hers as he pulled away enough to look at her, “Steve’s gonna be out of the shower in a few and we’ll head up to breakfast. Go get dressed.”

Penny nodded in response, dazed, and let him pick her up and set her to the side of the pallet where it was easier to stand. The bedroom was still mostly dark, the heavy curtains drawn and the only light coming from the partially open bathroom door. The shower was running and she could hear Steve moving around as she walked to the dresser.

There was a drawer dedicated to the softest clothing they’d purchased for Penny and she was especially taken with the shirts in it. They felt like ultra thin, soft cotton but were actually rather thick and warm. She pulled out a black one with long sleeves and traded it for the t-shirt she’d slept in. The same pair of jeans she’d worn the previous day followed and she tugged off her socks, prefering to go barefoot just because she could tell it bothered Steve.

She stepped past the blond in question just as he came out of the bathroom, pretending not to notice the once over he gave her. The assholes weren’t exactly subtle, probably didn’t see the need to be. Bucky was waiting by the elevators when she walked into the living room, motioning over with the metal hand.

It had been days but she still hadn’t gotten up the courage to ask about the arm. Steve and Bucky both treated it like a completely normal arm, as if it wasn’t a super strong and incredibly high tech prosthetic, and she was afraid to mention it. Instead she tried to make sure she didn’t look at it for too long, or hesitate when he touched her with it just in case it made him angry.

“Ready for breakfast baby?” He wrapped the arm around her shoulders and tugged her into his chest, ducking his head down to kiss her cheek.

“Yeah,” Penny murmured, eyes tracking Steve as he also left the bedroom and crossed the room, kissing them each soundly before calling JARVIS to bring the elevator.

Penny had forced herself to become comfortable with any display of affection that came directly before getting to see Peter, just in case they decided to throw a hissy fit at her rejection and refuse to take her to breakfast. Despite the fact that she'd been promised she could see her brother multiple times a day, it had been limited to breakfast. She asked at least 20 times a day, can I see Peter now? I want to see Peter. I want to see my brother. They brushed her off every time, made some sort of excuse.

It was part of their plan to make the siblings 'adapt' to their new lives. Penny could read between the lines and knew they didn't want them together too often to avoid any plotting. If they couldn't communicate enough to make an escape plan, they probably wouldn't try. It made sense, the clever bastards, but not being able to see her brother was wearing her down. Combined with the lack of sleep, she was beginning to feel more and more distraught.

JARVIS was a small, unexpected saving grace. She wasn't sure why, but the AI would give her updates on Peter if she asked. Is Peter okay? Yes, Ms. Parker, he is currently in the lab. Is Peter okay? Yes, Ms. Parker, he is taking a nap at the moment. Is Peter okay? Yes, Ms. Parker, he is watching the original Star Wars trilogy.

As they rode in the elevator up a few levels to what she'd come to realize was Stark's floor, she could see a very small red light in the upper corner. JARVIS was always watching, monitoring things like heart rate and temperature. He understood Hebrew if she spoke in it and would answer in kind, giving her a sort of privacy from the men boxing in her. The AI wasn't on her side per say, but the little things he did helped keep her from going crazy.

When the doors opened, Penny didn't wait for the men to move before she began on her way to the kitchen. She would sit in a chair, despite the incredible amounts of pain it caused after her punishment, but would be transferred to someone's lap almost immediately. Likely Bucky, since they seemed to take turns and Steve had held her yesterday. They wanted to hold her and feed her. It restricted her movements, kept her farther from Peter, and drove her batshit insane.

She quickly sat in the chair closest to her brother, forcing herself not to wince in pain and reached out for his hand. Peter was coping much better than she was, it was plain on his face and otherwise in his appearance. He didn't look happy necessarily, but he was sleeping and eating regularly. There was no visible cringe when Stark touched him, which she assumed meant the man hadn't hurt him.

Penny had been considering for days what she would do if she walked into the kitchen one morning and found Peter injured. She was about .02 seconds from losing it at any second as it was, if she ever suspected Peter was hurt she would go ape shit. The goal would be to take Stark out as efficiently as possible— she'd likely only have one chance. She was pretty sure shoving a fork through his eye would be as effective as anything else.

"You know, you get a very particular look on your face when you're considering killing me."

Penny looked away from Peter just in time to see Stark before he swept her up out of her chair and sat down with her in his lap. Being as small as she was, it made manhandling her pretty easy in comparison to say, Peter, who despite being skinny was tall and ungainly to lift and carry around.

"Tony," Bucky sounded displeased but Stark waved him off.

"My turn Winter Wizard," the older man snarked, tugging her snugly back against the line of his chest, "I love Penny too."

Love. Stark didn't love Penny. She was half convinced he didn't even understand the concept, had it so thoroughly confused with obsession that he couldn't comprehend what love was. Love was selfless and unconditional, it was supposed to bring joy and comfort. Nothing about Stark's actions were any of those things, didn't provide a feeling of happiness and safety. Sitting in his lap was like sitting on a live landmine.

"What're your plans for today sweetheart? Peter wants to spend some time in the lab with Bruce— honestly I think he likes biology more than engineering, can you believe that?"

Penny didn't answer, watching from the corner of her eye as Steve and Bucky sat down in the chairs around them. Steve sat opposite of Peter at the head of the table while Bucky took a seat to the teenager’s right, across from Penny and Stark. There was another comprehensive breakfast spread across the table, a quiche, pancakes, scrambled eggs with cheese and ham, fresh fruit, sausage and bacon.

Every time they loaded plates for her, Penny found herself turning her nose up at at least half of it. She was pretty sure they were unaware that the siblings were Jewish, either that or they were too stupid to realize there were dietary restrictions involved in the religion. Peter was more lax than Penny, he didn't remember their parents as much and aunt May and uncle Ben hadn't been religious, but she still ate kosher about 75% of the time. Plus, most kosher foods just felt more ethical and humane.

Not that the mother fuckers who'd kidnapped them had any idea what it meant to be ethical. Or humane for that matter.

"Penny, words," it wasn’t an order necessarily but she'd come to realize over the few days she had been in the tower that Steve's tone left no room for disobedience.

"I don’t have any plans," she tried not to overtly grit her teeth in irritation.

Any other day she'd be at the daycare until 1ish, taking care of the babies. After that she'd go to her barista job and after that, she went to the grocery store to stock shelves over night. Penny didn't have downtime, she didn't have hobbies, she didn't do anything during the day other than work. Maybe that's why she wasn't sleeping at all; she wasn't doing anything. Certainly not half as much as usual.

"Well, what would you like to do? What do you do for fun?"

Simmering anger began to build under Penny's skin but before she could answer (and potentially get herself into trouble), Peter jumped in, "Penny used to knit. And you liked gardening, right? When we lived in the house you had all those plants and the garden out back."

"Ma's garden," Penny twitched her nose, the movement preventing a facial expression from settling and giving away her emotions— she tried not to think of the garden, or the house they'd lived in before the accident, it made her too sad.

"Bite, sweetheart," Tony directed when she went quiet, refusing to elaborate.

The food on the fork was a piece of the quiche, something with spinach and cheese and bacon, and Penny shook her head. The bacon was bad enough, but putting dairy with it as well was too much for her to stomach. Stark hesitated for a moment before sighing heavily and putting the fork down, forcing Penny to turn slightly in his lap to face him.

"You have to eat, sweetheart," he looked just a shade short of irritated and a thrill ran through her, a mix of fear that he might hurt her if he got mad enough combined with dark satisfaction that her actions were having an effect on him even if unintentionally, "you're too skinny as it is and you can't keep refusing food."

"I won't eat it," she stated quietly, resolution in her tone.

The only things on the table she would truly be willing to eat were the fruits and the pancakes. The quiche had cheese and bacon, the eggs had cheese and ham, and the individual meats were pork. For some reason, the bites of food she wanted were few and far between compared to the dishes she couldn't eat.

"It's not an option baby," Bucky's voice was soft and imploring.

Irritation climbed up her throat. She wasn’t on a hunger strike, she wasn’t being difficult. They were the ones who'd snatched her up against her will without considering her needs and wants. They were the ones at fault and fuck if she was going to—

"That's not kosher," Peter quickly pointed to the quiche, followed by the scramble, "that's not either. The pancakes might not be either depending on the eggs. Penny will eat the fruit."

"You guys eat kosher?" Bucky and Steve both looked startled and she'd bet Tony did too.

She didn't realise they were all considering what they knew about Peter; Tony had taken the boy out to eat multiple times in the months before bringing the siblings to the tower and there'd never been any sign of a special diet. They were Jewish, yes, but Tony could clearly remember the teenager eating bacon cheeseburgers and shrimp alfredo.

"I don't but Penny does."

Since they'd brought her into the apartment, the soldiers hadn't paid too much attention to what she ate. Salads mostly, pasta. They hadn't focused on what she was eating, just the quantity of what she ate.

"Ms. Parker regularly checks with me before consuming anything," JARVIS announced to the silent room.

Maybe part of the reason Penny wasn't sleeping was because she was hungry. Honestly she was always sort of hungry, Peter having plenty to eat was more important than her eating regularly, but she'd been really hungry over the past few days.

"Penny why didn't you say anything?" Steve looked stricken and Bucky's face was ashen; he'd even talked to Wanda about kosher foods before they'd assumed the Parker's didn't eat a specific diet.

"Why didn't I tell my kidnappers that I follow a religious diet? I wonder."

The words were scathing and spoken with a hiss of disdain that had their shoulders raising automatically. Bucky and Steve both shrunk back slightly and Stark went still behind her. She even managed to get out of his arms without a fight, standing up and heading for the elevator without hesitation.

"...Penny?"

"I'm going to take a shower, leave me alone!"

She was so angry and fucking exhausted and hungry. Irrationally, it felt like storming off after having an argument with family instead of the true life villains she was surrounded by. She felt like a teenager storming off after fighting with her parents. Shockingly, they really let her go. The elevator doors opened and closed for her, even though she was alone.

"Shall I bring you to your apartment Ms. Parker?"

"It's not like I can go anywhere else," her voice was tearful and she bit the inside of her cheek, refusing to cry.

But instead of moving, the elevator stayed still for an abnormal amount of time. She assumed JARVIS was waiting for the soldiers to arrive.

"Perhaps you would like to go to the kitchens, miss?"

"The kitchens?"

"Yes miss, I've spoken to one of the chefs who is more than happy to make all necessary adjustments to the kitchen to facilitate a kosher diet. New equipment is being brought in to prevent cross contamination and an order was sent to the runners for kosher foods which should arrive in less than an hour. In the meantime, Chef Cohen is gathering the necessities to make a kosher breakfast from what is currently on hand."

Penny immediately burst into tears against her will, entirely overwhelmed. The tower was a goddamn nightmare, she was trapped and more often than not separated from her brother, but JARVIS was slowly becoming one of her favourite people (even if he wasn't really a person) in the world. Because JARVIS talked to her in Hebrew and told her about Peter when she asked and helped her figure out what she could eat and played movies on the wall all night while she was stuck in bed.

He couldn't help her escape, he was a computer program at the mercy of his protocols, but he did more for her than anyone else.

"Yes please JARVIS," Penny managed to get out through her tears, pressing her palms against her eyes gently, "thank you JARVIS."

"You are most welcome Ms. Parker, your happiness is my priority."

"It is?"

"My protocol is to make sure Mr. Parker and Master Stark are happy. In order to do so, I must make sure you are happy miss."

Penny wasn't smart. She didn't have a high IQ, never finished college, would never qualify for anything more than a dead end job. But she was good at reading between the lines. Finding unconventional solutions to problems was a skill of hers. JARVIS might not be able to intentionally help her escape, but he might help her on accident without even realizing it.

It wasn't a plan, not yet, but it was a tool in her arsenal she never expected to have. And she would use it to her advantage as soon as possible.

"Sir, Ms. Parker is currently on her way down to the kitchens were Chef Cohen is preparing a kosher meal. He has also compiled a comprehensive list of kosher foods to be kept in the kitchen at all times."

"He made a list? Why didn't you do it J?"

"He's Jewish," Peter answered before JARVIS had a chance, shrinking back slightly when three pairs of eyes leveled on him suddenly.

"Have you met him? He shouldn't have come up to this floor."

Sometimes Peter forgot that gentiles didn't recognize Jewish surnames, "he… didn't. His last name is Cohen. That's one of the most Jewish names I can think of."

He couldn't be sure, there was a high chance that Peter was hallucinating, but it was possible that Tony Stark was blushing. Like, it was possible but Peter was pretty sure his eyes must've been playing tricks on him. Tony made him blush a million times a day, it was never the other way around. A small thrill ran through him, had he made Tony turn red?

"Peter, is there anything else like this that we should know?"

Steve's voice drew him out of his reverie and Peter directed his attention at the blond, "like what?"

"Like things Penny doesn't like, or will upset her?"

Peter nodded in understanding, "like abducting her and keeping her against her will?"

"Peter!" Tony was trying to admonish him but his tone was full of laughter.

Bucky leveled the teenager with a vaguely amused expression, "Tony was the one who kidnapped her."

"Yeah but she hated him on principle before that, you guys she learned to hate."

"Okay, moving on," Tony waved his hand dismissively before the soldier could respond, "J, let Cohen know he's officially Penny's personal chef. I want him available any time she's hungry, any time she wants a snack. I'll up his pay, but if Penny gets up at 3am and wants some ridiculously complicated meal, he'll be dragging his ass out of bed to make it."

"Understood sir."

Bucky absently stared towards the doorway Penny had disappeared through, "I could figure out kosher cooking."

"Let the professionals handle it, Bucky Bear," Tony snorted slightly before turning his attention to Peter, "is she allergic to anything?"

"I'm not sure, we think she had an allergic reaction to something a while back she never went to the doctor or anything," Peter took a huge bite of his pancakes.

"She hasn't been to the doctor in a long time has she?" Bucky frowned, considering the implications.

"Or the dentist," Peter nodded.

"We'll have Bruce do a complete work up, just to be safe. We’ll get dentist in here too. J?"

"Dr. Banner would be happy to see Penny anytime today and I am sending a request to your own dentist sir."

"Tell Bruce we'll head his way once Penny finishes eating," Steve had a tendency to look up at the ceiling occasionally when speaking to JARVIS despite knowing he wasn't up there, "will you let us know once she's done? I want to give her some time to calm down."

"Once she has finished her meal I will direct her Dr. Banner's lab—"

"J, you'll tell them when," Tony ordered, quickly noticing the way his AI tried to steer his words, "the soldiers will accompany her. Going down to the kitchen by herself was a stretch, she can't be wandering around unattended this soon."

