#these are like 90% dialogue i have a problem | Explore Tumblr Posts and Blogs

rise-my-angel · 2 months

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I did some rewatching of scenes from House of the Dragon, and I think I've found a root problem with the writing.

And it isn't what was or was not adapted from Fire and Blood, or the plot or characters directions. There are issues there, but there is a bigger one I think that has been severely under analyzed. A massive problem with this show that has a big impact even when you don't realize, is how clunky and unnatural 90% of the dialogue is.

Something Game of Thrones did right, was take the dialogue from the books, and translate it to the screen by simplifying certain things, tightening sentences and changing wordage so that the actors had an easy time delivering the lines. It was a really good mix of the more formal speech and casual delivery. It meant lines that are good in the book, are good but different in the show because they cleaned up the dialogue so it didn't sound forced from the actors.

Everyone gets to speak in the appropriate manner for their class level, but it also is just quick and to the point. The actors all got a chance to do an amazing job, because they weren't forcing their talent through clunky and awkward to say dialogue.

House of the Dragon, is not doing this.

A significant amount of dialogue in this show takes way too long. Characters constantly use very overly formal, flowery, and fanciful language to say the simplest things even when they are alone in a room. Game of Thrones through all it's faults, knew how to cut to the chase and get the characters to just say what they are meant to say without trying so hard to sound fantasy like. But in HOTD, everyone talks like the writers are trying way too hard to make everyone sound like their from a different time when in reality it just bogs the show down and makes it boring.

A lot of good actors on this show fall flat because they have to force through awkward dialogue that normal people just don't sound like when they speak. Whenever Rhaenyra and Leanor discuss their marriage, it is so painfully unnatural. They are alone in the room, and neither of them ever just say what they mean.

When we saw this exact dynamic. As soon as Renly let the veil slip that he is struggling to go through with having sex with Margaery, she drops the act entirely and just cuts to the chase saying, "There's no need for us to play games." They are a bit more formal in the way they say things, but they still talk like real people. Rhaenyra and Leanor never had a single discussion that wasn't overly flowery as both characters talked around an issue we already understood. Laenor is gay and its putting a strain both on his personal mental health and their marriage as a whole. But neither of them ever get to the POINT without taking way too long to say the most basic of things.

Watch back to back scenes from both shows, and you will see that House of the Dragon completely fails to immerse you in it's dialogue beacuse it is trying so hard. Take the scene where Jace returns home after meeting with the Freys. Rhaenyra knows Jace is troubled about not being allowed to participate in the war, and this is the initial start of that discussion.

Rhaenyra: "You chafed at being prevented from action. Imagine my lot. I'm a dragonrider as well, with a war being fought over my ascension. And yet, I must wait here. Always prudent, sending others to fight and be felled in my name." Jace: "You are the queen. The tie that binds us. No harm can come to you." Rhaenyra: "And you are my son and I did not give you leave to go."

If I showed you that out of context, would you be able to tell me this is a mother and son disagreeing over their separate wants and choices during a war? No. It's full of words no one in Game of Thrones used in normal conversation. This is not how even highborns in this series talked to each other, this is writing dialogue in a way that is trying to sound like it is from a more medieval fantasy instead of just what real people sound like.

Neither actor delivering these lines sounds natural, neither can really portray the degree of frustration brewing between them when its being forced through this kind of bad writing.

Now take the same idea from Game of Thrones in a scene where Robb and Catelyn are in an argument over Robb's trust in Theon and Catelyns perceived frustration that Robb isn't putting priority on his sisters safety.

Robb: "Now I'm the one rebelling against the throne. Before me, it was father. You married one rebel and mothered another." Catelyn: "I mothered more than just rebels, a fact you seem to have forgotten." Robb: "If I trade the Kingslayer for two girls, my bannermen will string me up by my feet." Catelyn: "You want to leave Sansa in the Queen's hands? And Arya, I haven't heard a word about Arya. What are we fighting for if not for them?" Robb: "It's more complicated than that! You know it is."

Both use more formal language, but it's in how their sentence is structured rather then the words themselves. They're alone and they're both frustrated and they have absolutely no reason to mince words, they say exactly what they mean. By cleaning up the dialogue here to be more straight forward and simple, it allowed the actors to really shine. You truly feel Catelyns frustration stemming from her helplessness, and you feel Robbs understanding being overpowered by such a frustration that she won't understand his side. By the time Robb raises his voice and shouts at her, we don't take it as out of line because both of them have said exactly what they mean and the audience doesn't need Robb to apologize to know he didn't mean to yell and neither does Catelyn.

Not even the lowborn characters are saved from this in House of the Dragon. Theres a scene in Game of Thrones when Arya, Lommy, Hotpie, and Gendry are arguing by a stream about battle's and armour and they are all quick, talk over each other and it's very punchy and the flow is part of what makes it hilarious. Ser Davos is blunt and speaks with a very quick cadence to emphasize he was never taught to speak formally and thus feels comfortable saying exactly whats on his mind.

Most of the lowborns in House of the Dragon though, have very little differentiation from their highborn counterparts in the way their dialogue is structured. Some of the only differences is literally just, characters like Ulf have a lowborn accent, but that accent delivers the same kind of drawn out, overly formal dialogue that isn't present in Game of Thrones lowborns. It's very easy to distinguish who was raised how in the simple manner which they speak.

Highborns talk slower and more clearly and their sentences are structured a bit better, and lowborns normally talk faster with less refined accents and normally have no real issue saying whats on their mind because they are used to being surrounded by other people who don't care about being formal.

It might not be obvious, but the dialogue is a big reason why people struggle to connect to these characters far more then they did Game of Thrones. The dialogue is clunky, there is no distinction made as to why certain people talk this way or why it seems everyone around them speaks in the same manner when they have no reason to.

There's so much more to get through, to understand what these people are saying, thinking, and feeling because the dialogue works against them. The best acting is done, when the characters are silently reacting to each other because there's no fighting against bad writing to portray exactly what they need to.

Again, there are multiple comparative scenes that you could watch back to back and see this problem play out in real time. Scenes discussing similar issues or portraying similar emotions but House of the Dragon never reaches that emotional peak that connects it's audience to these characters as relatable, because we pick up on the fact that they don't talk like humans. They talk like they are performing a school play, not as if they are speaking like real people just talking to each other.

Try it yourself, the examples I used earlier. Say each set of lines out loud and deliver it with as much emotion as possible. Because I am willing to bet that the Game of Thrones dialogue will be a lot easier to say, and thus a lot easier to deliver with a real emotion.

There's no excuse. Game of Thrones took good book dialogue, and cleaned it up so it had a smooth transition into good show dialogue. House of the Dragon has the freedom to write most of it's own original dialogue since Fire and Blood is written as a historical record and not a pov narrative. There is no transition to make lines from the book that in full may sound clunky and unnatural out loud, into something clean and to the point that makes it easy for the actors to work with the dialogue instead of against it.

But House of the Dragon fails in inventing it's own dialogue, because at every turn it is trying way too hard to sound like the books instead of the show.

Trust me, you wonder why you can't connect, relate or really care about a lot of these characters? I'm willing to bet that the poor writing is doing a lot of heavy lifting for that.

If the characters don't even talk like humans, our brains are more likely to tune out, because it all sounds like actors reading a script, not characters speaking to each other realistically.

Real people talk like the characters in Game of Thrones. No one talks like the characters in House of the Dragon.

And that is a massive problem.

#house of the dragon #hotd #hotd critical #game of thrones #a song of ice and fire #asoiaf #long post

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m1ckeyb3rry · 5 months

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── THE GLASS PRINCESS // EIGHTEEN

Series Synopsis: You wake up in a strange room with no memories, broken glass at your bedside, and a prince named Zuko as your only chance at figuring out who you really are.

Chapter Synopsis: You reunite with the rest of the Avatar’s group and spend some time with Sokka.

Series Masterlist

Pairing: Zuko x Reader

Chapter Word Count: 5.2k

Content Warnings: complicated relationships (strangers to friends to lovers to enemies to strangers to lovers to enemies to lovers), amnesia, alternate universe, lots of secrets and lying and mystery

A/N: very dialogue heavy chapter incoming LMAOAO this is like 90% sokka & y/n conversing (meanwhile zuko and suki somewhere: 🤨😒)

“Well, well, well,” Katara said, crossing her arms and glaring at Toph and Sokka. “I thought the two of you promised you were done with scamming, but judging by your expressions, that’s exactly what you just came back from doing.”

“It was our final hurrah!” Sokka said. “One last scam before we reformed for good, as you will.”

“You guys are addicted,” Katara said. “It’s a problem.”

“Nuh-uh! It’s just that it’s like gambling,” Toph said. “You can’t stop until you hit the jackpot!”

“And boy oh boy did we hit the jackpot, alright!” Sokka cheered, shoving you in front of him, holding onto your shoulders like a proud father. “Take a look at this — the princess of the Earth Kingdom!”

“Huh?” Katara said, her eyes widening as you waved at her awkwardly.

There was a blast of air, and then Aang was standing in front of you, his jaw slack. He looked different — where once he had kept his head shaved, in keeping with the tradition of the Air Nomads, he now had dark, curly hair tied out of his face with a headband that handily covered his arrow mark. Like the others, he wore Fire Nation clothes, and you found that the blacks and reds were particularly jarring on him. If it were not for his large, shimmering eyes and enormous, crooked grin, you might not have recognized him at all, but as it was, there was no mistaking him for anyone else.

“Princess Y/N? You’re alive?” he said, beaming at you. Sokka shook you by the shoulders.

“She is, and we only found out because of that final scam! So, Katara, you should be happy with us,” he said.

While it was certainly uncomfortable to be treated as Sokka’s demonstrative tool, you were somehow comforted by it. There was a sort of acceptance, a friendship in the way he was tossing you about. It was the kind of relationship you had always longed for, so you did not swat him away despite his rough treatment.

“I don’t understand, though. Your brother told us you were dead,” Katara said. “The Soldiers of Agni collapsed the wing of the palace where the royal chambers were, didn’t they?”

“No,” you said. “I did. Didn’t Kuei tell you I’m an Earthbender? I brought the palace down so that the Soldiers of Agni could not pursue my brother.”

“He did mention it, but he didn’t say anything about how strong you were,” Aang said.

“Likely he didn’t know,” you said. “That, and I’m not really as skilled as it might seem. There were…a lot of circumstances surrounding that feat.”

“Either way, an entire section of a building came down upon you,” Katara said, her face softening as she pulled you into a gentle embrace. “Are you alright?”

“I managed to survive,” you said. “I’m still not quite sure how it all played out, but somehow, I ended up in the Fire Nation capital, which is where I’ve been since the city fell.”

“The Fire Nation capital?” Sokka said in alarm as Katara let you go. You returned to Sokka’s side, for he had somehow become like a beacon of safety for you. A rescuer. He always bumbled his way into — not into saving you, but into somehow taking your hand and yanking you behind him to the very place you needed to be. And at the moment, when you were so lost, such a person was invaluable.

“I attended the Royal Fire Academy for Girls, under the alias of Ursa,” you said, still barely able to say the name without seething. “The best way I can describe the situation is by saying that I was a prisoner of Prince Zuko’s, no matter how well he treated me. I was denied access to my memories so that I did not flee, and refused my identity so that I did not rebel. It is only through sheer chance and luck that I was able to escape at all.”