"She was hungry, sir."

Steve and Bucky exchanged a glance; the AI sounded defensive but there was a derisive tone to him as well, aimed at the soldiers. They were the ones supposed to be taking care of Penny and yet she was hungry. JARVIS was unimpressed with them and had a surprisingly strong attachment to Penny after such a short time.

"Yeah, yeah, J, just let them know a few minutes before she's done eating," Tony turned his attention to Peter, "baby, why don't you go take a shower before we head to the lab?"

Peter felt his eyebrows furrow in confusion. Usually, showering before going to the lab was sort of a waste. They'd get sweaty and gross by the end of it and need another shower anyway. He hoped he wasn't blushing— usually Tony took a long bath with him when they were done in the lab.

"We're still gonna take a bath together baby, don't look so sad," the salacious look on the older man's face had Peter quickly darting to his feet, face on fire as he ran off.

Tony waited until the teenager was out of earshot to turn a very dark look on the soldiers, "wanna explain how the fuck you haven't known for two full fucking days that Penny won't eat anything that's not kosher?"

"Tony—"

"No, actually," he waved his hand before Steve could finish speaking, "I don't care what you have to say. You're going to listen."

He wasn't older in literal years, but Tony's consciousness was older than the soldiers' and in that moment he felt those years. He stood from the table, coffee mug in hand and took a few steps towards the counter. In general, Tony considered his friend’s to be his family. They were important to him, he wanted them to be happy and healthy and cared for. But Peter was his world and because of that, Penny was too. Her happiness usurped theirs.

“I gave you both the opportunity to take Penny, the way I took Peter,” he took a sip of coffee, tapping his fingers against the expensive marble countertop, “I knew from the way you talked about her, that you loved her the way I love Peter. But I didn’t want to. Honestly, I wanted to keep her tucked away where I can keep her safe and happy. I knew I could do a better job than you, but I wanted to give you the benefit of the doubt.”

Tony dumped his coffee into the sink, setting the mug in after and running some water into it. Around 10am a housekeeper would come in a clean up after breakfast, leaving the dishes that lived in the house and taking the rest down to the kitchens. He liked to keep everything as spotless as possible because his brain was a pretty big disaster at the best of times and clutter didn’t help.

“You’re very quickly losing it,” he held his hand up when Steve went to speak, “shut up, I don’t want to hear it. Right now you’re listening. This is strike one. Penny is upset and she’s been hungry for the last two full days. Somehow, despite being around her constantly, you didn’t realize that. You better figure out what else you’re not realizing because if I feel like Penny isn’t thriving, I’m going to take her back whether you like it or not.”

#steve rogers x oc x bucky barnes #steve rogers x oc #bucky barnes x oc #dark!steve rogers #dark!bucky barnes #dark!tony stark #dark!mcu #let's review #let's review chapter 10

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aion-rsa · 5 years ago

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Holiday Gift Guide 2020: Books for Geeks

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The holiday season is probably going to look very different this year, but there’s one thing that hasn’t changed: the sacred ritual of gift-giving. While we might not be able to gather in the same way for the 2020 holiday season, we can still let the people in our lives know how much they mean to us with the perfect gift (and maybe get ourselves something nice while we’re at it—we deserve it).

We here at Den of Geek believe there is no better gift than a good book and, with nerd culture still very much mainstream culture, there is no shortage of geeky books to get the nerd in your life. From Star Wars and Star Trek to Outlander and Wheel of Time to those speculative fiction books that broke into the zeitgeist this year without a franchise to support them, here’s a list of books we recommend for every kind of geek…

Editor’s note: Den of Geek may receive a small commission from items purchased through the links in this story.

The Eye of the World 30th Anniversary Edition by Robert Jordan

For the “Wheel of Time” fan in your life.

We’re all excited about the forthcoming Amazon Prime adaptation of the Wheel of Time series, especially long-time fans of Jordan’s fantasy epic. It’s been 30 years since the series launched, and this special 30th Anniversary Edition of the first book in the series, The Eye of the World, helps capture all the magic of reading the book for the first time. This edition features a new introduction by Brandon Sanderson, a hardcover stamp of the snake-wheel symbol so important to the series, redesigned jacket art, and a ribbon bookmark. Whether you want to give this to a longtime fan or whether you’re hoping to hook an epic fantasy reader on the series, the high production value on this special edition makes for a great gift.

Buy The Eye of the World 30th Anniversary Edition by Robert Jordan

The Wintertime Paradox: Festive Stories from the World of Doctor Who by Dave Rudden

For the Doctor Who fan in your life.

This spin on Doctor Who features twelve stories in the “Whoverse” all set on or around Christmas. While the holiday doesn’t play an important feature in many of the stories, visions of the Doctor’s Christmas Past, Present, and Future are sure to entertain. Though most likely to appeal to fans of the series, this is also a collection marketed toward children, which makes it possible to share your love of the series with a young person in your life.

Buy The Wintertime Paradox: Festive Stories from the World of Doctor Who by Dave Rudden

Heroes’ Feast: The Official Dungeons and Dragons Cookbook

For the gamer in your life.

While cooking these recipes isn’t as simple as casting the titular spell, it does contain eighty recipes for fantasy inspired feasts. In addition to the recipes—some of which may be a little challenging for beginners, as they start from scratch rather than premade ingredients—the foods come with lore about the foods from the familiar Dungeons and Dragons cultures. Included are recipes for Feywild Eggs, “Orc” Bacon, Dwarven Mulled Wine, and Halfling Heartland’s Rose Apple and Blackberry Pie. Making some of these for game night might be a challenge, but Halfling-style Melted Cheeses with Chunky Tomato Broth sounds so good, your giftee won’t even mind if some spills on their character sheet.

Buy Heroes’ Feast: The Official Dungeons and Dragons Cookbook

Rebel Sisters by Tochi Onyebuchi

For the anti-war, YA fan in your life.

It’s been a big year for Onyebuchi, with this second book in his “War Girls” series and his first adult novel, Riot Baby, hitting the shelves. Onyebuchi’s Afrofuturist YA features nineteen year old Ify as a respected medical officer on the Space Colonies, and Uzo, a synth who’s working to preserve the memories and history of wartorn Nigeria. When a virus hits the Space Colonies, Ify must return to Nigeria for answers—even though she’d pledged to leave her homeland behind. For readers who love strong Black girls leading the action in a space-bound future, this is a fantastic pick.

Buy Rebel Sisters by Tochi Onyebuchi

To Sleep in a Sea of Stars by Christopher Paolini

For the Eragon and space opera fan.

Fantasy readers remember Christopher Paolini from “The Inheritance Cycle,” published for YA readers, which were filled with dragons and magic. But Paolini’s first adult novel heads into space, introducing the Fractalverse setting, and focusing on a xenobiologist whose encounter with an ancient, alien artifact sends her across the galaxy, where the fate of humanity rests on her shoulders. This is a great choice for fans who grew up on Paolini’s YA novels, or for readers who like doorstopper sci fi.

Buy To Sleep in a Sea of Stars by Christopher Paolini

The Hollow Ones by Guillermo del Toro and Chuck Hogan

For fans of The Strain.

The Strain had four seasons on FX, and the horror drama procedural won fans and awards. The show was based on a trilogy of novels from master of horror Guillermo del Toro and literary heavyweight Chuck Hogan, who have now reunited on a fresh series. The Hollow Ones follows a young FBI agent who discovers an otherworldly evil when it takes over her partner—and forces her to kill him in self defense. For fans who love their procedurals with a heavy dose of horror, this is sure to keep their spines tingling.

Buy The Hollow Ones by Guillermo del Toro and Chuck Hogan

The Art of Star Wars: The Mandalorian by Phil Szostak

For fans of Baby Yoda.

The Mandalorian has clearly been a breakout show for Disney+, putting new life into the Star Wars universe, and featuring everyone’s favorite new character, The Child (aka Baby Yoda). The end of each episode features concept art designed for the show, and for viewers who love seeing where the ideas germinated, The Art of Star Wars: The Mandalorian is a fantastic way to dig into the details of the first season.

Buy The Art of Star Wars: The Mandalorian by Phil Szostak

Cemetery Boys by Aidan Thomas

For queer paranormal romance lovers.

Yadriel is determined to prove himself as a brujo—even though his family hasn’t accepted him as a boy. But when he raises the wrong spirit while trying to solve the mystery of his cousin’s death, everything gets more complicated. In our review, we praised the book for its groundbreaking depiction of trans identity in Latinx culture and called it “a riveting, romantic read filled with paranormal wonder.” Fans who loved the queer romance reveal in She-Ra won’t be able to stop turning pages.

Buy Cemetery Boys by Aidan Thomas

Seven of Infinities by Aliette de Bodard

For the lover of science fiction sleuths.

This latest in de Bodard’s Xuya universe features an unlikely pair of detectives teaming up to solve a murder. Vân is a poor scholar hiding her possession of an illegal implant. Sunless Woods is a mindship who is also a thief and master of disguise. The pair have to work together to solve a murder—and unravel their own secrets. For readers who enjoyed de Bodard’s previous The Tea Master and the Detective or enjoy a good detective tale in space, this is a sure hit.

Buy Seven of Infinities by Aliette de Bodard

Super Mario: Manga Mania by Yukio Sawada

For the NES nostalgic.

It’s the 35th anniversary of Super Mario Bros! This is the first Super Mario manga ever available in English, and for classic NES fans nostalgic for the good old days of their vintage system, the zany adventures contained in this volume hit all the right notes.

Buy Super Mario: Manga Mania by Yukio Sawada

Sal and Gabi Break / Fix the Universe by Carlos Hernandez

For the young reader in your life.

The Sal and Gabi duology (Sal and Gabi Break the Universe and Sal and Gabi Fix the Universe) are ostensibly about a boy who can reach through the multiverse and bring things through to his part of reality—but they’re also about friendship, finding common ground, being your best self, and sentient AI. Most middle grade books depict middle school as an evil horrible place, as much an antagonist as the book’s real villain. The Sal and Gabi books do away with all of that. Not only is Culeco Academy the coolest middle school ever, the series manages to ramp up all the tension and drama needed without having an actual villain. (Even the people who seem villainous at first turn out to be different from expected.) These are a delight for adult readers who love middle grade fiction, but they’re even more important for middle schoolers, who deserve to see kids their age saving the multiverse in communities full of hope and love.

Buy Sal and Gabi Break / Fix the Universe by Carlos Hernandez

Outlander Knitting: The Official Book of 20 Knits Inspired by the Hit Series by Kate Atherley

For the crafter in your life.

For fans of either Diana Gabaldon’s time-travel romance novel series or the hit Starz adaptation, this collection of patterns inspired by the show will transport your crafting friend into the Scottish Highlands. Featured among the projects are clothing, accessories, and decorations for the home.

Buy Outlander Knitting: The Official Book of 20 Knits Inspired by the Hit Series by Kate Atherley

The Only Good Indians by Stephen Graham Jones

For horror fans.

Compared favorably to horror-master Stephen King’s It, this classic revenge horror seamlessly combines elements of social commentary and drama. The story follows for American Indian men who, as childhood friends, experienced a disturbing event together. Now, the past has come back with a vengeance, and there’s no avoiding the violence they tried to leave behind. Jones is making his mark in the world of horror, and this is a not-to-be-missed thriller.

Buy The Only Good Indians by Stephen Graham Jones

Teen Titans: Raven and Beast Boy box set by Kami Garcia and Gabriel Picolo

For DC fans.

Garcia and Picolo’s Raven and Beast Boy origin stories reinvent the characters for an audience who may have already met them in kid-friendly Teen Titans Go! or adult-aimed Titans. While the comic versions presented here draw on those previous incarnations, the stories are self-contained, giving readers both familiar and new to the DC series a chance to experience them for the first time. This hardcover box set gives the books an extra gift-worthy feeling.

Buy Teen Titans: Raven and Beast Boy box set by Kami Garcia and Gabriel Picolo

Thorn by Intisar Khanani

For the friend who needs a fresh fairy tale.

In this retelling of “The Goose Girl,” reluctant Princess Alyrra is happy to have escaped royal life. But when she learns of a plot against the prince, she must decide whether to reclaim the heritage she wanted to leave behind, or let the kingdom fall. This beautiful hardcover edition also features an additional short story set in the same world.

Buy Thorn by Intisar Khanani

Dinosaurs: The Grand Tour, Second Edition: Everything Worth Knowing about Dinosaurs from Aardonyx to Zuniceratops by Keiron Pim

For Jurassic World and other dinosaur fans.

While the 2020 entry into the Jurassic World franchise, Camp Cretaceous, was geared toward younger viewers, plenty of adults never grow out of their love of dinosaurs. And why should they? These prehistoric terrors continue to be amazing—and modern scientists continue to make new discoveries on an almost weekly basis. This huge guide to dinosaur species offers references for more than 300 species full of colorful illustrations that show these titans in all their (feathery!) glory.

Buy Dinosaurs—The Grand Tour, Second Edition: Everything Worth Knowing about Dinosaurs from Aardonyx to Zuniceratops by Keiron Pim

The City We Became by N. K. Jemisin

For the SFF connoisseur.

This series starter is set in a contemporary New York—but the city is coming to life. But a city killer is trying to stop New York from evolving, and the city’s mortal avatars are the target of its plans. It’s not uncommon to hear people considering N. K. Jemisin the best modern writer of speculative fiction, bar none, so picking up The City We Became, her most recent novel, is a no brainer if you’re buying for someone who likes smart, quality SFF.

Buy The City We Became by N. K. Jemisin

Cyber Shogun Revolution by Peter Tieryas

For the mecha enthusiast.

This triumphant conclusion to Tieryas’s United States of Japan trilogy, which can be read as a stand-alone, takes place in an alternate reality where Japan and Germany won World War II and divided the United States between them. An assassin known as Bloody Mary is determined to eliminate corruption from within the United States of Japan, regardless of the cost. It’s up to a secret police agent and a star mecha pilot to stop her, but determining enemies from friends is almost impossible. Tieryas balances the super cool world of mecha battles and spy action with searing social commentary and ethical questions, making this a challenging but imminently worthwhile read for fans of Pacific Rim.

Buy Cyber Shogun Revolution by Peter Tieryas

Star Trek: The Wisdom of Picard by Chip Carter

For the Star Trek fan in your life.

Captain Jean-Luc Picard has always been quotably wise. In this collection, Chip Carter pulls together some of the greatest lines, featuring Picard’s thoughts on leadership, justice, and space exploration. The quotes are accompanied by photography from iconic scenes of The Next Generation, making this a perfect gift for the Star Trek fan who already has everything.

Buy Star Trek: The Wisdom of Picard by Chip Carter

Axiom’s End by Lindsay Ellis

For fans of Arrival and Stranger Things.

This first contact story from Hugo-nominated video-essayist Ellis is set in an alternate 2007. In the world of the novel, Cora’s father has blown the whistle on the first contact cover up. Cora herself wants nothing to do with aliens, but when one of the aliens decides Cora is the only human he’ll talk to, she’s stuck in the middle of everything. For lovers of aliens and conspiracy theories, this is one to pick up.

Buy Axiom’s End by Lindsay Ellis

Court of Lions by Somaiya Daud

For lovers of YA court intrigue.

In this sequel to Daud’s Mirage, Amani, who has been forced to serve as the body double for Princess Maram, is on her last chance. The princess discovered Amani’s connection to the rebellion, and now Maram is suspicious of anything Amani does. Yet Amani is dedicated to the cause of seeing her people free, which means she has to make a choice: continue to work from within the palace and risk her life, or flee and risk her people. For a female-centered plot that deals with consequences of colonialism, this series conclusion and its predecessor are a sure hit.

Buy Court of Lions by Somaiya Daud

Star Wars From a Certain Point of View: The Empire Strikes Back

For the Star Wars fan.

Called “one of the best Star Wars books released this year” in our Den of Geek review, this anthology is packed with stories from authors both well-known and unfamiliar, whose works delve into the lives of central and side characters from The Empire Strikes Back. While some explore relationships between key characters (Luke, Leia, Obi-wan), others tackle the points of view of previously unnamed creatures (Sy-O, the space slug that swallows the Millenium Falcon). The stories are sometimes delightfully weird, other times grim or tender, and all a good gift choice for the Star Wars fan whose favorite film is still Empire.

Buy Star Wars From a Certain Point of View: The Empire Strikes Back

Remina by Junji Ito

For the manga fan.

This science fiction horror story centers on Dr. Oguro, who discovers a planet that has emerged from a wormhole and names it after his daughter, Remina. But as the girl Remina rises to fame, the planet shifts its course, threatening all life on Earth. Could Remina herself be the cause? This chilling story is a classic from Eisner-winner Junji Ito newly released for an English-reading audience.

Buy Remina by Junji Ito

Be Water, My Friend: The Teachings of Bruce Lee by Shannon Lee

For the martial arts enthusiast.

For friends who like a little more grounded, real-world take, this exploration of Bruce Lee’s philosophies, written by his daughter, offer insight into the legendary martial artist. Although this title offers no martial arts tips, it is full of philosophy, untold stories, and inspirational takes from the cultural icon.

Buy Be Water, My Friend: The Teachings of Bruce Lee by Shannon Lee

Mexican Gothic by Silvia Moreno-Garcia

For the lover of gothic horror.

When her cousin begs her to come rescue her from a mysterious doom, Noemí heads to a house in the Mexican countryside. As she looks into the secrets of both the house and her newly-wed cousin’s husband, Noemí finds that there’s more danger—real and supernatural—than she ever imagined. Set in the 1950s, this supernatural horror blends elements of Rebecca and science fiction for a chilling novel perfect for lovers of classic gothics.

Buy Mexican Gothic by Silvia Moreno-Garcia

Marvel Greatest Comics: 100 Comics That Built a Universe

For the Marvel fan.

In a collection that spans the entire history of Marvel comics, characters like the Human Torch, Spider-Man, the Avengers, and the Guardians of the Galaxy show their historical origins. If you have a fan who’s waiting impatiently for the next MCU offering, this collection of some of Marvel’s defining comics from the company’s history may be just what they need to tide them over.

Buy Marvel Greatest Comics: 100 Comics that Built a Universe

Star Daughter by Shveta Thakrar

For lovers of mythology and fairy tales.

Billed as Neil Gaiman’s Stardust meets Hindi mythology, this debut novel centers on the daughter of a star and a mortal. Sheetal tries to be normal, but when her starfire accidentally hurts her mortal father, she must travel to the celestial court in order to save him. The combination of court intrigue, mythology, and a fairy-tale like tone is perfect for YA lovers.

Buy Star Daughter by Shveta Thakrar

Emerald Blaze by Ilona Andrews

For the romantic who needs a great stocking stuffer.

Although better known for the popular Kate Daniels series, the Ilona Andrews team (husband and wife Ilona and Gordon) has knocked it out of the park with the most recent installment in their “Hidden Legacy” series. There are now five novels and a novella in the series, with Emerald Blaze as the second book of a second arc, but while the book is most likely to resonate with readers already introduced to the character, it’s also a stand-alone magic-spy-action-adventure-romance. Despite that blend of genres, Team Andrews melds it all together in a world with both super cool magic and an alternate-reality Instagram, featuring characters you want to hang out with regardless of the stakes. The mass-market size also makes it perfect to slip into a stocking!

Buy Emerald Blaze by Ilona Andrews

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theastrophilearchitect · 4 years ago

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February 2021 wrap-up.

Every book, audiobook, tv show and movie I consumed in February.

The phrase ‘wrap-up’ is so boring. I want to talk about books, TV shows and movies, so I can’t even call it a ‘reading wrap-up’, however pleasingly alliterative that sounds despite the fact that ‘wrap’ actually begins with a W. One of my favourite YouTubers, polandbananasBOOKS (that capitalisation is loud) calls her wrap-ups ‘Stories I Ate This Month’ which I love, but using exactly that seems wrong. I genuinely debated calling this ‘My Media Diet’, but the word ‘diet’ has so many negative connotations to me, so I dropped that. Besides ‘wrap-up’ all in lowercase followed by a full stop is aesthetically pleasing.

The Hunger Games and Catching Fire by Suzanne Collins (audiobook) I’ve read this series countless times. I read the series first time through six years ago, and, after finishing it, I just kept rereading it during silent reading time at school, so God only knows how many times I’ve read it at this point. This is actually the second time I’ve listened to this audiobook, and I still, of course, love it. When I first read it, this book stuck with me. It was the first teen book I ever read and, most unfortunately, put me into a dystopian phase. However, we got over that. I’m good now. I promise.

You know what this is about, but here it is anyway: in a dystopian future (of literally just North America, it never mentions what’s happening anywhere else), a country called Panem (literally the whole of North America) is divided into the luxurious, utopian Capitol, and thirteen districts, all of which gather or produce something for the Capitol. Some of the districts live in poverty, while others are afforded some luxuries but nowhere near those of the Capitol. It never really explains how this system came to be, but then there was a rebellion against the Capitol in which District Thirteen was destroyed, and every year two teenagers from each district are chosen to compete in the Hunger Games, where twenty-four tributes are put in an arena together to fight to the death, and the last person standing emerges victorious. It feels so strange to talk about the basic premise of this book without going into the rest of the trilogy, but I’ll leave it here.

I hate how the media washes this book out and plays it off as just another love triangle, which it barely even is. It has such an important message about society, and the fact that the media does that just proves how accurate it is. I can’t believe when I first read it I was actually Team Gale, but in truth I think that was just because I liked Liam Hemsworth better than Josh Hutcherson, which I still do, but not the point. Anyway, the narrator is excellent.

I’m not giving these booksa rating, both because it’s a reread and I like to base ratings off my initial opinion, and because the first time I read this book I was literally a small child, and part of my love is the nostalgia.

The Invisible Life of Addie LaRue by VE Schwab

This was the first book I read with my eyes this month, and I ended up getting the ebook because it was just so much cheaper than getting a physical copy - I may have invested if I loved the UK cover as much as the US, I’m ashamed to say (above is UK). It was not what I was expecting.

This book was much more contemplation-heavy than I was expecting and actually very light on plot. In 1714, Adeline LaRue runs away from her wedding and prays to Gods, wishing to be free, and is answered by the darkness, who makes her a deal: he grants her immortality, and she promises him her soul when she doesn’t want it anymore. He, wanting her soul, twistedly grants her freedom by cursing her to be forgotten by everyone she ever meets. Three hundred years later, she meets someone who remembers her.

It’s really about life, freedom and time - there’s no direct message or moral, at least not that I picked up on, but it really makes you think. I do enjoy that in a book, but not as much as one where i just love the story. I generally prefer books where I’m rooting for the characters, and it’s full of ships - the kind of stories you would write fanfiction about, but this is the kind of book that I think will stick with me. I take issue with how cliché the ending was, though.

Anyway, I’m not actually sure how I want to rate this. As a British teenager, I’m not actually that familiar with lettered ratings, and I don’t really want to use stars, but I think I’m going to suck it up. Maybe I’ll think of something else eventually.

Rating: 4.5 stars - books that get five stars from me are generally based on the enjoyment factor, but this book deserved more than four.

Arrow Season 1

I’ve been semi-interested in the Arrowverse/DC TV universe for a while, and finally took the opportunity to delve in. This show is so insanely CW - everyone has that look, it has that tone and it takes itself way too seriously. By the 23rd time you’re hearing it, the recap becomes painful to listen to.

This was the first show in DC’s saga - the show picks up as Oliver Queen returns home from being stranded on an island for five years after a cruise ship sank. When the ship went down, his billionaire father sacrificed himself to save Oliver, and left him with a list of ‘the people poisoning [his] city’. Upon returning home, Oliver becomes the vigilante who will eventually become known as ‘Arrow’ or ‘Green Arrow’ (currently unclear; I’m not a comic book person) but is currently dubbed just ‘the Hood’ or ‘the vigilante’, with the goal of taking down the people on the list. It’s very intense.

It took me about ten episodes to actually get invested - which is nearly seven hours watch time - but, ultimately, I’m glad that I did. Aside from the excessive CW-ness of this show, I love the characters and I want to see what happens.

Still, why is everyone so obsesses with Laurel? What’s so great about Laurel? I don’t get it. Felicity is 10000% the best character - she’s relatable, cute, and I high-key ship her with Oliver.

This little rant of mine was unintelligible.

Rating: 4 stars

Guardians of the Galaxy

I’m not explaining what this movie is about. Honestly. This was just a rewatch: I’m currently rewatching every MCU movie in chronological order (as in, starting with Captain America: The First Avenger instead of Iron Man). For every TV season I finish, I watch a a movie, and I alternate between movie series, one of which is, at the moment, MCU films. It’s hard for me to briefly explain my weird watching patterns.

I love this movie so much. It was the first really upbeat MCU movie, and I love the characters.

I don’t really have much to say about this, but if you haven’t watched MCU movies, please watch them. Even if you don’t want to, this movie is absolutely worth watching and you don’t need to watch any other MCU movies for context.

I Am Not Okay With This Season 1

I’m reeling from this show. I literally can’t tell whether or not this is getting a second season; it seems like it was meant to, but then got cancelled, and now I can’t tell.

This show follows a high school student named Sydney. She’s your typical outcast, and isn’t interested in getting ‘in’ - she’s best friends with a girl named Dina; they both came to their school around the same time and ended up friends, though Dina is your typical pretty girl. Then Syd discovers she has powers that operate based on her emotions, and I really don’t want to say anything else. But it does star Sophia Lillis and Wyatt Oleff, who you likely know as two of the kids in IT (the clown movie, not like computing).

Honestly, episodes 1-6 were very chill, more focused on teenage life than her powers, then episode 7 brought it. Up until the end of episode 7, I enjoyed the show and would be happy to watch a second season, but I wasn’t particularly invested or excited by it. Then episode 7. I would love a second season of this show. I have to at least know where the writers were going with it.

This show came out last year, and I only just got to it, but I can’t believe I haven’t heard anybody talking about it. It’s intense, it’s entertaining, and the first season will only take up about two and a half hours of your time (it’s seven 19-28 minute episodes).

Rating: 4 stars

Blue Lily, Lily Blue and The Raven King by Maggie Stiefvater

I listened to The Raven Cycle audiobooks in 2019, and I’m not sure why because I didn’t even enjoy them that much. I did, however, decide I wanted to read Call Down the Hawk, the first book in the spin-off series, and that meant I had to reread The Raven Cycle since I had paid so little attention to the audiobooks, which I started in January and I love this series. Not what I expected from a reread of a series I paid virtually no attention to, but here we are.

This is book 3 in The Raven Cycle series, book 1 being The Raven Boys, which is a paranormal book in which the protagonist Blue, is the only non-psychic in a family of psychics, and has been told her whole life that if she kisses her true love, she will kill him. Then, on St Somebody’s Eve (Mark’s? I want to say Mark’s but I’m not sure), when she goes with her aunt to see the spirits of the people who will die in the next year, she sees one of the spirits, a boy from Aglionby Academy, the local private school, meaning he is either her true love, or she is the one who kills him, which in her case, could very much be both. Then that boy schedules a reading with her psychic family to help him find an old Welsh king, and there is so much more than that to this glorious series, but I’ll stop here.

I think my main thing in books and general media is the characters. They have to follow some kind of sensible plot, but if I’m not invested in the characters, I can’t get invested in the story. I genuinely don’t think I’ve ever been so in love with a cast of characters, not even in Six of Crows - this story is so character-driven, and I can’t get enough. This was an excellent continuation, and so much happened, but it did feel like its purpose was just to set up the final book, so I didn’t enjoy this one quite as much as the previous two.

Rating: 4 stars

As for The Raven King - this was the last book I read this month, finishing it on the morning of the 27th because I knew I would have very little reading time from mid-afternoon until twenty-four hours later.

In complete honesty, I found the climax of this book to be a little rushed - we spend the whole series aware that Gansey’s looking for Glendower, but it never seems to be more prevalent than just their general investigations as to what the hell is happening. As a result, when it came to that in this book, it felt a little out of the blue (no pun intended).

Regardless, this series so well balances strong characters and strong plot where so many others fail, and I love it.

Rating: 5 stars

Fate: The Winx Saga Season 1

This show is a live-action rated-15 Netflix adaptation of one of my favourite childhood shows, Winx Club. And, honestly, you can tell.

I tried to watch this objectively, instead of complaining about how they cut some of my favourite characters and changed so many (Tecna, Riven, Beatrix, Stella, Brandon etc.). While I was upset about some of the cuts, I can agree that they were best for the story. Where in the original, every fairy had their own unique powers, this adaptation splits it into five elements: fire (Bloom), water (Aisha - on another note, screw Aisha, honestly), air (Beatrix), earth (Terra) and mind (Musa), though Stella still has light powers? Which is never explained?

Anyway, this follows teenage Bloom as she discovers she’s a fairy and goes through her first year at a fairy school called Alfea.

I’m not going to go too deep into this because I have so much to say about this show that i think I’m going to make a whole separate review rather than bore you with it now.