“They wiped your memories?” Toph said. “Yikes.”

“I got them back,” you said, gritting your teeth. “But enough of the past. It doesn’t matter. I’m here now, and I will retake my kingdom. If Kuei is alive, as you say he is, then we must meet up with him at once, so that we can begin to strategize about how we should best take back Ba Sing Se. At the moment, I’m leaning towards the day of the black sun, as the eclipse will ensure the resident Firebenders cannot fight back. Although, that doesn’t solve the problem of the Dai Li…”

“Er, there’s a slight issue with that,” Sokka said. “None of us know where your brother is.”

You paused, your train of thought screeching to an abrupt halt. “What?”

“It was when we reached the Southern Water Tribe’s fleet that it happened,” Katara said. “We got off of Appa and told the Earth King to come with us onto one of the boats, where he would be safe, but he refused.”

“Why would he do that? He’s never been the brave type. Turning his nose up at a guarantee of safety is out of his character, even if he did have Bosco at his side,” you said. “Wait. He did have Bosco, right?”

“I don’t think anything in the world could separate him from that bear,” Toph scoffed.

“Likely not,” you agreed.

“He said that he couldn’t let your sacrifice be in vain,” Sokka said.

“That is to say, he didn’t want you to have died for nothing. You had given up your life for the Earth Kingdom, and yet it had fallen regardless. He couldn’t handle it. He swore he would do something, find some kind of retribution, and then he just—”

“He just vanished!“ Sokka completed, cutting Katara off, prompting her to roll her eyes at him. He wiggled his fingers at you. “Poof, like magic!”

“He rode away on Bosco,” Toph said. “I’m blind, and even I know that much.”

“I was trying to tell the story with dramatic effect!” Sokka said, pouting at you. “No one appreciates my storytelling skills around here.”

Tentatively, you patted him on the shoulder. “I am very entertained.”

“Oh, brother. You’ve unleashed a monster,” Aang said. “Good luck.”

“Going back to the original line of thinking,” you said, though not without furrowing your brow at Aang in confusion at his defeated tone. “Kuei. He really just disappeared?”

“We saw him ride away on Bosco—”

“No, we didn’t!”

“—but we don’t know where he went or what he’s doing now,” Katara said, not even blinking at Sokka’s interjection. “He didn’t tell us. I mean, he could be anywhere by now, and who knows what he’s up to? It’s a mystery. I wish we could help you find him, but we have to focus our efforts on preparing for the invasion.”

You frowned. So, then, Kuei was alive, but that was the extent of the knowledge you had about his whereabouts. It had to be enough, because it was all you could get, but though you held the proof of his continued existence close to your heart, it still rang hollow. Because what if things had changed? What if he had been captured in the days since you had seen him last?

There was only one thing you could do: trust in him wholly and completely. Your dear brother, who had miraculously escaped Ba Sing Se during its fall and survived to find the Avatar, was obviously not as helpless as you had originally thought him to be. If he had lived until that point, then you had to believe that he would continue to do so.

And with regards to what you had to do next…there, too, only one method was clear. If you wanted your kingdom back, if you wanted to see your brother again, then you could not charge into an attack blindly, with no planning or support. You had to be careful, thorough, logical.

Taking a quick inventory of your current assets as you had been taught to do in the academy, you found that the outlook was grim. An injured hawk. Some clothes. Letters from a person you hated. A version of Earthbending. These were the things which were fully your own.

In terms of allies, you had Katara, Sokka, Aang, and Toph, as well as their associates, but all of them were focused solely on the invasion, where they planned on taking the Fire Nation royalty down. Until that objective had been completed, you could not count on their help. Destroying the Fire Nation royalty, though, would also aid your case, so this wasn’t something you begrudged them for. In fact, you were even pleased by it, as it at least made your immediate steps clearly defined.

“What can I do to help?” you said.

“With what?” Sokka said.

“The invasion,” you said. “There must be some way that I can participate. It is a nation for which I hold a special hatred, so you cannot blame me for wanting to aid you in taking them down.”

“It’s too dangerous,” Katara said immediately. “What if you get captured again? Or if you die for real this time?”

“It would be a problem,” you said. “Since Kuei’s status is uncertain, he is effectively dead, at least in the legal sense, leaving me as the only one left to rule upon the retaking of the Earth Kingdom. I understand that. It would be foolish to risk a future monarch, but that doesn’t mean I’ll sit idly by and let others fight my battles. I’ve spent my entire life locked away like that, and I refuse to be as useless ever again.”

Katara cocked her head at you quizzically. “I guess all of that is true as well, but actually, I was just worried about you.”

“You shouldn’t be,” you said. “I’ve probably killed thrice as many people as the rest of you. Don’t forget that all but one of the Soldiers of Agni fell at my hands, and even that one has a body so ruined that he cannot be considered anything but pitiful now. The most elite Firebending force in the world, and it was destroyed by me. Even though it was an extreme case, and probably not a replicable one, it’s not meaningless, either. I’m not someone you need to worry for.”

“It’s not,” Aang said. “It’s really impressive. But Katara’s right — involving you in the invasion outright isn’t a good idea. I don’t want to risk anyone if it’s avoidable, and since our plans already don’t factor you in, there’s no point in adding you if it’s unnecessary.”

You wanted to argue, but no matter how much you disliked it, you knew that what they were saying wasn’t wrong. Getting involved with the invasion when things were so precarious already was foolhardy, but that didn’t mean that it sat well with you.

“Alright,” you said. “I will not insist on it, just as long as you can promise me one thing.”

“Sure, what?” Aang said, cheerful at how easily convinced you had been.

“Don’t kill Prince Zuko,” you said.

“Don’t kill him?” Katara said. “Why wouldn’t you want us to do that? He’s hurt you immeasurably!”

“Obviously, she respects the value and sanctity of life!” Aang said, smiling and nodding in a self-satisfied way. “Consider it done, Y/N.”

“No,” you said. “It’s because I have a score to settle with him, and I want to do it personally.”

“Oh,” Aang said. “That’s not what I was hoping for.”

“I’m sorry, Aang,” you said. “I respect your ideals; I admire them, even, but at the end of the day, I cannot share them. It’s selfish, perhaps, and vengeful, but the truth is that I want Prince Zuko to live through the invasion, for no other reason than because the one to kill him has to be me.”

The moon was a silver gash in the velvet sky, surrounded by pinpricks of starlight that matched it in color. It reflected on the water that you gazed into as everyone slept, the silence of the night occasionally punctuated by a loud snore from Aang or mutters from Toph, who was apparently a sleep-talker.

Bian had taken to Momo and Appa, the flying lemur and bison that were Aang’s traveling companions. You had been worried that she might’ve tried to eat Momo, but whether it was her injured state or Momo’s intelligence, she had done nothing of the sort. In fact, she was overly affectionate towards him, preening his fur like he was her chick and forcing him to sleep tucked under the wing she had not broken. Even now, that was where she was, roosting on Appa’s broad forehead, Momo pressed to her side, and though you longed for her companionship, you did not dare wake her.

“What a turn of events,” you said with a sigh, hugging your knees to your chest and resting your cheek against them. “The greatest friend I have is my hawk, and even she has left me.”

You wished Jia-Li and Ty Lee were with you. It was counterintuitive, of course — they were Fire Nation, and your identity as Ursa and therefore as their friend was a false one, so any relationship that you had had with them could be considered nothing but a lie. But they were the closest to genuine friends that you had had in your life — especially the unassuming Jia-Li, who had not even had any hand in your past predicament.

At this point, you would even take Kaho. Cruel, horrible Kaho…you wished you could see her again and tell her that the fight she had sworn her life to was a worthless one. Now that you knew more, now that you had memories of your own, you did not detest her. You were only sad for her. You thought that if things had been different, the two of you might’ve been friends.

Or perhaps not. Perhaps you never would’ve been anything more than a daughter of mud to her. It was possible. You wished most of all that there had been a chance for you to find out how much of her hatred was her own, and how much was her being yet another mouthpiece for the Fire Nation’s doctrines.

“Having a tough time sleeping?”

You looked up at Sokka, who plopped down beside you, mirroring your position, though he stared up at the moon fondly instead of shying away from it.

“Yes,” you said.

“Me, too,” he admitted. “The closer and closer we get to the day of the invasion, the more and more scared I become. I mean, this is my plan. If it fails horribly, it’s my fault. Everyone’s risking their lives for an idea I came up with, and I don’t even know if it will work.”

You glanced over at him, only to find that he was no longer staring at the moon. When your eyes met his, he smiled slightly, and hesitantly, you smiled back.

“It doesn’t have to work,” you said.

“What? Yes, it does, or else the Fire Nation will win! If Aang can’t take Fire Lord Ozai down during the eclipse, then we’ve as good as lost,” he said.

“No wonder you’re so nervous,” you said. “You think that the outcome of this entire war is riding on one day, one event, but wars aren’t like that. Even if Fire Lord Ozai is defeated, someone will take his place. Be it Prince Zuko or some general who steps up to seize power in the ensuing confusion or another person entirely, things will not stop just because of one man’s death. The problems in the Fire Nation are rooted far more deeply than that.”

“What do you mean?” he said, his brow creasing.

“Propaganda,” you said. “Oppressive policies and laws. Prejudice. Children forced to become soldiers. An economy that, believe it or not, is falling apart because of the war. Education and literacy rates which are facing the same fate. To be sure, the Fire Nation is the aggressive party, but they, too, have been suffering for the past one hundred years. They, too, have deteriorated over the course of this great conflict; the difference is that these problems have led them to rally behind the leader of their government in the hopes that he will liberate them. Once, it was Fire Lord Sozin, and then it was Fire Lord Azulon, and now it is Fire Lord Ozai. Tomorrow, it may be someone else entirely, but mind you, it will be someone.”

He was quiet for a moment, mulling over your words before nodding, his shoulders dropping as he came to understand that you were right.

“They call my sister and I snow savages,” he said. You reached out, placed your hand atop his, which was rough and solid, cool to the touch and littered with scars. You did not try to grip it; you only let your own, which was warm and delicate in comparison, rest there on the back of his palm.

“I’m a daughter of mud, apparently,” you said. “They’re very creative here, aren’t they?”

He chuckled. “Yeah, you could say that.”

“It’s not that the entire Fire Nation is bad,” you said. “I lived amongst them, so I can say that with firsthand experience. The people are proud, but kind. It’s just that there are wider-scale issues which affect all of them and thus taint our perceptions of the country as a whole.”

“So what, then?” he said. “Is this invasion doomed? If it doesn’t even matter if we defeat Fire Lord Ozai, then why are we risking everything in pursuit of that goal?”

“You’re a smart boy,” you said. “Maybe you should mull it over for a few days and speak to me then.”

“But you think we should still invade?” he checked.

“I do,” you said. “I’m not some kind of spirit that would push you to make the wrong decision for my amusement. It’s the thinking behind it that’s flawed, the expected outcome that you need to consider. But those refinements can be made at a later date. At the moment, the bigger question is why you hold my opinion in such a high regard. It’s not as though I’m some military leader.”

“You studied at the greatest military academy in the world while you were in the Fire Nation,” he reminded you. “And, to be honest, you’re one of very few people who can claim to have actually dealt the Fire Nation a substantial blow over the course of the war. There’s no other, more qualified opinion than yours.”

“What a turn of events,” you said again, for lack of a better turn of phrase to describe your thoughts. “I wonder if he regrets it.”

“Who regrets what?” Sokka said, his hand flexing under yours, like he had considered grabbing it before changing his mind.

“Prince Zuko,” you said. “He’s the one who had the idea to send me to the Royal Fire Academy for Girls, after all. It’s by his design that I spent so long learning the ways of warfare and politics, which even before I did not understand as thoroughly as I do now.”

“Wow,” he said. “I knew he was dumb, but not that dumb. If he knew who you were, then why’d he have you enroll there? He had to have understood that you’d remember at some point, and that you’d use everything you’d learned against him.”

“I’m not sure,” you said. “That’s the final thing I want to ask him. Why did he do what he did? What was his reasoning, his thought process? I’m confused about it all. In the end, it doesn’t matter, but there’s an old part of me that’s curious nonetheless.”

Sokka was a good person. He didn’t question what you meant by that; he only hummed in agreement.

“When I was younger, my father taught me how to navigate using the stars,” he said after a bit, pointing at the sky. “He said that as long as you can find that star right there, as long as you can follow it, you’ll never be lost. You’ll always find your way back home.”

“I see it,” you said. “It’s beautiful.”

“Maybe it can help you,” he said.

“Hm?” you said.

“You’re pretty far from home, too, just like Katara and I. If we follow that star, though, then someday…” he trailed off helplessly, turning back to the moon.

“Someday, we can go back,” you said. “Yes, I believe that that’s true.”

“I’ll think about what you said,” he said, incredibly seriously. “About the invasion, and about winning. I’ll tell you what I’ve figured out before we go, okay?”

“I look forward to it,” you said.

“If I get it wrong, though, you have to tell me the right answer before we run into things looking like idiots,” he said.

“Of course,” you reassured him. “I’m not in the business of withholding information for no good reason — I just think that it will be beneficial for you to draw your own conclusions instead of solely relying on others. It’s likely you’ll come up with things that I missed, too, so it’s a collaborative exercise.”

“You’re pretty wise, considering you didn’t leave your palace that long ago,” he said.

“It’s as though I’ve lived a hundred lifetimes in such a short span,” you said. “Every minute I spent as Ursa aged me by years, I think.”

“That’s a pretty name, by the way,” he said. “Ursa.”

“Prince Zuko gave it to me,” you said. “I think they said it was his mother’s.”

“Never mind,” he said. “It’s not that pretty after all.”

You snorted. “Right.”

“Listen,” he said. “This is a little random, but since I’m pretty sure the others are well and truly asleep, I want to say it now: I think it’s a waste for you to not participate in the invasion.”

“Do you?” you said.

“Aang and Katara are right, of course — it is dangerous, and the less people that can get hurt, the better,” Sokka said. “But you’re also a really powerful ally, and it’s dumb of us if we don’t recognize that.”

“What are you suggesting? Shall I don a mask and dark clothing and sneak along for the ride?” you said.

“No, why would you do that?” he said.

“It’s a joke you wouldn’t understand,” you said. “Unless you’ve read The Mask of the Blue Spirit at some point?”

“I don’t think that one ever reached the Southern Water Tribe, sorry,” he said.

“It’s not that good, anyways. Sorry for interrupting,” you said.

“It’s fine. Now, like I was saying, you shouldn’t advertise the fact that you’re there or anything — unless you want to become a target — but I think that it’ll be better for you to be with us. At the moment, my only idea for your role is to have you stay with anyone that might get injured during the battle so that you can protect them,” he said.

“Defending the wounded?” you said. “I can get behind that.”

“So it’s a good idea?” he said.

“Don’t doubt yourself so much,” you said. “It’s a really good idea. In fact, I’d even dare to call it perfect. It also says something about your character.”

“Hopefully not something bad,” he said, cringing preemptively.

“It tells me you care about your people,” you said. “You want someone strong to defend them if they should fall. It’s a good way to ensure the loyalty and longevity of your army…but it’s also a sign that you’re the kind of leader anyone would be happy to follow. The kind of leader who has everyone’s best interests at heart, not just their own.”

He reddened. “I didn’t mean it like that.”

“I know,” you said. “That’s what makes it so telling. Are you still too worried to sleep?”

“Not anymore,” he said. “Thanks, Y/N.”

“Ah, anytime,” you said.

“What about you?” he said. You shook your head ruefully.

“No, I’m still thinking,” you said.

“About what? You talked to me, so it’s only fair I do the same,” he said.

“There’s someone I miss,” you said. “Or, no. I miss who they used to be. Who I thought they were. It’s not who they really are, I know that now, but for a time, I really…well, I mean, it’s unimportant.”

“You loved them,” Sokka said. “I have no idea who you’re talking about, but it’s pretty obvious.”

“Yeah,” you said. “I did. It was the greatest mistake I could have ever made, but I made it.”

If only you had never escaped through Quynh’s doors. If only you had never gone into the city. If only you had done as you were told, then the kingdom never would’ve fallen. Things would be alright. Your selfish desires had driven Ba Sing Se to ruin, and yet here you sat, mourning the very catalyst which had turned the walls of the impenetrable city to dust.

“If you could say anything to them, what would it be?” he said.

“I’d wish for their death,” you said vehemently. Sokka flinched back in surprise, but you paid him no mind. “Don’t get confused. I have no affection nor fondness left in me for this person.”

“You talk about killing and stuff so easily,” he said.

“It’s not like I like it,” you said. “I cried after killing Captain Chhay. It was an overwhelming act, but my — my mother, she told me that in order to ensure peace, I had to mete out death in equal measure. She said that if a person threatened me or the people I love, then I could not allow them to exist. So, that’s that.”

“Your mother? I thought she was, uh, you know?” he said uncomfortably, gesturing with his hands to get his point across.

“She is,” you said. “I do not refer to the woman who brought me into this world but rather the great bear spirit, mother of the Earth Kingdom. Quynh.”

“Quynh?” he said, face scrunching in thought. “Wait, I think I know her story. Isn’t it the myth of the bear that ate too much and had to be locked away so that it did not devour the entire world?”

“No,” you said, giving him an incredulous look. “That was a serpent, not a bear, and besides, that’s a story from the Northern Water Tribe. Quynh was one of the founders of the Earth Kingdom, alongside Shan, who was my ancestor. She died during the construction of the palace, but she was brought back after Shan struck a deal with Father Glowworm, a deal which gave her immortality and the power of doors, amongst other things.”

“Oh, right,” Sokka said. “I’ve heard of this one, too.”

“She’s real,” you said. “I mentioned her once before, remember? Her power is the way that I managed to go into Ba Sing Se without anyone knowing, as well as how all of the servants and my brother escaped when the palace fell.”

“Yup, I remember!” he said.

“In the absence of my parents, she all but raised me. I miss her more than anyone, except Kuei,” you said. “Bar him, she was the closest thing to family I had, but unlike with him, I didn’t get to wish her anything even close to a farewell. The only consolation I have is that she knows I am alive, given that she can feel when members of Shan’s line die, and that she is alive, because as an immortal spirit, she is unkillable, and she resides in a place far beyond even the Fire Nation’s reach.”

“If she’s so powerful, then why’d she let the palace fall?” he said.

“By my command, she was concentrating on evacuating the servants and Kuei,” you said. “Then, once that was complete, it was too late. I had already sacrificed myself. I didn’t give her the chance to help me. I didn’t give anyone the chance, because I didn’t want anyone else to go down with me.”

“I’m sorry,” he said. “We would’ve stood by you, if we had been there. I would’ve. Until the very end.”

You swallowed back the tears that threatened to make an appearance at his words. You had never had someone who had promised to be at your side through everything. You had had protectors, and you had protected others in turn, but never in your life had you had an equal. Someone who relied on you as much as you relied on them. Someone who would stay with you, even through the pain of imminent death.

“You’re a really good friend,” you said. “I’m glad I met you.”

“I’m glad, too,” he said. “Even if it’s a little embarrassing to think about the fact that I made you wear my clothes and do cartwheels that first time.”

“Did you ever perfect the move?” you said. He sprang to his feet.

“I did! Wanna see?” he said.

“Go ahead,” you said. Taking a step back, he broke into a run before using his left leg to push off into a perfect cartwheel. You clapped when he landed squarely on his feet again and spun to face you.

“What do you think?”

“Excellent work,” you said. “Though I don’t know how many practical applications such a skill would have, it’s always good to learn new things.”

“That’s what I told the others when they made fun of me!” he said.

“Everyone has different priorities,” you said diplomatically. He shrugged and then yawned. You winced as you realized how late it had gotten, and how tired you yourself had grown.

“Sorry,” he said. “I don’t mind staying up longer.”

“No, it’s alright. We should sleep. There’s no sense in staying up needlessly; it’s important for us to conserve as much energy as we can, so that our bodies are in the best possible conditions for the invasion,” you said.

“Do you think you can?” he said. “You made me feel a lot better, but I don’t really think I helped you in the same way.”

“You helped,” you promised him. “Just by talking to me, just by being my friend…you helped.”

“We’re all your friends now,” he said, lowering his voice as you both grew nearer to where the others were. “Katara, Toph, Aang, and I. You can count on all of us.”

“I don’t want to be a burden, but I thank you for the offer,” you said.

“That’s not how friendship works,” he said, tossing a blanket over to you. “We all look out for one another. There’s no burden involved.”

“Interesting,” you said, pulling the blanket up to your shoulders. “Then, if you are not opposed, I think I would not mind relying on you a little bit. Just as long as you rely on me, too.”

“Yeah, no worries,” he said. “I’ll rely on you a ton, trust me.”

“Thank you,” you said. “Good night, Sokka.”

“Good night,” he said. “I’m happy you’re alive, Y/N.”

“Me, too,” you said, not feeling quite so lost anymore, not when you were surrounded by people you could truly trust, not when a certain star shone down on you, like a promise that one day, you could follow it all of the way home. “Me, too.”

taglist (comment/send an ask/dm to be added): @rinisfruity14 @c4ttheart @blacky-rose @shizko @marsbars09 @happyplaidpersonfestival @catborglar @camilleverreault @nerdybouquetofkittens-blog @lovialy @heart4hees @stefnarda @ioonatv @vvicaddiction @yukihatesreoyo @yodayyy @ellzbellz18 @wscxbells @azulaloml @vyliie

#zuko x reader #zuko x y/n #zuko x you #zuko #avatar the last airbender #atla #reader insert #canon au #the glass princess #m1ckeyb3rry writes

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what-even-is-thiss · 2 months

Text

I think New Vegas and the original fallout team in general have some major and consistent issues with their writing that a lot of people just like skip over. And me pointing that out isn’t me saying the games are bad. Media is a product of the time it’s made in. They write like typical head in the sand don’t know when they’re being offensive 90s era tv writers a lot of the time.

But also this is one of those media franchises where if you criticize certain things about it even a little bit you need to put in five million caveats so the fanboys don’t come crawling out of your walls.