Quality-wise, this show was mediocre, but enjoyment and nostalgia raise its rating for me because I’m biased.

Rating: 4 stars

Ninth House by Leigh Bardugo

This is both Bardugo’s first adult novel and her first novel not set in the Grishaverse. I read the Grisha trilogy for the first time years ago and didn’t like it that much, but followed that right up with the Six of Crows duology which I loved. I read King of Scars in 2019 when it came out, and started listening to the King of Scars audiobook just before I started reading this in preparation for Rule of Wolves at the end of March.

I loved this. I don’t think I have anything to criticise quality-wise - the characters had depth, there were plot twists and strong subplots, the world was incredibly well built, and the only thing that got me to put this book down was taking a week to start working on my own writing project (post coming soon). Because I took that week completely off reading, this book took me about two weeks total from start to finish, but it was so worth it.

This novel follows Alex Stern, a twenty-year-old whose friends have all been murdered. She was found beside one of them who died of a overdose, with the same drug in her system. But Alex can see ghosts, and, soon after her friends’ deaths, is consequently offered a scholarship to Yale University, on the condition that she works for the ninth House of the Veil to monitor the activities of Yale’s secret societies.

In complete candour, I found this book somewhat convoluted, though most of that was probably mainly my own poor reading comprehension. Regardless, I loved the plot, and am very highly anticipating the eventual release of its as-of-yet unnamed sequel.

Rating: 4.5 stars

Crooked Kingdom by Leigh Bardugo

So I actually finished this audiobook briefly after finishing Blue Lily, Lily Blue, but I’m tacking it on here because I forgot to add it to the list and already explained my Grishaverse experience in my Ninth House comments.

So, yes, I love this duology, and it really opened a new compartment in my writing brain, even though I haven’t really taken advantage of that writing brain until now (again, post coming soon).

King of Scars by Leigh Bardugo

I am realising I’ve read eight books this month, and nearly half of them were by Leigh Bardugo. Which makes sense, considering how much I enjoy her books.

This book is slower-paced than most of hers, but it does follow two (one of which splits again) completely separate storylines, and is still excellent and entertaining.

I listened to this for a recap before Rule of Wolves is released on March 30th.

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annabethbreakstherules · 5 years ago

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OUAT and why “mystery box” narratives are doomed to fail

Once Upon a Time premiered on Oct 23, 2011 to 12.9 million viewers and fairly positive reviews from critics who praised the performances of the main cast, the surprisingly complex and interesting takes on storybook characters, and the impressive special effects. This quote from the Wikipedia page essentially summarized what was so compelling about the show (and hints at ultimately why it failed):

“‘Rick Porter gave the pilot praise for bringing together the central theme, saying "No other new show this fall is attempting to tell a bigger story, and we're hoping the rough patches smooth out and it fulfills the potential that's there in its very strong cast and premise.’”

Once wasn’t unique for its fairytale remixes, which was also being done concurrently for a time on NBC’s Grimm, but for it’s intrigue and mystery. Emma Swan is pulled into the uncanny world of Storybrooke and into a scheme much bigger and more complicated than she could imagine.

Premiering a year after the controversial Lost finale, OUAT was propped up as the next project from Lost producers Edward Kitsis and Adam Horowitz, promising a series built on unknowns and mysteries that unravel as time goes on. The first season utilizes the Enchanted Forest to give the audience hints and clues that line up with discoveries Emma makes in the town in the real world. It’s laden with pockets of missing information that get revisited and stories told out of order to better serve the overall narrative. It works. The first season was critically and commercially successful, pulling audiences in the 12-9 million range in the Sunday night slot. However, as time went on and the show unfolded, things changed and the show declined in viewership and quality. A lot of the qualms with the latter season of the show stem from the fact that from the second half of season 3 onward it essentially became a weekly hour long commercial for Disney properties, with the recent or upcoming films and their characters being woven into the story. Certainly this is likely true as the show originally so compelling for its unique take on characters that challenged their pervasive PG interpretations but also didn’t simply turn to the original Brother’s Grimm tales. However, this shift is storytelling is a side effect of the larger problem the show faced that it failed to overcome, ultimately ensuring its eventual downfall.

OUAT was sold as a mystery box show, but it ended as your average villain of the season supernatural/fantasy show bogged down by Disney and recycled plots. No matter what direction this show took, because of the original premise being rooted in a mystery box plot, like the previous project the show runners worked on, it was bound to come in contact with narrative problems.

Part 1: The JJ Abrams and the Lost finale of it all

What exactly is a “mystery box”? Here is a link to a TedTalk where Abrams himself describes the concept: https://www.ted.com/talks/j_j_abrams_the_mystery_box?language=en

Essentially, he breaks down the power of mystery and specifically how his conception of mysteries and the unknown as opportunities for incredible feats of human imagination factored into the creation of Lost, where the first two episodes, which he wrote and shot with Damon Lindelof in the span of 11 weeks and set up a bunch of questions that end up driving the plot of the subsequent episodes and seasons. In his TedTalk, Abrams talks about how mystery boxes stand in for unknowns that when revealed, often lead to much broader and deeper truths that speak to things bigger than the narrative itself. This was supposedly the idea behind Lost.

However, this didn’t end up being the reality. Abrams exited the show in the third season and (allegedly) pretty much left the new showrunners and writers room with little idea of what was inside the mystery box he’d set up. Thus, it was up to people who didn’t create the show to guide it through three more seasons and attempt to land a satisfying ending. The details of the finale aren’t important, what matter is that it came with a lot of controversy. Fans found it confusing or unsatisfying and felt it ultimately failed to provide good answers to the questions it set up. While not relevant to this story, Abram’s handling of the Star Wars sequel trilogy suggest a pattern of setting up a mystery box he doesn’t intend to answer himself (and then fumbling when he attempts to solve the equations he wrote).

Opinions on the finale have changed over time, but in 2011, just a year after the show had concluded, ABC and Kitsis and Horowitz were very aware of the precarious view many people had of the show’s conclusion. With OUAT, ABC was clearly trying to recapture the magic of Lost, where the television mystery became a massive phenomenon as people wrote think pieces and articles, tuned in every week for more clues, and talked about their theories online. They wanted another show that would keep people guessing and, therefore, encourage them to discuss it publicly and drum up more interest. However, they knew they couldn’t afford to fumble the bag this time and risk alienating people who were unsatisfied with Lost, but had enough good faith to give the show a chance. Kitsis and Horowitz saddled themselves with this task, despite likely having no real idea how to best address the problems Lost had. The concept of “the mystery box” was championed by Abrams and he had yet to really prove a mastery over the thing he created. This motivated the decision making behind the structure of the show for better or for worse.

Part 2: Looking inside the box too soon

Lost was built on the question of what exactly was going on with the island and whether or not the people on it could escape. OUAT was built on the question of what was going on in Storybrooke and what it had to do with Henry’s book of fairytales. The Enchanted Forest identities of Storybrooke citizens, who cast the curse, and how to break it were shrouded in mystery and slowly revealed through flashbacks and Emma’s own investigation. It was pretty compelling TV that provided a few good gasp worthy reveals over the course of the season. It all built towards the final reveal that Emma was the Savior, the fabled hero of the Enchanted Forest, the daughter of Snow and Charming, and that True Love’s Kiss is the way to break the curse. The curse is lifted and everyone regains their memories. The mystery is solved. And therein lies the problem.

The entire marketing campaign around the show either capitalized on the fairy tale aspect of the show or the mystery, usually both. Every episode trailer was about what information the flashbacks would reveal next, what new characters we might meet, what we might learn about characters we already knew, and what Emma and Henry would learn about Storybrooke itself. The genre of the first season of the show is obviously a mystery and a good one with several branches that, while connected, all had their own unique and complex answers or causes. The majority of these questions were answered in the season finale, which seemed an odd move from the network and producers who brought audiences the six season long Lost, where even in the finale things were left unanswered.

It’s clear ABC and the showrunners wanted to capitalize on the success of the show while also trying to rectify the problems that had plagued it. One of the reasons the finale to Lost was likely going to be unsatisfying to many no matter what it contained, was that the show had simply been on for long and there was so much speculation and hype about how it would end that there was no way anything they could write would live up to fan expectations. Additionally, over the course of six season, plot holes began to build up that one two-part finale could never hope to make sense of. That’s the burden of putting long narrative mysteries on TV, they’re hard to land. This is why we’ve seen many shows that revolved around mysteries or crimes turn to the anthology format where every season poses a new question that is solved in a limited amount of episodes. This was likely the intent behind “looking inside the mystery box” at the end of OUAT’s first season; it was better to present a coherent and condensed mystery narrative than drag it out and risk creating a mountain of contradictions. This isn’t a terrible call, especially because Kitsis and Horowitz and their writers delivered on the promises they set up and presented great characters. It was a great set of 22 episodes. Had the show ended after 1 season, there would be little to talk about, it might even be regarded as one of the most competent mystery shows ever to air on a major network. However, the problem doesn’t lie in the first season, but what comes after it.

Part 3: What happens now?

OUAT managed to pull off a feat that should not have been possible considering the circumstances. After solving most of the mysteries that drove the plot and made the show interesting in season 1, they somehow managed to pull of a second season that didn’t drastically decrease in quality. In fact, on Rotten Tomatoes, season 2 has the highest critic and audience scores. The team behind the show had left just one stone unturned in the final episode of season one: what was the ultimate fate of the Enchanted Forest after the curse?

The dual settings of the storybook land and the town had never collided. The showrunners took advantage of this and capitalized on the new dynamic of Emma going to the Enchanted Forest. Suddenly, in addition to the flashbacks that continued to flesh out recurring and new characters and the going-ons of Storybrooke, Emma’s adventures in the present of the Enchanted Forest became a third arm to the narrative. The show was still pretty exciting and had some fun twists and turns, but it was fundamentally different. It was no longer about small town social politics, intrigue, and putting together the pieces of a past in a magical world that how somehow leaked into reality. While the show had always been based in fantasy, the mystery kept it grounded. The second season launched it full speed into the fantastical and committed itself to being a strictly fantasy show. Regina remained a prominent antagonist, but the new villain was her mother, Cora, who became the first in a long series of villains who stayed around for a half to a whole season before either being defeated or fading into the shadow of a new big bad. There was no longer a larger ultimate goal the show was heading towards as it had been in its first season. The show’s identity had completely changed and this created a lot of problems.

Part 4: A wuick summary of the decline

The first season was fairly streamlined with each episode serving a clear purpose in pushing the mystery forward, with the new goal being to simply defeat the new bad guy, filler episodes began to crop up with some frequency as the writers tried to shoehorn in as many fairy tale characters as they possibly could. The flashbacks also began to double back. In order to line up with the new big bad narratives each season, the backstories of many characters had things retroactively inserted into them that didn’t really line up with what the audience already knew of the characters.

The writers also kept trying to chase the magic of the first season, introducing new curse after new curse and continually undoing Regina’s character development to keep her as a constant antagonist. The show had nowhere to go, so the writers began throwing things at the wall and seeing what stuck. There was time travel and rewriting the past, there were other fantasy worlds where characters from other public domain stories that weren’t traditional fairy tales lived. The show ultimately did a soft reboot and basically recreated the storyline of the first season in the final season with Henry taking up Emma’s mantle of main investigator. And it was all...pretty lackluster.

However, the biggest downfall of the show came in season 4. Season 3b had seen the writers managed to weave in Oz, which was featured because of the upcoming Disney flop Oz the Great and Powerful, and create a moderately interesting character and plot through the introduction of Zelena. This seemed to embolden them, because, whether forced by ABC and Disney execs or inspired by the massive commercial success of the film, a Frozen plotline was introduced. This wouldn’t have been too terrible had they not ripped the character designs and stories directly from the film itself. With Oz they’d put their own spin on the world, but Elsa and Anna received no such treatment. They were simply carbon copies of their film counterparts, which felt wildly out of place in a world where Peter Pan was Rumplestiltkin’s father and Prince Charming had an evil twin brother. Viewership began to decline in earnest over the fourth season, yet the writers never really learned their lesson, with most new introductions to the show being fairly similar to their previous appearances in films.

The show had the benefit of continued good performances and the foundations of good characters. They also chose not to introduce a true love interest for Emma until the second season and didn’t begin to develop their relationship until the third. Their continued success hinged fairly squarely on the shoulders of shippers who cared more about Captain Swan than the actual narrative of the show.

The turn to weak season to season plots was ultimately what hurt OUAT as the writers clearly ran out of viable ideas long before the show ended. This turn was ultimately necessitated when the show continued to be renewed despite having fulfilled its premise so early on.

Part 5: Conclusion and the future fate of “mystery box” shows

Lost was fresh and unique and exciting when it premiered; there was really nothing else like it on TV. The desire to recapture what Lost did continues to this day (see NBC’s Manifest feat. OUAT alum Josh Dallas). However, should Lost be something writers try to recreate? The show had mass popularity, but the finale can routinely be found on lists of worst TV finales or TV finales that ruined shows along with the likes of Dexter and Game of Thrones. Lost ultimately failed to deliver on its promises. Some fans may enjoy the ending now or have come to understand it after rewatching the show a few times, but its still pretty controversial, enough so that pretty much every anniversary of the finale is marked by interviews with the cast and crew and articles about whether the ending worked or not. A successful mystery story shouldn’t leave audiences wondering if the mystery was actually solved.

OUAT certainly doesn’t have the fanfare surrounding it as its predecessor. The show croaked to a finish in 2018 with a fraction of the viewership it had in its first season. OUAT had a really strong first season, proving that mystery box narratives can work in an episodic structure and come to a satisfying end. However, the problem was that the show continued on past that, shedding its mystery identity for a time and then desperately trying to go back to it when things began to turn.

The show pretty strongly supports the thesis that mystery box shows might only work for one season. If stretched for too many seasons they either become extremely convoluted and impossible solve in a way that the audience will understand and enjoy or eventually have to solve the mystery and shift to a new structure to stay fresh (see Westworld which somehow manages to do both). Anthology mystery shows seem to have the right idea. However, what OUAT proved is that when a mystery box has a planned answer, they make for good television with satisfying payoff.

This isn’t to say OUAT couldn’t have continued on extending the mystery of the original curse into more seasons. I see a world where it could’ve occupied a majority of the second season, with more questions being raised. However, OUAT suffered under network and showrunner fears of repeating mistakes. Drawing out a mystery over multiple seasons hadn’t, so they shied away from that. The premise of OUAT was brilliant and interesting, capitalizing on past trends while also adding a the new element of fairy tales; this brilliant premise and strong mystery was ultimately its downfall. Like many shows that were once Tumblr darlings, OUAT has some of the best seasons of television early on, but now many former fans are embarrassed to have been associated with it. The puzzle was completed too soon, yet fans wanted more content. The result was lazy and lackluster storytelling that have greatly tarnished the initial success and genius of the show.

#I've been thinking about this for literal years I can't believe I finally wrote it #once upon a time #ouat #ouat meta #once upon a time meta #lost #meta #tv analysis #I'm gonna rewatch it huh.....#do not let this flop

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gascon-en-exil · 5 years ago

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Hm, if you could, how would you rank the final maps across the series?

I can’t really rank them, but I can give my opinions on most of them. I don’t know how much value it’ll have though since I freely admit to not playing on the higher difficulties where gameplay conversations are seen as having genuine merit. Anyway:

FE1/11 and 3/12 - only reached the end of the DS remakes, and as is the case with most of Archanea I don’t remember them very well except that Medeus is a pain in both. Shadow Dragon’s last map is also incredibly long as I recall...assuming you don’t just warpskip to the boss of course.

FE2/15 - never got to the end of Gaiden, but Echoes’s last map is an interesting mix of entertaining and frustrating. The layout is certainly distinctive, as is the novelty of using Alm and Celica’s armies together for the first time. Jedah’s gimmick is a nuisance though and I don’t care for Duma and his AoE attack and invulnerability to most attacks.

FE4 - the longest map in a game infamous for long maps, but unlike Chapters 2 and 7 Endgame offers a decent challenge to help cover up the tedious distances and backtracking. There’s also a good increasing scale of difficulty from one castle to the next, with the only real letdown being Manfroy whom is technically optional although I’ve never skipped him. Hate fighting Ishtar and the falcon knight sisters and most of the Deadlords, and it does suck a bit that the sudden rush of enemies with skills and holy weapons makes a fair number of your units dangerous to field on the front lines.

FE5 - also don’t remember it too well. The map itself is a nightmare like most of Thracia’s maps tend to be, but Veld is a joke in more ways than one. Also more Deadlords...whee.

FE6 - all of the GBA games follow a pattern of a two-part final map with the first being a gauntlet ending in a major story villain and the second being your army rushing the final boss. Binding Blade’s is the worst in both regards. First you’re trudging your units from altar to altar fighting dragons and getting an awkward backstory dump after each one, then you finally kill Jahn at the end, and then you get to Idunn who’s a joke and isn’t even that hard to kill with Roy for the secret best ending. Three Houses gets flak for clumsy lore dumps in its lategame, but I think I honestly prefer them to what we get here. At least Rhea manages to be sympathetic.

FE7 - the best of this trilogy, mostly on account of it kicking off with a boss rush of Blazing Sword’s greatest hits reincarnated as OP morphs. Nergal is pretty standard, but the second part deserves comedy points for pitting you against a generic and calling it a final boss.

FE8 - the monsters of Sacred Stones aren’t the most engaging of enemies, especially if you play the postgame Creature Campaign at all since there it’s nothing but monsters. This drags down the last map in my opinion, since it’s just a monster map with some mildly creative architecture and Lyon waiting for you at the end. Fomortiis is nothing special either apart from the originality of his not being a dragon.

FE9 - may be my favorite final map aesthetically, in large part due to the ironic contrast between the still tidy and peaceful Crimean palace gardens and the massive Daien army awaiting you. Similarly it may be the most mundane final map in the series with nothing much supernatural going on unless you’re playing on Hard (or Japanese Maniac) mode where Ashnard goes berserk and you have to kill him twice. I never do though, and Ashnard moving with his colossal range in higher difficulties means you don’t get to experience a good half or so of the map. I’d rather not deal with that, especially since he’s got the same nigh-invulnerability issue as Duma going on.

FE10 - depends on if we’re talking only 4-E-5 or the entirety of the Goddess Tower. The true last map is kind of bland and is more about having a good setup and positioning than dynamic tactics, because Ashera and her auras and AoEs are nothing if not predictable. The maps ascending the tower on the other hand offer a nice mixture of quick challenges that let this game’s massive cast come together for the first time (so like Gaiden/Echoes only with a roster over twice the size) and show off what they can do at their best...on Easy anyway. In Normal and Hard it’s Ike and the laguz royals and maybe about a dozen other viable units all the way up.

FE13 and 14 - I barely remember any of these to be quite honest. Awakening’s is as mediocre as every other map in that game and ends with the horrible non-choice for Robin that underscores how FE13 is terrified to have any genuine stakes. Fates’s three final maps each approximate the general tone of their respective routes: Birthright’s is the most series-typical, Conquest’s is the most creative, and Revelation’s is the most gimmicky and tedious.

FE16 - probably what most people reading this came for, so I’ll go ahead and break it down further by route.

SS - horrible by every parameter but the music, which is nothing special since all three final map tracks are excellent. There’s no setup worth mentioning to explain why Rhea is suddenly attacking you, and you’re stuck fighting enemies on all sides including a ton of flying monsters that hit extremely hard and also have to be taken out to do any serious damage to the Immaculate One. The map architecture is more of a hindrance than a help, and Rhea’s long-range attacks are if I recall the most deadly of any of the final bosses. The NG Maddening LTC crowd can have this one.

AM - feels more dangerous than it is, until you realize that you can skip large chunks of the map including Myson trolling you with his HP-to-1 spell on the right. Funneling your units through the smaller chambers on the left skips the worst of it and lets you right off into the throne room, where the Hegemon is overall less threatening than the horde of magic users surrounding her. I dislike the non-final version of this map in VW/SS more, if only because you have to move faster there if you want to stop Dedue from committing suicide by gremory/mortal savant.

VW - deserves a nod as the only wholly unique final map in Three Houses, even if conceptually it’s just Deadlords in a swamp (that you can get rid of, a nice touch). Nemesis is without question the weakest final boss as the only one without multiple health bars, and it’s not like you wouldn’t have taken out all of the zombie Elites on the way to him anyway. At least he puts up a pretty good fight when he’s by himself, although it’s still not hard to swarm him.

CF - comparable to AM’s in that you can skip large chunks of the map to make it easier, in this case by concentrating all your forces right up the middle to kill the Immaculate One before the enemies on the side can get to you. The faster you do it the fewer enemies you have to fight and the less fire you have to wade through, which is all a plus in my book. It helps that the Immaculate One here is weaker than she is in SS, and instead of being surrounded by monsters and constructs the other enemies in her immediate vicinity are ones like Cyril and Catherine who are still a pain to deal with but nowhere near as durable.

So for FE16 specifically I’d probably go AM > VW > CF > SS.

#Fire Emblem

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umamunandar · 5 years ago

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Review #4: The Illuminae Files (4.8/5)

So by this point, you should be familiar to my taste in movies and books. I mean with the lack of romance and teen fiction you see and the excessive amount of fantasy and sci-fi reviews I’ve written, you might realise that I have a thing for dystopian, sci-fi, and apocalyptic stuff.

If you’re also a dystopian geek like me, then you must have heard of Illuminae, the novel written by Amie Faufman and Jay Kristoff, which then got illustrated by Marie Lu, author of Warcross and Legend for the second book, Gemina. You might’ve heard of it’s great story, or maybe, like me, you were first introduced to its unique writing format

and i mean very unique format. (Every part I just showed belongs completely to Amie Kaufman and Jay Kristoff, of course I’m just out here throwing these pages to you so you know what I’m talking about)

Most books get very famous quickly because the themes they offer in the books, how great the storyline is. Some are popular only because the author that wrote it has a reputation for writing super famous and the readers just want to read more of their works.

But a book famous for its writing format is unheard of for me. Illuminae was the first what, novel (?) that succeeded in telling the readers a story about the destruction of a colony, and a galactic adventure just from files they retrieved from the computers used by the characters for data processing, storage, communication, and everything else you can do with a computer by the year 2575.

The year is 2575, and two rival mega-corporations are at war over a planet that’s a little more than an ice-covered speck. Now, with enemy fire raining down on them, exes Kady and Ezra—who are barely even talking to each other—are forced to escape on the evacuating fleet.

But their problems are just the beginning. The fleet’s AI has gone crazy, a deadly plague has broken out on one of the ships, and nobody in charge will say what’s really going on.

As Kady hacks into a tangled web of data to find the truth, it’s clear only one person can help her: the ex boyfriend she swore she’d never speak to again.

First, let me start with a short recap of my own.

29th of January, 2575, Kady Grant had broken up with her boyfriend, Ezra Mason. But later that day, her planet’s mining company’s rival company decided that it was a great day to attack the planet (Kerenza IV) and its inhabitants. Kady and Ezra managed to escape to two of the three ships used to transport and evacuate the Kerenza refugees. Ezra was taken to the Alexander, as he was badly injured, and Kady was taken to the Hypatia, a science vessel that happened to be orbiting Kerenza during the attack. The last ship was the Copernicus.

Everyone on board were tested to see their potential, since the fleet were understaffed. Ezra passed as a pilot, and Kady, bless her genius mind, decided that it was best to not show he full potential during the test. Not receiving the role of anything, she befriended a CommTech from the Hypatia, and became a hacker, determined to just find out what’s going on. Nobody who knew the truth would tell anyone the truth and Kady was only eager to find out.

The story was told by emails, chat boxes, documents, security camera footage, even information from the Alexander’s AI, which was pretty much messed up due to the attack at Kerenza, but was still functioning enough to tell a story, nevertheless. The second book got an illustrator, Marie Lu, the same person who wrote Warcross and Legend, and the content source didn’t just come from computers anymore. By Gemina, the information that led readers through the story was also gained from Hanna Donnelly—the story’s female lead’s personal journal, hand drawn, not soft copy from a computer.

Personally, Illuminae was the first story that brought me to loving sci-fi slash dystopian slash apocalyptic novels. I was always a fantasy geek, thanks to Harry Potter and Wildwood. Kingdoms, princesses in pretty dresses, or magic, they were always closer to me than spaceships, AI, and intergalactic war, but Illuminae completely changed my mind. I was even surprised when I found myself buying a handful of dystopian novels during a book fair the other day. They were just really fun to read.

Oh but you know what else is fun? Guessing which cuss word the characters in the books used. Sure, the story was told through files, which means some were formal documents like reports and formal emails, but remember that there are also chat boxes and the informal emails sent from one refugee to the other as a form of communication to ask how they were doing and whatnot. Cussing and slang were used constantly in the book, but because they were compiled and as I quote, ‘sent’ as a formal file, the cursing had to be censored and blocked. It was still fun to guess the words they used anyway.

Writing this review, I had already read Gemina, and Obsidio was being shipped to my house, so yes, I really love this trilogy.

I’d love to get into more depth about the two books, but since nearly every page is filled with action, I can’t really write a spoiler-free review with it so let’s get to the positive points and negative points of the book,

Pros:

The book, as we all know and as I have mentioned for the fifth time now is formatted like emails, chat boxes, documents, and literally every other thing you can extract from a computer by the year 2575. Despite all three books being thicker than 500 pages, some of the pages aren’t even full pages, and you can read them in under one minute, even for a slow reader. Some examples:

Countdown pages

Those pages when something dramatic happens, like the description of missiles travelling through the space between two ships

In Gemina (and possibly Obsidio), some pages from Hanna Donnelly’s personal journal were incorporated in the files, the second Illuminae Files. But unlike Kady who prefers writing (or typing) her thoughts and securing them with a handful of layers of security and passwords, Hanna draws hers, and they didn’t take that long to read either.

‘The pattern is always the same’

‘White light’

And everything else

I know Illuminae was my first ever sci-fi dystopian novel, but I’ve consulted a few people on the matter, and I found out that the story the series offered is a good one on its own, even without the dramatic effect. So yes, one of the pros is that it actually offers a good story. You never know what’s going to happen next. It’s like say, you just got over a dramatic point in one of the books, and suddenly the document in the next page is a bloody medical report that tells you something is up.

Another plus point would be how the events in the books are so well described, despite there being no actual description done in the books except for those surveillance camera transcripts. We don’t even know Kady and Ezra’s specific physical appearances, just the fact that Kady has pink hair and Ezra is a pretty much a teen fiction novel average golden boy, unlike Hanna and Nik who’s illustrations we see from again, Hanna’s journal in Gemina.

Cons:

We should all put this fact in consideration, that the book is not meant to tell a story from a formal standpoint. Like I said, cussing is used in nearly every page of the book, though it’s censored. Mildly explicit jokes and references were also used in the book, though no actual harm is done. Then again, I’m not against this or anything, in fact, it brings an essence to the story, but some people (*cough* boomers*cough*) might not be comfortable with it.

Personally, I’m not fond of thick books. Four hundred pages is a workload for me. I was suffering throughout the Order of the Phoenix. Don’t like thick books? Illuminae isn’t for you. All three books had like, five hundred or so pages. I know I said it was told through a less boring format for a novel, and the story is good, but you still have to read. It’s a relief I made it through both Illuminae and Gemina, there’s a possibility I might drop Obsidio and leave it to rot before reaching the three-hundredth page. Though, there is a solution to this. You can buy the audiobook instead. I heard they did a good job with it, with great casts too.

Aaand, I think that’s about it. There’s really not much I can say about the story without giving away spoilers, and since I’m dedicated to make this a spoiler-free blog, I think it’s best you buy the book if you’re interested in the story of Kady, Ezra, Hanna, Nik, and two more characters I’m not supposed to tell you about because it’s technically a spoiler (?) from Obsidio.

I’m open for any discussion too! Just, don’t tell me anything about Obsidio just yet, I’m expecting the copy this week.

#illuminae #gemina #obsidio #the illuminae files #kady grant #ezra mason #hanna donnelly #nik malikov #book review #spoiler free book review #books #reads

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prairiedust · 6 years ago

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The Folklore of Supernatural

Part two of a series I started with this post.

I’m reposting this as the second installment of my midseason hiatus “The Folklore of Supernatural” series, even though it was originally written as kind of a long cracky way of looking at the “sleeping beauty trilogy” of episodes in season 14 (The Scar, Mint Condition, and Nightmare Logic.) The original question I was tagged into was “Is Dean actually dreaming?” and I can not find the original post about this, so I won’t tag anyone in particular (you know who you are and I love you because this was fun to write.) I posted it once in the dead of night with no tags, but I’m republishing it as part of my larger take on folklore as a theme in season 14 of Supernatural. Bear in mind that this was written before Optimism, when it became clear that these were not part of an extended dream-sequence, BUT ALSO before The Spear when it was revealed that Michael could repossess Dean. (I’m going to talk a little bit about timing and writing meta, further on.)