You can see almost everyone online who criticizes Fallout, Fallout 2, and Fallout New Vegas attempting to put up a shield preemptively because the people who prefer those games ooohhhhh baby baby you can feel their fingers reaching for the comment section before you’ve finished your sentence.

But I can’t shut up about the things I notice about the media I consume. I’m a queer writer with an English degree. I’ve been trained to notice things and I think there’s a lot of things out there worth discussing and critiquing even when it comes to media that most people agree is generally good.

Your favorite work of art is not immune to perpetuating biases whether on purpose or by accident. New Vegas for example has a serious noble savage problem. All of these games have issues when it comes to their “low intelligence” dialogue options. Yes they can be funny but the biases within them are also worth looking at. Why do you find them to be funny? Is this game actually truly doing a good job of humanizing the enemy? Is this game accidentally advocating for eugenics? Is this game advocating for torture? What assumptions are the writers making here?

Pretty much everything out there that you’ll ever read, watch, or play has some form of issue with it. Likely my own work has issues in it that I don’t see.

Even if something is good, even if something is timeless, revolutionary, something you’re proud of, in love with, it’s still worth looking at closely. Sometimes you don’t realize when you’re being manipulated. Sometimes you don’t realize what assumptions you just accept as fact.

Critique doesn’t mean condemnation. It’s a part of a healthy media diet. It’s fine to just enjoy things but someone digging deep into the problems with the things you enjoy doesn’t mean that you need to defend those problems or that you’re being attacked. You have every right to turn off your brain when consuming art. But just because that’s how you choose to go about it doesn’t mean it’s not that deep.

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txttletale · 1 year

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hi I've been following you for a while and I had some questions about MLism. First, while I think I have a decent understanding of how it works economically, how would a ML government (after the revolution) ensure it doesn't become too powerful? like what systems would be put in place so that it hears public opinion and dissent (should there be any) and not try to maintain power through oppressive means?

Secondly, what would the aftermath of the revolution look like? once the government is overthrown, there will most likely be a period of instability where different factions trying to sieze control. How would the MLs make sure that they get seated in power?

I am genuinely trying to learn more about it, so I'm sorry if those questions are ignorant. Thanks!

i mean, that first part? i'll be completely honest with you and say that in my opinion that's a partially unsolved problem. i think that lenin's prescriptions in state & revolution, based on the actions of the paris commune--that all 'officials' should be subject to democratic recall at any time and paid no more than anyone else--would be a good start.

but of course the USSR did not ossify and see abuses of power because its leaders simply forgot about what lenin wrote--the centralization of power and limiting of worker democracy was a direct result of the newly formed state apparatus having to fight brutal years-long civil war followed as mere decade later by a brutal years-long international invasion. & this is of course a situation that will be faced by any serious socialist government & their newly formed apparatus!

however, on the other hand -- cuba has succesfully maintained an incredible system of participatory democracy. i think that mao's idea of the 'mass line' -- that theory must constantly be in dialogue with the situation on the ground and the situation of the workers -- is vital to maintaining this. in its own time of crisis, during the 90s, instead of 'pulling the ladder up' on workers' councils, cuba expanded and doubled down on its participatory democracy. i think if any nation has succesfully followed lenin's theory and example, it's cuba, and the mass workplace and municipal democracy that the cuban communist party has invited should be the model for any future socialist revolution.

and quite frankly the reason why MLs will 'take power' after the revolution is because marxism-leninism is the only revolutionary socialist ideology with a plan and ability to take and maintain power over the bourgeoisie. i think one thing reading lenin will very much clarify is that the socialist state is not something that is built after the revolution but a continuation of the revolution -- lenin explains aptly the marxist position that, having taken up arms in order to dethrone the bourgeoisie, to not establish a marxist dictatorship of the proletariat is to throw aside those arms that have already been wielded and used. 'not setting up a worker's state' isn't inaction, but a deliberate choice to be disarmed and helpless in the face of foreign intervention or counterrevolution.

and this is also why i think that while solving the (very real and dangerous!) spectres of bureaucracy, of revisionism, of socialist militias becoming police forces "special bodies of men apart from and above" the people instead of "self-acting armed organizations" of the people is a vital and pressing question for marxism-leninism to address in both theory and practice, it is just as vital to note that only marxism-leninism can succeed to the point where this becomes a problem--only marxism-leninism has shown the historical ability to put the workers in a position of political supremacy that they might risk losing to these flaws and missteps.

& seriously, don't be sorry for asking questions. any questions in good faith are welcomed on this blog, because i'm a communist and i do in fact think it is my job to explain communism to people. have a nice day & don't be so down on yourself!

#ask #Anonymous

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randomfoggytiger · 1 month

Text

React: A Late-Canon Reviler Gives the Revival a Try (Founder's Mutation), Part II

This is gonna be quick and dirty because my keyboard’s acting up--

IT’S A CONTINUATION FROM MY STRUGGLE I?????????? NO WHY NO, PLEASE NO.

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO--

WHY do those glasses not fit anymore?? If Mulder lifts his eyebrows, they don’t even touch his cheekbones. But they were fine last episode, what happened.

Mulder reminding us about William in yet another opening monologue. I may have the memory of a goldfish, Mulder, but I don’t have brain damage.

I’m already so tired.

Narration, narration, sudden voice change and drop, “Bringing Scully and I back together”-- okay, that’s straight-up David's voice.

Oh, good. A bloody eyeball. How marvelous.

If this is the brain Morse Code episode, I will throw hands.

I’m Dr. Sanjay. We’re both too tired.

WHAT’S WITH THE SHAKY CAM AS DR. SANJAY DETERIORATES.

I’m not gonna be nit-picky… okay, I am.

The X-Files has a certain style, aesthetically. Because of that, one has to operate inside the rules in order to cleverly bend them. Shaky cam AND close-up break two rules back-to-back.

This "modernization" isn’t a limbered stretch so much as a spinal dislocation.

Ghost in the Machine and Blood 2.0, I see. But worse.

The “Sanjay losing control” scene is… not too different from similar 90s ones.

But that’s the problem-- the visuals have updated, but not the method. And that leaves us with the impression that the director or screenwriter or both are either amateur or outdated.

It’s also incredibly cluttered and confusing. Not confusing in a way that would expertly translate the meltdown in Sanjay’s brain, but confusing in a way that bombards us, the audience, with compounding “lost in translation” errors.

Okay, welp, he’s dead.

WHY do Mulder and Scully sound so old? Was it absolutely necessary to suck the life force out of the actors every time they walked on set? For Pete’s sake, I’ve heard more life in David’s voice while reading a Lexus ad.

Okay, DD’s picking up a bit, and GA’s compensating with her expressions but none of this is engaging.

Minor nitpick-- and I know both actors complained about wardrobe later-- but the second Mulder gets pants that fit him and Scully remembers to finish buttoning up her top, the sooner I’ll get a glimpse of the old show. Just sayin’.

His pants will eventually swing to the opposite tragedy, copping a feel while forcing him to do a little Marilyn Monroe shimmy.

I shall call them Patriarchy Pants.

Scully knows Indian?

She really is the series’ language OC, isn’t she.

Mulder got this informant to trust him by flashing his puppy eyes. I mean… it’s always worked on Scully.

Speaking of which… where’s Scully?

I’m wracking my brain, but I thiiiiiiiiiiink it’s consistent, even pre-S9 canon, for Mulder to sneak off and fill Scully in later. So, no complaints. I think.

What is it about the comedy scene that didn’t work…?

Hm.

‘Kay, so, if this guy (Gupta, looked it up) is no longer a repressed homosexual-- like he chastises Mulder for being-- then why was he so skittish in the bar?

He didn’t know Sanjay was dead, so therefore he didn’t know he was in danger (note from the future: he isn't in danger... which explains his skittishness even less.)

So, is his jumpiness because of repressed or hidden homosexuality? But he says he's out and urges Mulder to come out, as well.

Perhaps he's saying one thing and living another, i.e. pretending to be out and proud to save face in front of Mulder.

But then... that would be the comedy in this scene-- that he would have to eat his words (ex. another guy opens the door on them and Gupta makes a big fuss trying to cover up the homosexuality of it all-- “no homo” dialed up to 11, etc.)

So, he was either scared to be on a hit list-- yet wasn’t aware he might be on one-- or scared of being outed-- yet didn't signal this in his actions or dialogue.

If this is Gupta’s only scene, it was a waste.

It was a waste of an introduction, regardless. But.

Oh, Scully’s doing an autopsy, got it.

Characters are playing by their strengths, got it.

Also, forgot to note, Mulder sensing the guys in the bar were bad news points to his years spent on the job. A great touch.

…Unless, now that I think of it, Gupta invited him to a gay or hookup bar, consequently making Mulder look like an out-of-touch old buffoon. Which… fits his characterization in My Struggle I, but I hope for better things.

I didn’t see any tension in Scully’s arms while pulling the instrument out of Sanjay’s ear, but, ya know, there weren’t perfect moments in OG canon, either.

Gupta’s still here, okay. (DD getting away with a bit of humor by having Mulder act slightly out-of-place chuggin down in a bar-- I see you.)

IT IS A GAY BAR.

MULDER’S AN IDIOT, CONFIRMED.

“He lived two lives.” Okay, that’s f-- “In two separate places.” NO, no, nonono-- get back over the unsubtle line before I whip out the broom, shooshooshooshooshoo.

Wait, why is Mulder explaining the autopsy results instead of Scully?

Even when he had a… siiiiiiiiiiiiiiigh.

Even when Mulder had a brewing theory in mind, he always let Scully explain all her results before asking pointed questions, hearing her findings, then craft a theory and run it by her.

Here, Scully says, “Broke fingers to find words on palm/instrument went into these parts of the brain” and Mulder says “It went in at that angle then turned at this angle/insert theory.”

When it SHOULD be: Scully explains fingers and cause of death, Mulder points at the pics and asks why the instrument’s angle changed, Scully says “it went in 90 degree angle then turned 60 degrees”, and Mulder concludes “Like he was hunting for something.”

The shots widen out or cut back for shock value, it seems. Sanjay’s body is shown obliquely until Scully says she “looked everywhere” for clues, which prompts the camera to cut to a wide shot and hang on his sawed-open skull. The timing’s oddly comedic, the music is light, and nothing about the scene meshes. It quickly pancakes, leaving us and the characters with dead (heh) air.

The dialogue leans “we’re gonna do this next” telling rather than natural conversation showing.

And-- I’ve gotta be frank-- I’ve not caught an ounce of chemistry from DD and GA aside from the scene where they were talk about phone stealing and Indian languages.

The car scene contributed nothing... except a kid accidentally fell over the hood. Reaaaaaaaaaaaaaaaaaaal covert set-up, I tell ya.

Sanjay’s other apartment scene was… weird. They walk around, find pictures of experiments on kids, barely react, trip the silent alarm so the police show up--

Sorry, no, wait. The police show up ASAP, in THIS part of town? NAH. Not happening.

Okay, the scene where Mulder has a… brain… thingy WORKS because it uses just the right amount of “new trick”: closeups without disorienting lens action slapped on top. THAT’s how you integrate a modernized technique into an older show; and it fits seamlessly into The X-Files.

SO WHY DIDN’T THEY DO THIS FROM THE GET-GO?