I want to say a couple of things before the cut, too. This is a big old Sleeping Beauty post. I know there’s a lot of SB ideas out there in the metasphere but I’ve deliberately avoided them because I wanted to get my thoughts out here and I am Very Slow. Feel free to tag me into other posts, send me asks, whatever, because I think it’s fun to talk about. However, just because this is a “sleeping beauty” meta does not mean I want to go all the way to the end of that metaphor in this series. This particular post is general audience meta. I can’t tell anyone who might read this that no, you aren’t allowed to see a DeanCas parallel in a meta which relies heavily on a romantic fairy tale and one that was a destiel fandom in-joke after Cas died, at that. I will say, though, that I see it, so if you want to duck out now because I’m a lowkey shipper feel free. Also, I can’t endorse predictions based on meta, either, even my own, even when I think there is a big neon “Texan Star” sign saying “destiel goes here;” there is absolutely nothing stopping anyone involved in the show from making a hard left when the signs said we were going right. So rather than seeing this as a defense of DeanCas subtext, let’s call it an experiment in close reading. If nothing else, it will be fun. (Bear in mind that I am a massive dork so my definition of fun involves Charles Dickens.)

Aaand... here we go.

Is Dean asleep, and have the last three episodes (The Scar, Mint Condition, and Nightmare Logic) been a dream? How can we possibly “answer” that question at this point in the show?

We’re trying to speculate about a text that is a constantly moving target. If, for instance, you start to read the novel Their Eyes Were Watching God by Zora Neale Hurston, and you know from a blurb on the back of the book that she was an anthropologist who collected African-American and Caribbean folklore, and you get to the place where the protagonist Janie’s second [redacted] ends, but there are a lot of pages left ahead of you, and you think, wow if this happens a third time, I have a theory that the third [redacted, go read this book] would be special based on what I know about folklore and the “rule of three,” well by the end of the book you will know whether or not you were right. Janie either finds a third [redacted], or she doesn’t, and it’s either special, or it’s not.

Supernatural has not ended, so there is no way of saying “Oh, the main theme we are supposed to take away from this show is ____.” I mean, we can put big money on “family” but still. With a television show, it’s hard to even say, “The over-arching themes in this season are____” until the season finale, because it is a text that is being written, filmed, and published serially. The fluid nature of subtext in serial literature was something I studied under a Brit Lit professor– she said, when we set out to read David Copperfield, that sometimes themes in Dickens concluded early or evolved late, or didn’t pan out, because Dickens changed his mind or was pressured by readers to maintain a character that he hadn’t planned to keep around (I think that character was Micawber but I can not find a shred of evidence anywhere, even in my notes from my Brit Lit class, because she kind of mentioned it in passing and I didn’t like Dickens very much when I was younger, so obviously I didn’t learn it well.) And even when you get to the end of a Dickens serial, you still might not get closure– he totally rewrote the conclusion of Great Expectations because his friends wanted angst with a happy(ish) ending.

But this particular “sleeping” symbolism that has been pointed out is really, really structurally sound and can be very well supported. What it means is (shrug emoji)

Going back to the first post in this series, the support for this reading comes from an understanding of folk tales. I’ll be primarily using European Sleeping Beauty stories, as that is what is most accessible to an American/Western audience. And, it was deliberately alluded to in the text of the show. But first let’s talk about formula tales in more depth because that is what sets this theme up in the very first episode of season 14.

Michael met with three different beings in the season opener Stranger in a Strange Land and asked each of them “What do you want?” This is in no uncertain terms a formula tale found in folklore all over the world, and you know about the rule of three even if you’ve never actually acknowledged it. In Goldilocks and the Three Bears, for instance, Goldilocks tries two bowls of porridge before finding one to her liking. She tries two chairs before settling on Baby Bear’s chair. She tries two beds before falling asleep in the one that was “just right.” There were three challenges, two of which failed and one that satisfied her. Goldilocks is an original work (and please read the Wikipedia article, it is fascinating how many revisions this story has gone through, and in fact “Goldilocks” wasn’t even the original main character) but it was based on a folk formula and has entered American oral tradition. Similarly, in the German folk tale The Three Little Pigs, the first pig’s house is destroyed because it was made of straw, the second house failed because it was made of sticks, but the third house was made of brick and withstood the huffing and puffing of the wolf. So the pattern in the rule of three is often two challenges that fail or are flawed and one that finally succeeds or satisfies the necessary conditions. For short, I’m going to call this grouping 2/1. In the Michael story, 2/1 is human, who fails, then angel, who fails, then monster, who Mikey likes. In addition, there is a primer to the rule of three in that first scene, just to make absolutely certain that the audience notices it-- Michael has Jamel guess his identity three times.

This 2/1 formula could be just something Dabb did because he wanted to do it. It’s ancient, and Michael is an ancient being. But. Can it also mean that “folktales” is a theme on the show now?

As the saying goes, “Once is an occurrence, twice is a coincidence, three times is a pattern.” Folklore continues into the season in many different ways.

In Gods and Monsters, the scene where Dean shakes loose and punches the mirror probably lit up everyone who saw it with “mirror mirror on the wall” vibes, from the story of Snow White. The enchanted mirror is such a common “trope” in folklore that it has an index number that folklorists and others use to refer to it in their scholarship– it’s Aarne-Thompson index number D1163. So, another solid subtextual reference to folk tales. There is so much more in that episode about storytelling and retelling and the concept of sequels, but that’s for another discussion.

We get to The Scar and Jack mentions Sleeping Beauty and no lie I ascended for a full minute. “Sleeping Beauty” is Aarne-Thompson-Uther Classification of Folk Tales number 410 because this is another story that is found freaking everywhere. (I have to make an aside about the use of the term “folk tale” just because it is in my nature not to leave things like this ambiguous– it isn’t completely certain that the Sleeping Beauty we know of Brothers Grimm and Disney fame is 100% for shore an oral tale, or at least isn’t a tale that got a little finessed when it was first written down. See, a guy in pre-Renaissance Naples named Giambattista Basile included a version of it in a collection of child’s tales hundreds of years ago (it’s horrifying btw, cw for non-con at the very least if you go looking for it) then Charles Perrault (of Puss in Boots fame) got hold of it and rewrote it in French, and folklorists are pretty certain that the story of “Briar Rose in the Forest” that the Grimm brothers collected was the Perrault story that had made its way back into oral tradition in Germany. And, like, it’s not a huge reach to say that the history of the Sleeping Beauty story that is explicitly mentioned in the show’s dialogue by Jack is more subtext about how stories are transmitted, how they are told, what happens when they get loose in the wild, etc. That’s how allusions work, and that’s coming up in my third post.)

So, three times means green light to consider “folk tales” an official thing this season, at least for a while. And the cherry on top is that Sleeping Beauty was the third story referenced. It’s neat.

But NOW. On to THE question the OP posed:

Have the last three episodes been Dean’s dream?

I’m going to pass up surface mentions of dream states and solely focus on the actual “sleepers” in these episodes in order to get at the allusion’s architecture.

In Nightmare Logic, the sleeping beauty OP has identified is Sasha’s father, who is locked in a dream-state by a djinn. In Mint Condition, the sleeping beauty is Stuart, who is in a mysterious coma-like sleep after an attack by a possessed chain-saw. In The Scar, Lora is in a sleep-adjacent death-state after being hexed by a witch. (I saw that her name on the iTunes subtitles is “Lora” which is a variation of Laura but spelled this way evokes “of lore” and that was pretty neat. Another tiny detail that bolsters the theme.)

Is Lora really a sleeping beauty, though, and why is that important?

Remember our rule of three pattern that we were given in the premiere– 2/1. Two people in this group will be more similar to each other than to the third. Both Stuart and Sasha’s father are alive, while Lora is technically all the way dead when she is in the sleep-like state. Superficially, Stuart and Sasha’s father are men, whereas Lora is a woman. Just throwing that out there. If I were writing this post for a grade, that right there is called “padding for word count.” But it is also a valid point, so we’re going to use it. Neither Stuart nor Sasha’s father are shown to resume consciousness by the end of their episodes– Stuart not at all, and Mr. Rawlings only stirs fitfully. Lora is revived when Jack breaks the spell. On the other hand, Stuart is never in continued danger in Mint Condition after his “touch and go” operation (he’s presumably safe inside the salt circle) and is expected to recover naturally, whereas both Mr. R and Lora will die/stay dead if the threat against them isn’t neutralized. Mr. Rawlings is similar to Lora because they are both under “medical care”– Mr.R is ostensibly in hospice and Lora is in the Bunker’s sick bay, and to top things off Stuart is the only one who was treated by an actual doctor: Mr. R‘s nurse was a djinn and Cas is not a doctor he just played one on TV.

The thing about close readings is that anything you can argue is probably valid, but one thesis might be better supported than another. I’m really really tired and there might be more differences and similarities that I am missing. But when you’re gathering the evidence to support a theory about a text, you can end up going a bridge too far and you’ll find yourself staring into the void, completely unable to make any progress, so at some point you just have to stake out your foundations and start digging. (Yeah, I mixed metaphors, I mixed three of them, it’s awesome, get off me.)

So. There is more evidence that Stuart and Mr. R are more similar to each other than either one is to Lora. If we apply the 2/1 template, Lora is the character who satisfies the parameter of being “odd man out.” That still might not make her a sleeping beauty for the purposes of answering the “Is this Dean’s dream” question, and here’s why.

(This is the speculation part. I love this stuff, but again I offer the caveat that using subtext to make plot predictions in Supernatural is like trying to write on a cloud with smoke. Anyway.)

If she’s the sleeping beauty, the subtextual message is that Dean might actually be dead (or might have to die to satisfy the condition that Michael is destroyed.) That possibility was brought up in both 14x01 and 14x02, before Dean came back. And eugh no one wants that. It also means that we had to have read these three episodes backwards to find the character that fits the template, because if Lora is a sleeping beauty, and if she is “the” sleeping beauty for subtextual purposes, she actually came first in the series, and you have to run the episodes backwards to get to the 1. That is subverting the trope. However, if you get the thing you want the first time why go on to the other two challenges? There is a lot in this season about calling back to earlier parts of the narrative to contextualize the present– for instance, in Gods and Monsters, Michael says to the werewolf, “You think you were picking me up in that bar?” or something to that effect and then revealed that he was, in fact, the one stalking her. In Mint Condition, we are introduced to the Janitor Victim as a Dean mirror, but we do not know for certain yet that Hatchet Man is a post-Azazel John Winchester mirror, so that scene is given greater meaning by information that is revealed later in the episode. Structurally speaking, it would be fair to say that the information we have now, that Lora the dead girl is “the” sleeping beauty, based on having seen the other two candidates, means a dead Dean reveal has been primed by the subtext. And like, no thank you?

The other possibility is that Lora, since she was dead and not unconscious, is not “the” sleeping beauty. The third “sleeping beauty” (IF there is one) would show up in 14x06 Optimism. (That title is really stressing me out.) Why would that be Dean and not some other random character? Because if we exclude Laura, the pattern resets from 1/2 to 2/1 beginning with Stuart. Stuart is a Castiel mirror, though, which is not quite right. Mr. R is a John mirror (although that episode is a lot murkier and I’ve said before if someone wants to say he’s a Dean mirror because of the djinn connection I’d agree, in which case BLAM we already have a winner.) [editor’s note, I only left Jack out because we already knew he was dying and thought this subtext was priming a twist, more at ten, this aside has been brought to you by the letters LOL.]

But then, where have the last three episodes come from? If he is dreaming, it could be one reason why the djinn couldn’t wring a nightmare out of him, and that the moment before he killed the monster with a bookend was his subconscious trying to signal to him that something is wrong…

I have said a couple of times that subtext isn’t always predictive. Some authors will have multiple subtexts or will use subtext to straight-up fool you (*waves to thriller writers.*) But the exception proves the rule here– we as readers/viewers rely on subtext to prepare us for what might be coming next. Subtext helps provide that slow build to climax that makes, say, Neville Longbottom’s absolutely stunning house cup win in The Sorcerer’s Stone such a stand-up-and-cheer moment, or that makes Harry Potter’s realization that it is his patronus, not his father’s, that saves his past self in the Prisoner of Azkaban so satisfying. Lack of subtext is the reason there is so much grumping over Mary/Bobby. I mean, they what? Had a walk in the woods together? She called him “old man” once, is that even a term of endearment??? [full disclosure I never liked those two together until after Nightmare Logic.]

And scene!

That up there is where I stopped, and now it’s clear that the person who all this was pointing at was Jack, who fell into a dramatic swoon at the end of Optimism. There were two “sleeping beauties” in that episode, too in the 2/1 pattern of the folktales we’ve discussed– the zombie, who is in sort of a dream state, and Charlie, who is knocked out by fly guy. (Again, fully dead is a red herring and doesn’t count. That’s some positive subtext.) That was basically a lot of words to be able to summarize that, yes, sleeping beauty and dreamstates is a thing so far, but where it was going was hard to predict.

There is something really important that can be taken out of this close reading, though, that is carrying throughout the season.

Jack was the character who actually said the words “Sleeping Beauty.” Jack sort of volunteered himself as tribute. Another theme this season that was made explicit by Subtext Primer aka Mint Condition is that the words characters are saying are more important than they ever have been.

AND ONE MORE THING! The above was written before Unhuman Nature and Byzantium and The Spear! Dean has been put back to bed by Michael! But but Castiel stepped into the Sleeping Beauty deal! Where are we going! There’s no earthly way of knowing, which direction we are going…

Anyway in the next installment of this really long meta that will probably never end I want to explore what the history of the Amero-European Sleeping Beauty brings to bear on this season.

#the folklore of supernatural #the folkloristics of supernatural #season 14 #dabb era

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freakypumpkin · 7 years ago

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The Dilemma for Captive Prince

It’s no secret, that there are a lot of people, who stopped the Captive Prince trilogy after the first book and that’s okay. The themes aren’t for everybody, the series in general has very mature themes and content and is not for everybody. The thing I want to touch on in this post is more about the reasoning of dropping the series after the first book.

Just to be clear, if you stopped the book or refuse to read them, because you don’t care about the characters (mostly Damen, because it’s his POV) or find the story boring or the things happening triggering, I have no issue with that. Nobody should be forced to read something that make them uncomfortable, bores them or downright is a threat to their mental health.

Disclaimer: There will be spoilers for the third book, because I feel like I need to put them in here to make the point because who are against the series won’t trust my word on ‘Oh, you will understand, when you get to the twist’ and because those against it might not read it at all anyway.

Again and again it comes up, that people are shocked at how the first book plays out, when they went in expecting a romance story like it’s (unfortunately) often advertised. (It’s not a romance, it has a romantic subplot.) And as I got back into watching booktube videos, I kept hearing things like:

“I don’t see, how Laurent could ever be redeemed.“ “I don’t see how they’re supposed to end up as this epic power couple.“ (I would also argue, that they don’t really end up as the power couple, but you can see at the end of book three, the potential of them becoming one)

Upon hearing these things, my first thought was always ‘Well, then read it and find out?’ because it’s one of the main motivators for me to keep reading certain books. (I mostly finished TMI to see how the relationship of Magnus and Alec would end and to this day I haven’t read the scenes of Clary being kidnapped by Sebastian and Jace because that was a storyline I didn’t care about.) But I also kept thinking about these comments about Captive Prince and that part of ‘I don’t see how this could be resolved’ as if they thought about every possible way of how this story could go and didn’t see a good conclusion at the end of any of these roads.

The Pattern of Romance It made me think about how romance is usually written and noticed, that we usually have the pattern of:

1. book: Get together 2. book: Crisis happens 3. book: Making up/final establishment as a couple

In most books where the romance aspect plays a more prominent role the couple gets together at the end of the first book because their romance developing is a specific arc in the book. Not for Captive Prince. There it is more like:

1. book: We can help each other 2. book: Physical Attraction noted and acted on it + mutual respect 3. book: Feelings are happening all over the place (sort of, it’s been a while since I read the books)

The thing is, in terms of the usual romance plot, you get the first arc of the typical romance over the course of three books (which is why I mentioned, it’s just a subplot). But with most books, we tend to be conditioned, that romance happens either fast or becomes quickly visible, with insta-love being all over the place these days.

So, this is the first one of my theories, with which you can disagree if you want and chalk it up to me not having read that many mainstream books lately.

Laurent’s Redemption? People, who read the first book despised Laurent and are often up in arms about the abuse that happens between the couple-to-be and yes, I agree, that almost flogging Damen to death is not the best first date idea. (It has the added horror to people, that Damen is a POC and Laurent’s white, but that’s a story for another day, told by somebody else.) I was skeptical going into the first book. I’ve seen people hating it with a passion and others loving it like their first born child. So, I was curious to see how this would go. It was probably good for me, that I was spoiled for the stuff, that would happen and the flogging specifically, so I knew it was coming, which made me more curious on how this would play out. Pacat had pretty much written herself into a corner after the flogging scene, I think. How would she get out of that and I do think, it takes more than a full book to get out of that Dead End, when at the beginning of the third book it is revealed, that Laurent knew who Damen was from the start - the person, who killed Laurent’s older brother.

That and the point, where we find out, that his uncle, the Regent, also sexually abused Laurent after Auguste’s death and took advantage of him being emotionally vulnerable, that puts the whole first book into a new perspective. Yes, Laurent is cruel in the beginning, but he is also in a situation where he is confronted daily with his abuser who holds the throne, and there’s nobody to talk to. And in this situation he is gifted a slave, who he knows is the killer of his brother, who he is stopped from actually killing in revenge by the guy who sexually abused him. I would say, looking back it’s fucked up situation to be in and to survive.

Therefore I would also say, Laurent doesn’t get redeemed, he was cruel af and until the end, he doesn’t exactly become the king of Fluff, but that would have been a realistic character development. The flogging especially is something, that is very present between them and nothing that is imo treated as ‘ancient history, we all make mistakes’, Just like Damen carries the guilt of killing Auguste, despite it having happened during a war, with them on opposing sides. Laurent doesn’t get redeemed, he gets explained. His actions aren’t excused, but made understandable.

Why the difficulty with understanding him? Looking at the character in broad strokes, Laurent is the stereotype of the cruel prince: royal by birth, scheming, living in luxury, cruel for fun with a sort of lethal beauty Though there are details added in the books, that shape Laurent’s character beyond the aforementioned stereotype are: - He’s not cruel for fun in general, he is cruel towards Damen because he knows who he is (Damen remarks later, that Laurent would have let him go had he been any other slave) - He lives in luxury, but doesn’t cover himself in jewelry, he covers himself in fabric as a defense against what has been done to him by the Regent - He’s royal by birth, but his throne is held hostage by his uncle, who first sexually abused him and now wants him dead - he is scheming and good at it (something, that I found instantly fascinating), but this as well is a defense developed as a measure of survival against the threat of his uncle - he’s really pretty ... no twist there. (Only, that he knows to use his looks if has to.)

Most of these details are not that prominent in the public display of the character because they are connected to spoilers of the plot.

Now, we have the more prominent stereotype of the ‘Bad Boy with the terrible childhood/past’ who just gets away with awful stuff because of his past. Readers are used to a character being awful at first taking that road of having some kind of tragic backstory thrown at the reader and that excuses their actions. So, I think, people often think, that is the only way it could go and are put off by that. But that’s not the case. Laurent’s childhood/past is pretty much hell, but it’s not used as excuse. (He himself doesn’t even bring up the sexual abuse, it’s his uncle basking in torturing Damen with that reveal.) It’s used to put his actions into perspective and as a reason for Laurent’s deep hatred for the Regent.

So, yeah, Laurent is an onion, that was peeled against his will once and now bites when people try to do it again. And the additional reveal of him knowing who Damen really is almost gives you whiplash after reading the first two books (especially the second one) of “Wait, WHAT?” because you realize Laurent grew to trust and respect Damen for his skills and personality despite knowing he killed his brother, he acknowledges that skill, too. (Honestly i found that refreshing after all those blind revenge plots of ‘I will avenge my [add family member here] and if it’s the last thing I do’.)

The Dilemma of POV Damen is the only POV telling the story, therefore the abuse he suffers is more visible and the reader actively suffers with him. It’s also shown, while Laurent’s abuse is told (in a much shorter way, too). That way, the abuse Damen suffers is more prominent, easily explained by the basics of writing. Not to mention, that people, who stopped after the first book don’t even know about Laurent’s story.

It’s a case of ‘visible abuse vs. invisible abuse’, which is reflected in the writing. And if you want to be really provokative, you could say, the people’s reaction to Laurent and Damen is a mirror of society’s reaction to visible and invisible abuse and to the case of ‘not looking like a victim’ ... There’s also the possible case to see Laurent as ‘the risk of an abuse victim turning into an abuser’ ... (there are some topics, that could be turned into a paper)

Conclusion? Pacat took a great risk with Laurent in the first book and to advertise it as love story didn’t do it any favors, but what she ended up achieving was quite impressive. So, going back to the beginning of “I don’t see how this supposed to work itself out positively.” ... you’re not supposed to see that after the first book, it’s the point of the series to create a tense starting point and make you wonder how it’s supposed to be concluded.

The problem stands with people, who have read the first book, judging the whole series as bad and terrible and judging the people who like the whole series and going ‘I don’t get how people can like this series’.

When going into books, it can be important to realize, that our judgement of that book is influenced by expectations created by other books, the summary on the back and character types we met before or patterns we’ve seen before and when we get tidpits of these patterns in new books, we tend to put the rest of the pattern in by ourselves and see it as fullfilling the pattern despite it not being the case. This why I tend to go for spoilers to either save myself the trouble of going down a path I don’t want to go or with at least wait a bit to see if the storyline I’m following is really as predictable as I think it will be (just skimming the text). If it ends up being predictable, I kick it, if not, I’m surprised positively and eventually go back to reread the part I skimmed.

It’s more helpful to go “Will it go down this road?” instead of “It’s going down that road!”.

So, when CP doesn’t make it apparent how Damen and Laurent end up together after the first book, and you don’t like it, it’s not the fault of the book, it’s more your problem of expecting it to do so - is what I’m trying to say here.

The trilogy is actually also not a trilogy like we are most used to seeing them, with each of the books having a concluded story arc, it’s more a case of one story being broken into three acts/books. And again, the expectation to get a trilogy like people expect based on how most are structured is not the fault of the books.

Are they flawless? No. But seeing people shit on CP as ‘trash’ and ‘problematic’ and then go and praise Cassandra Clare for her books, just annoys me and makes me think, that there are way more urgent issues of more subtle problematic writing, that we should worry about. Not to mention, that CC’s stuff is YA - aimed at teenagers - and CP is adult fiction.

And with this I conclude my two cents concerning people’s problems with CP.

#captive prince #laurent of vere #I could write books about Laurent's character #personal opinion stuff #this is an outsider's opinion as I'm not involved in the fandom that much

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hissprince · 6 years ago

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Writing Ask Games

tagged by @ink-nguyen and I immediately forgot about it

I’m doing this for Coat of Scales

1. Describe the plot in one sentence.

Elion Veris is a prince forced into exile by his Regent, and he’s not buff enough to take it back by force, so he has to figure out how to talk his way in--and out--of every possible political nightmare scenario.

2. Pick one sight, smell, sound, feel, and taste to describe the aesthetic of your novel.

a silver crown perched on swathes of black and purple velvet

the smell of a forest during a rainstorm

a grandmother singing Slavic lullabies to her grandchild, underscored by the crackle of a fire

being wrapped in a blanket and held in the arms of someone you love

turkish coffee and warm honey-bread

3. Which 3+ songs would make up a playlist for the novel?

Run Boy Run - Woodkid

Stay Frosty, Royal Milk Tea - Fall Out Boy

Two Evils - Bastille

4. What’s the time period and location in which the novel takes place.

I never stuck an exact pin in it, but I’d estimate vaguely 1600s-1700s? I don’t know man I had to make my own calendar system. as far as location goes, the main settings are Apres, Sidra, Krey, and Fille. Apres is sort of Hellenic in feeling and aesthetic, with a heavy emphasis on sea trade and travel. Sidra is very Persian with a bit of Mughal Indian influence. Krey and Fille are inspired by Eastern Europe, especially Russia and Ukraine, although Krey has a distinctly Celtic flavor to some of its customs.

5. Is this a standalone or a part in a series?

it’s the first in the Kingsnake Trilogy which I’m probably going to have to work on for Many Years

6. Are there any former titles you’ve considered but discarded?

Coat of Scales was actually the original title, but I briefly switched it to something else before deciding I didn’t like it as much LMAO. also, the original file name was “fantasy costco” so there’s that.

7. What’s the first line of your novel?

‘Elion Veris jolted up in bed, his book falling to the floor with a loud thump.’

8. What’s a dialogue you’re particularly proud of?

I actually like a lot of my dialogue tbh so you get Several

Chapter 2:

“Now, now, you may not be particularly handsome, but there’s no need for insult—ow!” Simon yelped as Elion struck him squarely in the forehead with an apricot.

“There are plenty more,” Elion said, tossing an apricot from one hand to the other. “Choose your next words carefully. I see one that’s definitely overripe.”

Simon pursed his lips. “I love you, Elion?”

“No,” Elion deadpanned, punctuated by the distinct sound of splattering fruit and an indignant screech. “Choose more carefully next time.”

Chapter 11

Either he was lucky, or Saturn noticed his discomfort. “You weren’t here earlier, when I came back from the barracks. Where’d you run off to?”

“Janus and Tethys wanted to talk to me.” It was only half a lie. “They told me you have quite the reputation.”

Saturn groaned. “Of course they did. Look, it was years ago. I was young and I was stupid. It was a temporary thing, I’m not—like that anymore.”

“Could have fooled me.”

“You think me a whore?” Saturn said, mocking offense. “Shame on you! I’m a reformed whore!”

“Re-whore-med, then, is it?” Elion replied. Saturn threw a piece of radish at him.

“You’re not funny,” Saturn huffed, but his tightly-pursed lips said otherwise. There was a warmth in his eyes that had been missing before. Elion was almost bold enough to call it trust.

Chapter 14: (wow a sneak peek)

"You’re not going to do it, are you?” she said in Fillesian.

“What do you mean?”

“Kill Saturn.” Phyrra’s voice was emotionless. “You’re not going to do it.”

Elion narrowed his eyes. When he responded, it was in Apresian. “Why would you think that?”

“You’re becoming fond of him.”

“I have not.” He switched to Fillesian. “He touches me constantly. I hate it.”

“But you don’t panic when he does it.”

“You don’t know that!” Elion snapped, his voice turning into a sharp hiss. “You think I can lose control every time I’m afraid? You think I can get away with that? I’m not putting myself at risk by fighting back!”

For once, Phyrra hesitated. She dropped her gaze to the floor, breathing out slowly as her shoulders relaxed. “Oh, Elion,” she sighed. “They’ve made you into something terrible.”

9. Which line from the novel most represents it as a whole?

“He took everything from me,” Elion spat, the words like venom on his tongue. “Everything I had, and everyone I loved. He killed my mother and Mana and left Simon to bleed out like a dog in the public square, and he looked me in the eyes and laughed.” His body trembled, but his voice was steady, and he stared Jastra down with iron in his mouth. “This was never about the kingdom.”

10. Who are your character faceclaims?

I’m going to be completely honest, the only faceclaim I could find for Elion is Keira Knightley. Saturn and Phyrra are borderline impossible to pin down so I haven’t found anyone for them yet. Janus is definitely Adonis Bosso, and Tethys is a young Riz Ahmed.

11. Sort your characters into Harry Potter houses!

Elion - Slytherin

Saturn - Gryffindor

Phyrra - Ravenclaw

Tethys - Hufflepuff

Janus - Ravenclaw

Simon - Hufflepuff

12. Which character’s name do you like the most?

Elion is a personal fave but I’m a huge fan of Saturn, Janus, and Tethys bc all the Vaerion are named after the planet Saturn’s moons. look how clever I am.

13. Describe each character’s daily outfit.

Elion - white linen shirts with intricate botanical embroidery around the neck and cuffs, a vest in either dark purple or black with silver embroidery around the collar, a jacket in colors and embroidery patterns to coordinate with the vest, and either a long black and silver coat for court functions or a black cloak. tight black riding pants and tall black boots. a goth icon.

Saturn - in the summer, usually a white chiton with red embroidery on the hem, his cloak, and sandals. the rest of the year, loose dark linen pants and a light cotton shirt in various shades of red or ivory-white, plus low leather boots. he wears his leather armor if he’s needed at the barracks. he has to be forced to wear shirts.

Phyrra - while in Apres, she wears long chitons with blue floral embroidery and a ton of bracelets. she actually goes barefoot whenever possible, but she’ll wear either sandals or embroidered slippers if she has to.

Janus and Tethys - dark linen pants and various shades of cotton shirts, with dark wool cloaks and mid-length leather boots. they share literally their entire wardrobe so I count them as one fashion entity.

14. Do any characters have distinctive birthmarks/scars?

Elion has some scarring on his lower back, and the veins in his arms have a silver tint which I’m counting as a birthmark. Saturn has a scar across his lips that he earned in a knife fight when he was 14.