Also, Scully may have had cancer, but she never had migraines. Those seem to be reserved for Mulder.

Oh, we’re in Skinner’s office now. I guess.

The clips are so poorly paced, switching or holding or integrating at the weirdest times. It even undercuts Mulder’s quips or Scully’s reactions.

On a side note, DD and GA probably had a hard time finding their characters-- as they mentioned for both IWTB and the Revival-- because all they had to work off of was plot regurgitation. ....What do you do with that?

I love the touch of Skinner playing hardball until Corporate Interest Guy leaves, then immediately switching to, “I assume you’re going to need [classified] copies, right?”

…

…..

…….

Scully really doesn’t have much to add, does she?

OH, we’re in the basement now. We're just... here. The first scene of these two back down here and they're just. Here. ...'Kay.

Mulder and Scully talking over his experience is the closest I’ve gotten to mature MSR… and it’s ruined by Scully stating the obvious, “There were no sounds. I didn’t hear anything.”

LOOK, OKAY? Mulder became CATATONIC before with these exact same symptoms and was only saved by a secret science mumbo jumbo brain surgery, WHY ISN’T SHE WORRIED. It’s equivalent to her getting a nosebleed and just wiping it away, no big deal.

“Mulder, what are you hiding?”

He’s not hiding anything, Scully, he’s telling you.

But if he were, that’d be outta character even for Beanpole Sneakybritches. By this point, he’d have a functioning theory to share with the class-- which he did, lest we forget-- or developed a taste for Hercule Poirot drama while holed up in depressed isolation, I guess. (Which you left him to, Scully, so this is your fault, tangentially.)

Which would be stupid.

(Note from the future: He was hiding something, but it didn't make sense how he leaped to that conclusion, anyway; so, logically, he has nothing to hide from her in this scene.)

But when's that stopped the show before?

“What are you hiding?”

“Sanjay heard sounds right before he died. It could be you, Mulder.”

WHAT.

Scully and Mulder established in the lab that Sanjay heard noises right before he died.

Mulder heard noises.

Tells Scully in the basement.

Scully: “I didn’t hear noises.” No reaction.

Scully: “What are you hiding?”

Mulder explains his frequency theory.

Scully doesn’t see how it fits.

Mulder: “What are you hiding?”

Scully: “Sanjay heard sounds right before he died. It could be you, Mulder.” No reaction.

PLEEAAAAAAAAAAAAAAAAAAAAAASE END MY SUFFERING.

16 min. in.

Been typing nearly an hour (a dying keyboard’ll do it to ya.)

“This is dangerous,” Scully says, flatly.

“When has that ever stopped us?” Mulder asks, brightly.

He is quite literally trying to pump life back into her-- WHO directed GA this way? You can tell which scenes she is given freer reign in (more natural, less muted) and which ones she is more tightly “guided” (less alive, more dead.)

How is she spry enough to be a field agent? How is Mulder? Skinner hasn’t aged a day but these two have been MOWED. DOWN. DD and GA aren’t like this in real life, so what gives?

Our Lady of Sorrows, go away.

It’s Karen Kosseff except it isn’t.

Mulder and Scully sneakily scare the daylights outta a Conservative-adjacent medical personnel with the dreaded threat of an “Obamacare” witchhunt... and at this point, the social commentary seems performative rather than intelligent.

I’m not gonna break it down by politics; but suffice to say, while Mulder and Scully were never above a little “campaign of misinformation”, but they've never stooped low enough to fearmonger-- in fact, they looked down on those who did.

CC-- he wrote this episode, too, right?-- turned them from FBI agents with ethics into Secret Agents with a dose of Krycekian immorality.

Just when I think I’ve “found” MSR, the writing snatches them back from me.

…And ANOTHER THING.

Ever since IWTB, Our Lady of Sorrows has been an awful, horrible, no-good, close-minded facility stuffed to the brim with egos and bottom-of-the-barrel intelligence. At least they’ve been upgraded from “let the kid die” psychopaths to “OBAMACARE?? INVESTIGATING OUR SAINTED, CONSERVATIVE COLLEAGUE????” Which makes them stupidly impressionable and stupendously ignorant of the law. Which they would know… because it affects their hospital.

There’s no hint (thus far) that Scully has some dirt on them and maneuvers them into compliance by hinting at certain shortcuts they wouldn’t want investigated. No. Instead, she weaponizes their faith-- calling the guy they want to interview a “godsend”-- despite sharing it, and despite taking all matters of belief very seriously; then lets Mulder slip in the Obamacare line because… Conservative medical professionals would cow in the face of that implication instead of, I don’t know, stonewalling to protect their ranks?

It’s such a silly, nonsensical line.

I just want old Mulder and Scully back, is that too much to ask for?

And the lady almost stonewalled, anyway. It was pure luck that Scully pulled the right emotional strings.

UGH.

“I’ll agree to relay a message,” Not-Karen says… then walks off before asking what that message would be. …Sure, fine, that makes sense.

Pregnant teen or young woman and….

And….

WHAT, IS THIS A CONTINUED PLOT POINT???????????

ANOTHER PREGNANCY PLOTLINE?????????? DO THE POWERS-THAT-BE NO LONGER HAVE ACCESS TO TUBES OR JARS OR WHATHAVEYOU TO GROW THEIR EXPERIMENTS, OR DID THEY ALL COPYPASTE THE EVES' AND DR. PARENTI’S VERY SPECIFIC NICHE?????

Hate the camera angles, too, uuuuuuuuuuuuuuuuuuuuuuuuuuuugh.

Used and abused women, dismissed young mothers, callous Catholic hospitals…. It’s so… vitriolic. And all so poorly handled.

“Desire is the devil’s pitchfork,” oh, great, the Catholic nun? lady is eeeeeeeeeeevil, who would have knooooooooooooooooooooooooooooooown--

WHY. DOES. MULDER. SOUND. SO. OLD.

No wonder DD and GA think the series isn’t really about happy endings, they were shuffling around like geriatric Eeyores half the time.

Scully pushing back against Mulder protecting her from the incubation theory right after he tells her the incubation theory: in a word, disjointed. She needed to confront him BEFORE he spells it out to her--

…My brain melted and I lost the thought…. Wait…. Nope, it’s gone.

“Is this what you believe happened to me, fifteen years ago? When I got pregnant, when I had my baby?” WWWWWWWWWWHHHHHHHHHHHHHHHHAAAAAAAAAAT.

“Mybaby”??????????? After all this time, MY BABY.

WHY ISN’T GA ACTING APPROPRIATELY, SHE’S GIVING US NOTHING DESPITE BEING THE SOLE EMOTIVE PERSON ON THIS TEAM.

IF THAT LINE IS MEANT TO IMPLY SHE’S CREATING DISTANCE WITH “MY BABY” BECAUSE SHE THINKS MULDER IS DISOWNING WILLIAM, YOU’VE NOT ESTABLISHED, AT ALL, THAT RETICENCE IS PART OF HER SELF-PRESERVATION-- NOT ONE TIME, SINCE THE REVIVAL STARTED.

AND IF THAT WERE THE CASE, SCULLY WOULD HAVE ACCUSED HIM DIFFERENTLY: NOT FLAT AND TIRED, BUT FLAT AND ANGRY. WHERE’S SCULLY’S ANGER THAT SHE’S HAD FROM DAY ONE, THAT SHE LOST RIGHT AFTER EXISTENCE SAID HAPPILY-EVER-AFTER????????

GIVE ME GUMPTION, GIVE ME SPIT, GIVE ME FIRE, GIVE ME RIGHTEOUS INDIGNATION!!!!

SO THEY ABANDONED THE INCUBATOR TALK TO TALK ABOUT HER REGRETS, I GUESS.

THERE WAS NO POINT A TO POINT B, WE’RE JUST HERE NOW.

I don’t mind the rehash-- Mulder and Scully both had a habit of doing that, back in the day… but I’m not getting any of MULDER or SCULLY from these two… Revival robots.

Ohhhhhhhhhhhh, this is the “what could have been” episode. Thanks, I’m gonna hate it.

“Do you think he could have been an experiment?”

“I don’t know,” GET OUTTA HERE, ACTUALLY GET OUTTA HERE.

MULDER’S WHOLE ARC IN ESSENCE-EXISTENCE WAS THAT HE KNEW THE MATH ADDED UP TO BEING WILLIAM’S FATHER (though the writers did their best to obfuscate that issue) BUT WAS AFRAID SCULLY’S BABY WOULD BE BORN WITH SURPRISES. INSTEAD, HE WAS A NORMAL, HEALTHY BABY; AND MULDER CALLED HIS SON A MIRACLE BECAUSE OF IT.

BEFORE SEASON 9 RETCONNED IT, ANYWAY. BUT EVEN THEN, WILLIAM WAS UNDENIABLY HIS MINI MULDER.

Even in IWTB, how many years later, Mulder still considered William theirs.

Also, waaaaaaaaaaaaaaaaaaaaaaaait.

Pause.

Rewind.

Stop.

Mulder misses William but had to put that “behind him.”

That. has got to be. The most. antithetical statement to Mulder’s character that I have ever. Ever. heard.

You can’t have it both ways, CC: Mulder can’t be pushed by the ghosts of his past into wrecking his and Scully’s relationship, twice (IWTB and the Revival), while also putting HIS CHILD behind him.

nnooooooooooooooooooooooooooooOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOnonononononNONONONONONONO.

THAT DOESN’T MAKE SENSE. THAT MAKES NO SENSE.

YOU’RE A LIAR, A LYING LIAR LIAR FACE.

THAT’S NOT MULDER.

MULDER WOULD NEVER SAY THAT.

SCULLY MIGHT, BUT EVEN THEN SHE’D STILL BE LYING TO HERSELF.

Scully was shattered into a million pieces in My Struggle I, and Mulder is obliterated in this one.

How.

Absolutely.

Lovely.

Also, again, Scully isn’t emoting fear or terror for her son. At all.

NORMAL SCULLY VOICE??????????????????????????????????

NORMAL. SCULLY. VOICE????????????????????????????????????????

WHAT.

I’M, I’M, WHAT.

FOR THE FLASHBACKS, BUT NOT FOR THE SERIES????????????????????????

UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUghhhhhhhhhhhhhhhhhhhhhhhhh.

The cutback from the flashback-dreamsequence-whatever to Scully just… sitting there. Not napping. Not dreaming, just. Thinking, I guess.

But the sequence was obviously a dream, so.

Can you imagine if she snapped upright from her dream, possibly at her desk? The gifs sets that could have been made mirroring this moment to Mulder’s nightmare in Paper Hearts.

THERE’S THE SAME “OPEN THE DESK DRAWER TO SEE A PHOTO” MOTIF, TOO.

...WHY IS THAT ASSISTANT WALKING LIKE SHE'S ON A CATWALK?

That actress said, “This is my big shot, I’m gonna stick out” (literally), and dressed to kill.

…Or she’s a piece of commentary on the Evil Scientist Doctor and the male gaze, or something.

Guys, no facility would have kids kept behind glass cages for their entire lifespan.

That’s dumb.

Scully tells the scientist he’s testing (trying to isolate) for alien DNA. He shows them out.

Agnes (the teen or young mother) got killed and her baby taken, of course.

At least Scully’s no longer pretending medical people aren’t stealing babies or creating mutants, I guess.

I GUESS.

Mulder had to wiggle his way over to the printer because his Patriarchy Pants (first sighting!) are too tight. (Told you his fashion swings in the opposite direction.)

Mulder said, “This is my skinny jean era”, and I think I’m traumatized.

Syndicate wanted to colonize the world with alien-human hybrids, says Mulder. And though it was unsuccessful--

(HOW DO YOU KNOW THAT)

--he doubts they stopped trying.

So, that sweeps away the Supersoldiers, I guess.

Since, y’know, the Revival said the aliens were never involved to begin with.

So it was just the government making a hoax of the government hiding aliens but pretending they weren’t but really were but weren’t.

Got it.

What did Scully’s study about all European men being traced back to three individuals in the Bronze age (that’s a reference to Shem, Ham, and Japheth, isn’t it CC?) have to do with Mulder’s point other than for her to talk about her study.

An illustrative hypothetical:

Mulder: “Everyone loves juice.”

Scully: “I read a paper last year that found the three most favored juice flavors tie back to the Whirligig tastebud genome.”

…’Kay.

I HAVE FIFTEEN MINUTES LEFT, LET IT EEEEEEEEEEEEEEEEND.

Jackie (Evil Scientist Man's “insane” wife) doesn’t like cats and threw an apple at it. …Why’s there a loose cat in the “mental asylum”?

They put in the spooky track from the original show-- the tinkling symbol sound-- when she recounted her daughter breathing underwater, but I liked that bit.

Good filming, good bit.

Jackie was being used for experiments, crashed her car, was forced via the brain thingy to cut her child out, the end.

…Oh, right, this plot was supposed to be about Sanjay.

My bad.

You forgot, too, didn’t you.

…Why doesn’t Jackie like cats again?

(Note from the future: Jackie feared her biological daughter because she had supernatural abilities; and ran away hoping to save her son from the same experimentation and fate. ...But her son? (or her daughter?) already had powers and forced her to cut him out??? by manipulating her brain????????? to find his way back to his sister??????????????? Even though he was a baby??????????????????? (She still doesn't know this and wishes she could see him again...????????????????????????????????????????)

This is such a BAD. SCRIPT.

It has no direction, it swings wildly from topic to topic, nothing really connects together, it’s all… nonsensical garbage.

Mulder gets closeted at a gay bar, the Catholic lady hates men and thinks unwed mothers are damaged, women are made to cut babies out of their stomachs, Mulder put William behind him, Scully has a waking dream instead of a sleeping one, aaaaaaaaaaaaand… Jackie hates cats.

No, you will not get a logical explanation for any of this.

Awwww, look, Jackie’s talking about her missing boy because she thinks about him “every day” but hasn’t seen him since and so does Scully, of course, and Mulder can sense that so he, looks, too, and this case will make him cling to William’s memory again and--

One word. Riverdale.

“All my training-- everything that I know about psychology--” WHAT. Scully, you’re a medical doctor, not a psychologist. Definitely not a psychiatrist.

So Mulder can read x-rays with medical accuracy, and Scully can read Indian and diagnose someone’s psychological state.

Great.

Just peachy.

By the way, if you’re wondering why Mulder keeps getting bumped into or keeps peripherally noticing janitorial staff at each location, here’s your payoff (NO, IT WASN’T HAMFISTED, YOU JUST DIDN’T NOTICE THAT THIS WAS A PLOT POINT AT ALL, IT'S SO CLEVER):

The janitors work for a larger company that also services the hospitals. And Sanjay’s company.

….Eh? Eh? Clever isn’t it??

NOITISN’T.

Ohhhhhhhhhhhhhhh, so the kids are dying and inadvertently killing… off… their… parent? Or something? Or the reverse?

(Note from the future: Jackie feared her biological daughter because she had supernatural abilities; and ran away hoping to save her son from the same experimentation and fate. ...But her son?-- or her daughter?-- already had powers and forced her to cut him out??? by manipulating her brain????????? to find his way back to his sister??????????????? Even though he was a baby??????????????????? And she still doesn't know this, hoping to see him again someday...????????????????????????????????????????

THAT DOESN'T EXPLAIN WHY THE TEEN/YOUNG WOMAN WAS ALSO FORCED TO CUT HER BABY OUT AFTER BEING HIT BY A CAR, per the baby's instructions. Because that's what the episode says happens.

DO THESE ALIEN BABIES HAVE SOMETHING AGAINST VEHICULAR MANSLAUGHTER OR WHAT????)

Guys, this is dumb.

Mulder’s stupid sunglasses.

But he looks goofy overall, so I’ll CHOOSE to be endeared rather than angry or petulant.

(IchoosethisIchoosethisIchoosethisIchoosethis--)

Wait, why does Mulder keep getting affected by the brain thing?

More importantly.

The episode is setting up a few, blatant parallels:

These parents are having brain problems.

Their kids are experimentation kids.

William's probably an experimentation kid.

Which is stupid, but would then prove Mulder is the biological father.

They will sacrifice this parallel to the plot but also because Scully, not Mulder, ends up being the one to communicate constantly with William.

Which would prove William-Jackson is still Scully's biologically.

(Note from the future: This complete theory is debunked in about two seconds; but will be recycled later for Scully's Morse Code seizure. Wonderful.)

It’s all.

So.

Stupid.

Stupid sunglasses.

I…

I died laughing.

Guys.

I’m gonna include a clip because it’s so goofy.

Context: Mulder’s brain thingy is acting up, so Scully has to run around to find a kid-- Kyle-- so he’ll… help? her partner. Hence, we have Gillian trying to keep up her Revival smoker voice whilst running off and shouting, “KYyyYYyyyyYYLLllelleleee”:

This is The X-Files.

Weep and gnash your teeth in torment.

This is old.

Sorry, Mulder’s ears should be busted by now. Gimme fic where he now has to use hearing aids.

They grabbed Kyle and stuffed him in the car.

Ahh, this is the scene where Mulder looks back at Kyle and someone mentioned it looks like Mulder looking back at William in another, better universe (post here.)

Okay, so, this kid doesn’t mean to hurt people by communicating with his mind, buuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuut was or wasn’t responsible for Sanjay’s death (who was helping him.)

Scully decides “LET’S PRETEND TO HAND HIM OVER TO HIS EVIL SCIENTIST DAD IN ORDER TO FIND HIS SISTER” and that sound and reasonable. As reasonable as a starving pig at a pie fair.

Wait.

The kid was a janitor.

Sanjay was helping him.

Sanjay was working for Evil Scientist dude.

Sanjay was trying to figure out where the kid's sister was, or he knew where she was but wasn't telling the kid?

The kid-- Kyle-- accidentally killed Sanjay because his... powers were outta control?

And... the kid can connect with different people's minds and that's how he hacked Mulder's brain (which retracts my biological theory... until, again, Scully's Morse Code seizure reinforces it.)

But the kid attacked Mulder when Mulder and Scully questioned his mom... didn't he already know who Mulder was?

And the kid kept pressuring Sanjay to find his sister, so much so that Sanjay hadn't been able to sleep well or function in weeks?

So, this kid's... questionable, at best.

Evil Scientist, M.D., pretended to introduce the kid to his sister, but Kyle wasn't BAMBOOZLED nor FOOLED.

Oh, btw, this kid is Jackie’s son. Looks an awful lot like William-Jackson... but anyway. (Jackson's storyline is brazenly ripped off from CC's own material, wow-- right down to the "never saw my son again" line. The writers have charming things to say about adopted families in The X-Files.)

Now he’s running around the hospital looking for Molly (the sister who scared Jackie because she can breathe underwater, etc. etc.)

Reunited with Molly.

Now the kids are throwing the adults with their minds and killing Evil Scientist Badman with the brain thing in order to stay reunited, I guess. Like the Eves. (Another rip-off recycle of their own source material.)

SO, anyway, the Evil Scientist Father died a very gruesome death.

Cut to the place swarmed with FBI.

Another guy said, “Skinner, keep your sfjfkfsdfksj behind the red tape.” I think. Can’t understand him.

Guys, this is the first Mulder-and-Scully posturing I’ve seen since the series began. Praise be, they’re not mannequins.

Here's the Mulder and William "could have been"s.

See, guys? His faith is back. He’s choosing to remember his son and reengage with his past~.

Yeah, and where did THAT come from.

To recap:

Mulder had depression sometime after 2012, so bad that it made Scully… leave, I guess (which would have been a death sentence for someone with a temperament like Mulder’s.)

But he shouldn't have had depression after 2012 because 2012 just reset the Colonization clock (according to he, himself, and his theory.)

So, he’s got "no reason" depression, then disconnects from Conspiracies and shoves away memories of William.

But he hadn’t had a breakdown or disconnect from reality before My Struggle I (which made Scully’s decision to leave even stupider.)

And Scully worries he’ll have a breakdown in My Struggle I.

And he actually didn’t leave Conspiracyville despite also leaving it and knowing things he shouldn’t and not knowing things he should.

Following?

Conspiracy guy calls up Skinner who calls up Scully who calls up Mulder; and he and she don't hesitate to investigate despite putting “that life” behind them.

There were no aliens, period, only men in government wearing suits or planting false memories or whathaveyou.

He’s still got depression but doesn’t, actually, in My Struggle I despite Scully thinking he does and worrying he’ll have a breakdown despite knowing he left Conspiracyville but not coming home, etc. etc.

Both are let into the FBI.

Still following?

He put William behind him but engages in conspiracies now (despite still engaging in them while not engaging in them-- you get it.)

Let me reiterate: Mulder. put someone that he loved. behind him.

Mulder makes peace with the thought that William’s his son regardless and daydreams about movies and rocketships.

And that’s that on all his hangups, I guess. His crops are watered and his depression is cured.

And now he and Scully are installed at the FBI... despite the unlikelihood either of them would pass the physical tests, let alone the training they'd need to requalify. To put them on the field otherwise would be very, very dangerous... right, Skinner?

The End.

Just make this easier for me next time and beat a bat over my head.

I do have another nitpick.

Mulder is too downcast in his “happier times” flashbacks, especially compared to Scully’s buoyant, sweet, upbeat persona. So, basically, he has a stunning lack of imagination, I guess.

Which, jokes aside, is an interesting thought: Mulder creating realities in his mind so convincingly mapped onto his current one that it’s even more devastating to snap out of them and face each and every unsatisfying day.

Also, both he and Scully have the same sort of nightmare....

This had BETTER be Jackson’s way of reaching out to them for help, or so help me I’m going to label these moments as narrative clickbait.

EYYYYYY, we got an actual Mulder “NO!” It sounded like him, too! FINALLY! SPIRIT! SPUNK! THE MULDER ESSENCE.

Oh, yeah, that William can get yeeted-- he doesn’t fit my headcanon, anyway.

Mulder's sitting upright, too, without having woken from a nightmare.

…So this was a deliberate choice on the filmmakers’ part.

So this is setting up for something. Like William communicating to them BOTH in waking dreams.

We all know that won’t happen, but, anyway.

CONCLUSION

YOU’RE NOT GETTING ME WITH THE HAPPY FAMILY TIMES, YOU MANIPULATORRRRRRRRRRRRRRRRRRRRRRSSSSSSSSSSSSSSS.