15. Which character most fits a character trope?

Simon has a very “best friend and sidekick” sort of aura, but there’s a lot more going on with him than just that

16. Which character is the best writer? Worst?

Elion is a fantastic writer, since he realized from a young age that he’d need to be good with words to keep himself at the top of the pack, but Saturn is an incredibly close second—after all, he’s a poet. Simon is The Worst without question or competition.

17. Which character is the best liar? Worst?

Elion is definitely the best, since he’s had 19 years of practice. Saturn is the worst liar; his expression always gives him away bc he feels guilty about it.

18. Which character swears the most? Least?

I think so far Elion is actually the one who swears the most by stats, but in terms of Big Swear Energy it’s probably Janus. Jastra swears the least because she’s the Empress and she has a hell of a reputation to uphold, but I don’t think Simon has sworn at all. #letSimonsayfuck

19. Which character has the best handwriting? Worst?

Tethys has gorgeous handwriting, even if he doesn’t do a whole lot of writing most of the time. the prize for worst is tied between Janus and Phyrra; Janus bc he’s a doctor and it’s become illegible over time, and Phyrra just because she does not fucking care

20. Which character is most like you? Least like you?

I’m probably most like Elion and Phyrra tbh. Elion, because I’m very politically-minded and prefer to do things in underhanded ways, and Phyrra because I take no shit and tend to be more knife than person. I’m definitely the least like Janus because he has his shit together and I do Not.

21. Which character would you most like to be?

probably the king of Krey bc he has a castle and like 8 dogs and a really cool spouse and comparatively fewer past traumas

I tag @poetatertot @satyr-syd and any of my other writer friends who want in on this!! if you don’t it’s cool bc this deadass took me over an hour LMAO

#tag meme #writing meme

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violethowler · 5 years ago

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The Things That Matter

I’ve talked a lot over the last two months or so about the many different ways that the characters, story, and themes of the Kingdom Hearts series align with the framework of the Heroine’s Journey. For the final chapter in this series of essays, I’d like to talk about what it means for this series to follow this narrative formula. Because the fact that Kingdom Hearts fits into this storytelling pattern is critically important now more than ever.

The three most recent series I know of that aligned with the Heroine’s Journey framework all ended up missing the landing in various ways. Two of the three - Voltron: Legendary Defender and the Star Wars sequel trilogy - abandoned the formula in their final installments, while the third one - the Frozen movies - managed to fit into the formula almost completely, but suffered in the second movie from a lack of clarity as to which of the two leads is the main protagonist and which is the Animus. Two of these were under the Disney umbrella, and all three have had evidence found that executive meddling or other behind-the-scenes conflicts over story direction played a role in how the final installments ended.

As I mentioned in my essay “Into the Unknown,” when a story deviates from the structure it appears to be following, it produces a visceral sense of wrongness in the audience. In stories which up toward the end aligned with the Heroine’s Journey, that effect is amplified. The framework of the Heroine’s Journey was designed to uplift the experiences of identities outside of what society considers the default option in storytelling. The lived experiences of those identities are mirrored in the narrative’s themes. So when a story set up around calling out prejudices and double standards about those identities that are ingrained into the audience’s culture deviates from that formula, the result inevitably ends up reinforcing those biases instead, on top of the brokenness of the narrative in general.

In terms of how this applies to Kingdom Hearts, Sora and Riku’s individual character arcs have been noted by many LGBTQ+ fans to have notable parallels with elements of their own lived experiences:

Riku’s arc of learning to accept his darkness as something natural that’s a part of him and which he can express in a positive way mirrors how many LGBTQ+ people grow up with the idea that same-sex attraction is “sinful” and “unnatural” and have to unlearn that mindset in order to realize that there’s nothing wrong with them. Likewise, Mickey’s line in Re:COM about how spending time with Riku has positively changed his opinion about Darkness can be read as an analogy for straight people who are initially unsure of or hostile to LGBTQ+ identities changing their minds with education and first-hand interaction to become staunch allies. Esmeralda’s talk with Riku about how “There are just some things we need to keep separate from the world at large, at least until we have time to figure them out”[1], while on one level is referencing Riku’s Darkness and his inner turmoil relating to Ansem, can also describe the common LGBTQ+ experience of being in the closet and hiding that part of yourself from the people around you[2].

As for Sora, in Kingdom Hearts III he responds to Davy Jones’ comments in The Caribbean about the romantic relationship between Will and Elizabeth by saying that “I still have a lot to learn about love[3],” indicating he lacks understanding of his own feelings in the area of romance. This is supported by the official Kingdom Hearts Character Files book published by Square in February 2020. Short stories in this book featuring Sora’s POV depict him as actively confused about what romantic love is[4], and struggling to define the nature of his relationship with Riku[5][6]. This can be a common experience for LGBTQ+ youth growing up surrounded by media that only ever depicts romantic relationships as one boy, one girl. Many people who grew up like this—myself included—have had similar experiences of struggling to understand our own feelings about someone of the same gender because for our entire lives up to that point we had little or no exposure to the idea that being romantically interested in someone of the same gender as you was an option.

Sora and Riku are each written in ways that speak to common LGBTQ+ experiences, and the fact that so many things—the canon parallels to Disney romances, the match with how love interests are portrayed in the Heroine’s Journey, the fact that one of the series’ Lead Event Planners Michio Matsuura was described by the Co-Director Tai Yasue to be “head over heels for the bond between Riku and Sora’s hearts[7]”, in connection with his enjoyment of “pure love dramas[7]”—are all pointing to the conclusion that these similarities did not happen by accident, but by design.

It makes so much sense for Heroine’s Journey narratives to be used to tell LGBTQ+ stories because there are so many ways that homophobia and transphobia overlap with and are rooted in the very same gender and cultural norms that the framework challenges. Many countries have come a long way towards public acceptance of LGBTQ+ identities, but in terms of the stories that we tell, mainstream fiction is still skewed in favor of stories with protagonists who are straight and cisgender. Storylines with straight romance are treated as a society-wide default, while creators in countries like the U.S. who want to include even the smallest background references to LGBTQ+ relationships have had to fight and push back against corporate pressure to remove them.

This is especially true for media aimed at children and teenagers, as the fact that being openly LGBTQ+ is still widely considered problematic in many countries is frequently used by entertainment executives in ostensibly more progressive countries as an excuse for censoring LGBTQ+ storylines and characters. Multiple creators working on animated shows for Disney and/or its competitors have spoken out in recent weeks about the resistance they faced to including LGBTQ+ relationships[8][9][10] and how they were told that openly acknowledging characters as non-straight was too controversial or “inappropriate for the channel"[9].

As a consequence of this environment, creators wishing to depict non-heterosexual relationships have had to resort to creative methods of getting the implications past the censors in a way that LGBTQ+ audiences would recognize while still maintaining plausible deniability so that the executives could make money off the story in anti-LGBTQ+ markets. The downside to this is that because these efforts are more subtle, most straight audiences will either not notice the implications, or else dismiss them as an accident. Some will go as far as coming up with alternate explanations to justify why any potential LGBTQ+ subtext about a character or relationship could not possibly have been put there by the creator intentionally.

This extends not only to audiences, but also to people who interact with these stories in a professional capacity, such as translating and marketing a story’s international release. Animated shows that feature same-gender relationships have had international dubs change the gender of one character in the pairing to make it straight, for instance. Or there's the infamous example of how the English dub for Sailor Moon in the 1990s changed two girls from lovers to cousins in order to provide an explanation for their closeness that didn't involve acknowledging that the characters were not straight. In terms of the Kingdom Hearts series, the English localization has routinely downplayed LGBTQ+ subtext in the series while in some cases adding romantic undertones to interactions between a male and female character that did not exist in the original Japanese script. Kingdom Hearts III was one of the most egregious examples of this:

Hercules’ recollection of how he dove into the River Styx to save Megara’s soul in KH2 is thematically connected to Riku sacrificing himself for Sora at the Keyblade Graveyard through the phrase taisetsu na hito (literal meaning: “precious person”) when Hercules is talking to Sora in Olympus and when Mickey is talking to Riku in the Realm of Darkness at the beginning of the game. The English version translates this as “person I love most” for Hercules, while changing it to “what matters” for Riku and Mickey to call back to his meeting with Terra in Birth by Sleep, which the scene includes a flashback to. While Mickey and Riku’s original meaning can still be deduced from the conversation around it, especially with Mickey saying "sometimes you care about someone so much," changing the line for the sake of a callback downplays the evolution of Riku’s goals from protecting “things that matter” to protecting “the *person* who matters”.

Donald and Goofy’s teasing Sora in the scene at Galaxy Toys where Sora comments on how much he or Riku resemble Yozora is framed in the English version as “Riku would be a great action figure because he’s cool, unlike Sora.” However the original Japanese indicates that the teasing is centered around the fact that Sora said a character who looks like Riku was good-looking.

When Kairi offers Sora a paopu fruit, she says in the original Japanese that it’s simply a good luck charm so that they don’t get separated, while in the English localization, she says “I want to be a part of your life no matter what, that’s all.” While “that’s all” still fits with how the parallels to Winnie the Pooh indicate her connection with Sora has weakened and she wants to maintain it, the first part of the English line calls back to the legend of the fruit introduced in KH1, which was openly referred to as romantic by Selphie in the original and localized versions of the first game. As a result, this adds romantic implications that contrast with Sora’s unreceptive body language and facial expressions[11] as he reacts to the initial offering of the paopu fruit.

In the original Japanese, Riku’s words to Sora before his sacrifice at the Keyblade Graveyard translate to “I believe in you. You won’t give up.” The English localization changed it to “You don’t believe that. I know you don’t.” Not only does it remove a callback to the original game, but this phrasing dowplays Riku’s faith in Sora and ignores Sora’s very clear feelings of inadequacy.

During the scene where Sora and Kairi are floating through the dark tunnel toward the Keyblade Graveyard, Sora’s line in English, “I feel strong with you,” was originally an acknowledgement of Kairi’s strength that called back to how he wouldn’t let her come along on the return trip to Hollow Bastion in the first game because he thought she’d “kind of be in [his] way”[12]. Removing this callback takes the focus away from Kairi’s growth and brushes aside one of the ways the game shows that Sora’s view of her has changed over the course of the series.

Some fans defend changes such as these insisting that the development team had to have approved of them. However Testuya Nomura himself feels strongly enough about the subject: he stated in a 2018 interview several months before KH3's release that “an incorrect or defective translation risks compromising the comprehension of the whole story,” referring especially to the Kingdom Hearts series[13], and the English localization of Re:Mind—which was much more accurately translated than the base game—directly references the original meaning of Kairi’s words during the paopu scene in one of the DLC’s Kingstagram posts. This all indicates that changes such as these that remove important connections or change the meaning of the conversation are ones that the development team very much do not approve of.

LGBTQ+ fans of Kingdom Hearts who recognize their own experiences reflected in Sora's and Riku’s journeys know that Disney has not had a good track record when it comes to depicting LGBTQ+ characters in properties they are affiliated with. The most we ever get in their movies are background moments or nameless characters that are only there in one scene that easily can be cut out for distribution in countries with heavy anti-LGBTQ+ legislation. And that’s if the character’s orientation is even mentioned out loud in the film at all instead of simply being confirmed by interviews before or after release but never acknowledged on-screen. Television has fared better, but until recent years we never had any main characters who were confirmed in-show to be anything but straight. But things are slowly starting to improve. Within the last few years shows like "Andi Mack" and "The Owl House" have depicted major characters as openly interested in others of the same gender[14], and Pixar recently released a short as part of their Sparknotes program called “Out”, which openly centers on a man worrying about telling his parents he’s gay.

This is why it is so important that the Heroine’s Journey of Kingdom Hearts follow through to a structurally appropriate conclusion, with the development team being given the freedom to tell their story in full without restriction or censorship. Deviating from the formula this late in the series would represent a continuation of the recent trend of Heroine’s Journey narratives being structurally broken by inference from forces other than the main creative team. But if the Kingdom Hearts story is able to complete it’s Heroine’s Journey without executives or localization teams getting in the way of the intended story, then the LGBTQ+ themes already present in Sora and Riku’s journey will break so many barriers,challenge people’s expectations of what is possible, and convey powerful messages of self-discovery and acceptance—just like the framework was designed to.

Sources

[1] Kingdom Hearts 3D: Dream Drop Distance; Square Enix; 2012.

[2] Tumblr post by @blowingoffsteam2; December 3, 2019. https://blowingoffsteam2.tumblr.com/post/189461796759/blowingoffsteam2-dont-mind-me-over-here-just

[3] Kingdom Hearts III; Square Enix; 2019.

[4] Translation of KH Character Files Beast’s Castle story by @lilyginnyblackv2; February 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611420864489062401/character-files-beasts-castle-story-english

[5] Translation of KH Character Files Arendelle story by @lilyginnyblackv2; March 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611490139845345280/character-files-arendelle-story-english

[6] Translation of KH Character Files Arendelle story by @notaseednotyet; March 1, 2020. https://twitter.com/notaseednotyet/status/1233993459670765569

[7] “Message from the KINGDOM” Updates!; April 11, 2012. https://www.khinsider.com/news/-Message-from-the-KINGDOM-Updates-2427

[8] “”Steven Universe” and “She-Ra” creators on Representation”; Paper Magazine; August 5, 2020. https://www.papermag.com/rebecca-sugar-noelle-stevenson-2646446747.html

[9] Twitter thread by Gravity Falls creator Alex Hirsch; August 9, 2020. https://twitter.com/_AlexHirsch/status/1292328558921003009

[10] Twitter thread by Owl House creator Dana Terrace; August 9, 2020. https://twitter.com/DanaTerrace/status/1292321440029478917

[11] Frame by frame analysis of Sora and Kairi’s body language during the KH3 paopu scene by @notaseednotyet; September 14, 2019. https://twitter.com/notaseednotyet/status/1172774158167506944

[12] Kingdom Hearts; Square Enix; 2002.

[13] “Nomura stresses the importance of direct translations on story comprehension, and talks about world development as well as the Gummi Ship;” August 27, 2018. https://www.kh13.com/news/nomura-stresses-the-importance-of-direct-translations-on-story-comprehension-and-talks-about-world-development-as-well-as-the-gummi-ship/ [14] Disney’s The Owl House Now Has a Confirmed Bisexual Character; August 9, 2020. https://io9.gizmodo.com/disneys-animated-series-the-owl-house-now-has-a-confirm-1844665583

#kingdom hearts and the heroine's journey #kingdom hearts meta

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