YOU CAN’T TAKE ME ALIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIVE.

Also: very rarely do I like movie kitchens, but Mulder's... it's alright.

Lastly: again, I am so tired.

Thanks for reading~

Enjoy!

#txf #React #mine #A Late-Canon Reviler Gives the Revival a Try #Part II #S10 #Founder's Mutation #Revival Reviler's first-time watch through #Revival #x-files #the x files #xfiles #Mulder #Scully #William #first-time watch through #thoughts #xf meta #uuuuuuuuuuuuuuuuuuuuuuuuuuugh

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literary-illuminati · 8 months

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2024 Book Review #6 – Exordia by Seth Dickinson

This is a book I have been looking forward to for quite literally years, from someone who is easily one of my favourite working authors. I also read the short story the book was expanded out from before I even knew it was going to be a book, and so went in spoiled on the broad strokes of what turned out to be the climax of the whole thing. All to say my opinion on this is unlikely to match that of the typical reader, I guess.

Anyway, Exordia is a glorious spectacular mess that has no right to cohere anywhere near as well as it does. It’s target audience is small, but I’m certainly somewhere in it. Please ignore all the marketing it’s so bad you have to wonder if someone at Tor just has it out for the author.

Exordia is a, well, a profoundly difficult book to give any sort of plot summary for. The first act involves Anna, a 30-something survivor of the Anfal Genocide now living a rather unimpressive life in New York City, until one day in the early 2010s she sees an alien eating the turtles in Central Park. Then there’s a cat-and-mouse hunt between terrifying alien snake-centaurs for the future of free will in the galaxy, and the plot jumping to kurdistan, and six more POV characters from as many different nations, and nuclear weapons, and oh so many people dying messily. The first act is an oddly domestic and endearing piece of table setting, the second is (to borrow the idiom of the book’s own marketing) Tom Clancy meets Jeff Vandermeer or Roadside Picnic, and the third is basically impossible to describe without a multipage synopsis, but mostly concerned with ethical dilemmas and moral injuries. It’s to the book’s credit that it never bats an eye at shifting focus and scale, but it does make coming to grips with it difficult.

This is, as they say, a thematically dense book, but it’s especially interested in the fallout of imperialism. The Obama-era ‘don’t do stupid shit’ precise and sterile form of it in particular – the book’s a period piece for a reason, after all. The ethics of complicity – of being offered the choice of murdering and betraying those around you or having an alien power with vastly superior destructive powers inflict an order of magnitude more misery to you, them, and everyone in the same general vicinity to punish you for the inconvenience – is one that gets a lot of wordcount. It is not an accident that the man most willing and able to collaborate with the overwhelming powerful alien empire in hopes of bargaining some future for humanity is the National Security Council ghoul who came out of organizing surveillance information for the drone wars. It’s also not a coincidence that the main (if only by a hair) protagonist is someone with a lot of bitter memories over how the US encouraged Iraq’s kurdish population to rebel in the ‘90s and then just washed their hands and let them be massacred (the book couldn’t actually ship with a historical primer on modern kurdish history, so it’s woven into the story in chunks with varying amount of grace. But it is in fact pretty thematically key here).

Speaking of complicity, the book’s other overriding preoccupation in (in the broadest sense) Trolley Problems. Is it better to directly kill a small number of people or, through your inaction, allow a larger number to die? Does it matter is the small number is your countrymen and the larger foreigners, or vice versa? What about humans and aliens? Does it matter whether the choice is submitting to subjugation or killing innocents as a means to resist it? What about letting people around you die to learn the fundamental truth of the cosmos? Does the calculus change when you learn that immortal souls (and hell) are real? This is the bone the story is really built around chewing on.

All that probably makes the text seem incredibly didactic, or at least like a philosophical dialogue disguised as a novel. Which really isn’t the case! The book definitely has opinions, but none of the characters are clear author-avatars, and all perspectives are given enough time and weight to come across as seriously considered and not just as cardboard cutouts to jeer at. Okay, with the exception of one of the two aliens who you get the very strong sense is hamming it up as a cartoon villain just for the of it (he spends much of the book speaking entirely in all caps). There definitely are a couple points where it feels like the books turning and lecturing directly at the reader, but they’re both few and fairly short.

The characters themselves are interesting. They’re all very flawed, but more than that they’re all very...embodied, I guess? Distracted with how hot someone is, concerned with what they ate that morning or the smell of something disgusting, still not over an ex from years ago. Several of them are also sincerely religious in a way that’s very true to life to actual people but you rarely see in books. The result is that basically comes as being far more like actual humans than I’m at all used to in most fiction (of course, a lot of those very human qualities get annoying or eye-roll inducing fairly quickly. But hey, that’s life). Though that’s all mostly the case at the start of the book – the fact that the main cast are slowly turning into caricatures of themselves as they’re exposed to the alien soul manipulation technology is actually a major plot point, which I’m like fifty/fifty on being commentary on what happens to the image and legacy of people as they’re caught up in grand narratives versus just being extended setup for a joke about male leads in technothrillers being fanfic shipbait.

Part of the characters seeming very human is that some (though by no means all) of the POVs are just incredibly funny, in that objectively fucked up and tasteless way that people get when coping with overwhelming shock or trauma. It’s specifically because the jokes are so in-your-face awful that they fit, I think? It manages to avoid the usual bathetic trap a lot of works mixing in humour with drama fall into, anyway.

Speaking of alien soul manipulation technology – okay, you know how above I said that the points where the book directly lectured the reader were few and far between. This is true for lectures about politics or morality. All the freed up space in this 530 page tome is instead used for technobabble about theoretical math. Also cellular biology, cryptography, entropics, the organization of the American security state, how black holes work, and a few dozen other things. This book was edited for accuracy by either a doctoral student from every physical science and an award winning mathematician, or else just by one spectacularly confident bullshitter with several hundred hours on wikipedia. Probably both, really. I did very much enjoy this book, but that is absolutely predicated on the fact that when I knew when to let my eyes glaze over and start skimming past the proper nouns.

The book has a fairly complete narrative arc in its own right, but the ending also screams out for a sequel, and quite a lot of the weight and meaning of the book’s climax does depend on followthrough and resolution in some future sequel. Problematically, the end of the book also includes a massive increase in scale, and any sequel would require a whole new setting and most of a new cast of characters, so I’m mildly worried how long it will be before we get it (if ever).

The book is also just very...I’m not sure flabby is the right word, but it is doing many many different things, and I found some of them far more interesting than others. I’m not sure whether Dickinson just isn’t great at extended action scenes or if I am just universally bored by drawn out Tom Clancy fantasies, but either way there were several dozen pages too many of them. The extended cultural digressions about the upbringing and backstories of each of the seven POVs were meanwhile very interesting! (Mostly, I got bored of the whole Erik-Clayton-Rosamaria love triangle Madonna complex thing about a tenth of the way into the book but it just kept going.) It did however leave the book very full of extended tangents and digressions, even beyond what the technobabble did. Anna herself, ostensibly the main protagonist, is both utterly thematically loadbearing but very often feels entirely vestigial to the actual, like, plot, brought along for the ride because she’s an alien terrorist’s favourite of our whole species of incest-monkeys. The end result is, if not necessarily unfocused, then at least incredibly messy, flitting back and forth across a dozen topics that on occasion mostly just seem unified by having caught the author’s interest as they wrote.

It’s interesting to compare the book to Anna Saves It All, the short story it was based on – quite a lot changed! But that’s beyond the scope of this already overlong review. So I guess I’ll just say make sure to read the book first, if you’re going to.

#book review #exordia #seth dickinson #lesbian space atrocities #sff

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avelera · 6 months

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Avelera's Dreamling Fic Status Update:

Keeping Sanctuary (subscribe for updates here) - Giving Sanctuary Sequel follows Dream and Hob from the events of the altered meeting in 1689 up to the modern era. (aka, What if they hooked up after the 1689 meeting?) Current word count: ~7,000 words across several chapters. Realistic progress update: 1/10 complete total, Ch. 1 is about 1/5 complete.

(The rest are below the cut!)

Come live with me and be my love - Dream and Hob fall in love during the Regency Era when Dream loses a bet to Desire. Shenanigans ensue. (aka, What if they hooked up after the 1789 meeting?) Ch. 16 is at 2,500 words, probably about 1/3 done. Current plan is to wrap up Part 1 in the next few chapters then create a part 2 which finishes out their "1 year of marriage" on a month by month basis instead of following them day to day like Part 1 done. Probably won't be a separate fic though, just a change of format.

This Rough Magic - My take on "Hob rescues Dream from Burgess" with a twist that Hob ends up on Burgess's radar himself when he picked up some occult magic skills in the hopes of contacting Dream after 1889 and apologizing. Now he has to pretend to be friends with Burgess in order to get them both out of there, because Burgess thinks Hob can help force Dream to give him immortality. (aka, What if they hooked up after the 1889 meeting?) Ch. 9 is about 800 words in. Story is still very much in progress I just have a lot of WIPs, as you can see.

Joke's On You (I'm Into That) - The 1589 meeting goes very different when Hob proposes to Dream, who is so offended that he just can't let the matter go. A very angry, very horny competition kicks off between them. (Aka, what if they hooked up in 1589 when they were both at their absolute worst as people?) I have literally 40,000 words written for the rest of this fic. The problem is, there's big gaps in that first draft I have to fill in and scenes that need to be added. This might be my favorite WIP but it's also the hardest to write with all the smut scenes so it'll arrive whenever I can manage, I'm afraid.

Banana Daiquiris Ch. 2 - Comic-canon compliant (mostly) - Dream fakes his death to go on a vacation with Hob and Destruction. They end up in Tahiti. Destruction plays matchmaker. Hob doesn't know whether to thank Destruction or strangle him. Current word count 6,000 words. I've been playing around with adding on to this fic for ages. One of these days, I'll pull it all together.

Great Triumphs and Tragedies - aka, "Dream Accidentally Cursed Hob with a Normal Life" Fic - Dream learns that from 1689 on, Hob's life has been safe. Too safe. Improbably safe. Nothing bad or extraordinary or even terribly special has happened to him since Dream began to consider Hob his friend. He knows this because during his imprisonment, Hob's life became exciting again and suddenly went back to normal the day Dream was freed. Hob is not convinced that Dream is the reason for this, Dream disagrees. They talk about it. And fight about it. And some things that they've probably needed to talk about for a long time finally get said. (aka, sometimes the author just needs to write their weird headcanon into a 20,000 word fic that's almost entirely dialogue). Current word count: 19,000 words and about 80-90% finished, 3 of 4 chapters written. I'm hoping that posting what I've got will help push me through the final stretch. Real life interrupted for a bit though.

And for fics that haven't been posted anywhere yet (you can subscribe on my Ao3 author page for alerts about them):

Hob Amesia Fic - Dream and Hob are dating officially now in the 21st century when Hob gets hit with what seems to be a memory loss curse, shaving off 100 years of his life each day until Dream finds a cure. This effectively grants Dream a walk down memory lane as he is reacquainted with the Hob of each era and, in the process, learns how much longer Hob cared for him than Dream ever realized. Current word count: 40,000 words. Currently writing 1489 (1889-1589 are done) and re-writing the opening. It genuinely kills me not to have this one posted lol.

"Fairy God Marlowe" - 1589 fixit fic where Hob and Kit Marlowe strike up a conversation while Dream and Shaxberd are talking. Hob and Marlowe talk about plays, and faith, and salvation, and queer love, and what it means to live forever. Hob gets a second chance at a first impression. Current word count: ~5,000 words. Sadly, it's all dialogue in script format. I'd need to convert it into prose to publish which would be a slog. So it's a bit shelved until I find the energy to do so. No, I will not post it in script format, I'm allergic to the thought.

I've got a few other concepts kicking around, but these are the ones that actually have (*does a quick calculation*) over 100,000 words written that I haven't had the chance to post yet?? And it's driving me insane????

Anyway, I should probably pin this post for those curious lol. Feel free to ask me any follow-up questions, I love talking about WIPs even as they ruin my life!

#dreamling #maggie's writing progress #dreamling fic update #1689 fic #1589 fic #arranged marriage au dreamling

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ponett · 1 year

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I have now finally seen the Mario movie. It was Pretty Good. Here are my wordy thoughts on it. (I am going to spoil the entire movie. Duh.)

In many ways, the Mario movie does what I wish the first Sonic movie had done. They just took the characters and the premise and the world from the games, and made it a straightforward animated adventure movie. It's bright and colorful and remixes things JUST enough to include fun elements from multiple games, and it doesn't make Mario get adopted by James Marsden or whatever. It even has the music!

That's all you really need, right? Right...?

I'll get this out of the way up front. Chris Pratt was fine. He's fine

If anything, it really feels like they did the movie a disservice by letting us hear so little of the Mario voice in the previews. It took one scene for Pratt to disappear into the role for me. It was totally fine. If anything, I found Charlie Day's normal voice coming out of Luigi WAY more distracting, even if I did like him in the role.

Everyone else was pretty good, for the most part. Jack Black was obviously very good as Bowser, but I'm biased. Seth Rogen does the Seth Rogen laughs as Donkey Kong, but I thought DK was fun, too. (I liked his little rivalry with Mario where he was just constantly giving him shit.) The only casting choice I truly hated was Fred Armisen as Cranky Kong. I hated every line that came out of his mouth. He sounds atrocious. Just the worst. I swear to fucking god if they do a DKC movie and we have to hear him for 90 minutes

I did think Peach was lacking, but that was on the script, not Anya Taylor-Joy's performance. It's cool to see Peach fight, but it's one of those all too common instances where the writers put so much effort into making the main girl kick ass and be an effortlessly confident girlboss that they forgot to give her an actual personality. Not that I'd point to Super Princess Peach and its mood swing superpowers as positive representation or anything, but there's a happy middle ground, surely. Shrek was 22 years ago, just having the princess do flying kung fu kicks isn't enough.

Okay. With the voices out of the way, let's talk about the big picture:

It's way better than the words "Illumination Mario movie" implied, and I mostly enjoyed my time with it. The spirit of Mario is there 100%. But I'd also describe it as "ruthlessly efficient."

This was perhaps the main complaint critics had, and they were absolutely right. People have responded to these totally average reviews with "Well, what did you expect? Shakespeare?! It's MARIO!!" Like, yes, I would prefer it if the movie I paid to see had writing that was good instead of bad. What a shocker. My issue isn't that it's not "high-brow" enough. The problem is that it feels mercenary. It feels like an editor went through and deleted almost every line of dialogue that isn't some form of exposition, at the expense of the pacing. Any scene that's not a montage or some sort of action is kept as short as they could make it, with barely any room for embellishment, character interaction, or anything other than the bare minimum word count to hit all the typical Save the Cat Hollywood screenwriting 101 story beats to the letter. There aren't even as many jokes as you might think (and the ones that are there are extremely hit or miss, including a lot of the slapstick with Mario himself).

Mario and Peach's little arc together in the front half of the film is probably the worst example of this pacing. Even having read reviews that complained about how fast Peach goes from meeting Mario (by her admission the first other human she's ever met) to deciding to train him as the new savior of the Mushroom Kingdom, I was SHOCKED at how fast it was. They don't even lampshade it.

Peach takes Mario straight into the big training sequence where he learns how to use mushrooms and jump over platforming obstacles. Peach is apparently already a hypercompetent platforming pro and a great fighter, so there's no clear reason why she's taking the time to train this random guy to be half as good as her when the world is in danger. Then they set off on their adventure, Toad joins them, and we get a VERY brief travel montage. It's about thirty seconds total - just long enough to give Peach a line about how she wants to protect this beautiful world of hers to try and give her some stakes. We get the genre-mandated nighttime campfire heart to heart, which is exactly long enough to have Mario say he misses Luigi and to have Peach give the two sentence summary of her origin story and not a second longer. Then they reach the Kongs, and their big journey is complete. (They barely interact for the rest of the movie.) So much of the movie is like this - always ready to get on to the next scene as soon as a new one starts.

I'm not criticizing the script because I expect The Super Mario Bros. Movie to be a prestige drama - although there are certainly halfhearted attempts at a dramatic arc. The stuff with Mario's family was a fun enough idea, but again, ruthless efficiency. We get one quick scene with them at the start to give Mario some pathos, because I guess Save the Cat said he's gotta have some pathos. And then Mario gets his dad's approval amidst the action of the final battle in Brooklyn to resolve his arc, just so the movie can end as quickly as possible once Bowser is defeated. (Despite now having the approval of their family and their community back in Brooklyn, Mario and Luigi move to the Mushroom Kingdom off-screen without a single word dedicated to this decision, because that's where they live in the games.)

Look. I am not comparing it to The Godfather. Don't give me that shit. I am not asking for an extra half hour to explore Mario and Luigi's childhood trauma. I am not asking for the complex inner workings of the Mushroom Kingdom monarchy. I know this is gonna be a basic Hero's Journey adventure for kids. It just feels like it's turning down so many opportunities to have a little fun with the characters, to let them interact and play off of each other, to let there be some adventure on this adventure. This is the first time we've gotten to see these characters interact with fully voiced dialogue in a very, very long time! "Yeah, it's not High Art, but it's FUN!" Stories are fun! Character interactions are fun! The script could be having so much more fun!! It is adamantly against making the Story parts of this story-driven movie any more Fun than they functionally need to be!!!

Mario, Peach, and Toad's journey to find the Kongs is shorter than the training montage that precedes it. After the opening, Bowser mostly just sits in his castle and waits for the third act to start. Luigi's there, too, but he only gets one scene with Bowser and then the movie mostly forgets he exists until the climax. He doesn't even get to try and sneak out of Bowser's castle and get up to hijinx. He's just there to be a motivation for Mario, so he sits in a cage for half the movie. It's the bare outline of a script with action scenes added in.

Aside from the fact that it's Jack Black singing as Bowser, I feel like this overly-efficient script might be part of the reason why the "Peaches" scene stands out so much. It's a moment that didn't strictly need to be there to keep the plot moving or to provide an action setpiece. It's not even a reference to another Mario thing. It's just a fun and memorable little character moment that's there for its own sake. That's what the movie needed more of. To stop and smell the roses more often. To play in the space.

To be clear, this isn't a unique problem with this movie. Critics have been noting for years that second acts are disappearing from big Hollywood movies in favor of the Act I plot setup and the Act III action, even though Act II is supposed to be where you get to explore your actual premise. And lots of animated movies give me this exact same vibe of being too "screenwriterly," or feeling like they had an executive breathing down their necks and demanding changes based on focus testing. But these common issues are why I come away mostly feeling like the movie is on the better end of "average," rather than totally blowing my mind. You have seen this movie many times before, just not with Mario in it.

And, of course, there's the music. The score by Brian Tyler based on various classic Mario and Donkey Kong tunes (frustratingly all attributed to Koji Kondo) is absolutely beautiful, but it's unfortunately frequently overshadowed by the licensed music. Everyone already complained about things like the use of Take On Me in place of a lovingly arranged DKC medley, but it feels illustrative of the tug of war the movie is caught in the middle of, between wanting to be a lavishly faithful Mario movie and wanting to be a generic tentpole animated adventure movie. Every single licensed song used is the most obvious, overused song they could have picked for the scene. It reeks of cynical executive meddling and it took me out of the movie every time.

But there really was a lot of care and love put into this movie - more than probably any other video game movie ever made, not that that's a high bar. I don't want to underplay that too much amidst all my complaints spurred by the absolutely insane response to the reviews.

Aside from the countless background references that people will be picking apart for years, touches like the Captain Toad tune playing in the background of Toad's introduction or the Mario Kart 8 menu music playing in the kart garage really help bring it to another level of authenticity. I also enjoyed seeing some more obscure Mario enemies that felt like they were picked more for being fun to animate than for being nostalgic and marketable. No matter how many times I sarcastically pointed to the screen and deadpanned "reference. reference." I am not immune to noticing these things and smiling. I am not immune to the DK Rap. These alone don't make the movie good, but it's nice to have a video game movie that feels like it was made by people who like video games.

Most importantly, the animation is great throughout. It's leaps and bounds ahead of other Illumination work, and it's the best the Mario cast has ever looked. They even made Donkey Kong handsome, somehow. They're all so squishy and expressive, and they move so fluidly - especially in the action scenes. I particularly liked the more kinetic ones like the aerial Banzai Bill chase and the Mario Kart sequence. Truly, the Mad Max-inspired car battle on Rainbow Road where Mario literally does the speedrun shortcut is this movie firing on all cylinders.

Other, more hand-to-hand fights nail the Popeye-esque vibe Mario should be going for. He's an underdog who gets the shit kicked out of him by bigger, stronger opponents until he gets his signature powerup and turns the tables on them. My favorite animation of all probably came from the use of Cat Mario to turn the tide in the DK fight. They had so much fun making Mario move like a cat. Again, it feels like a choice made because it'd be fun to animate rather than just a nostalgia move.

It's that animation and that attention to detail that carry the film, really. They elevate it from mediocrity into being a fun watch for a fan like me, albeit one I couldn't help but pick apart with Anthony as we watched it at home. I'm glad I saw it, but there's a lot of room to improve with the inevitable sequel. I hope they do. I can't deny that I had fun with the movie, but I hope next time that fun is partially because of the script instead of in spite of it.

Stray thoughts:

Overall, I would say I enjoyed the movie a lot more than Sonic 1, but probably not as much as Sonic 2. Not that these movies need to be pitted against each other.

I hated the Luma. I hated how hilarious they clearly thought the Luma was. They have the fucking Luma break the fourth wall to end the movie and start the credits. This is going to be a deep cut for fans of bad animated films, but the whole time I was just thinking of the little fish from Romeo & Juliet: Sealed With A Kiss who's just the director's kid saying random nonsense. You know I'm right

I rolled my eyes at the "our princess is in another castle" joke and several other jokes that would have been dated in a gamer webcomic 20 years ago but I guess they had to be there

How much of Brooklyn did Bowser's giant floating castle take out? We know 9/11 happened in this universe because the Freedom Tower is there, hasn't New York been through enough

I can't believe there's a Diskun easter egg

The dog is the most Illumination character design in the movie. It felt like it wandered on set from The Secret Life of Pets

Mario being a gamer and playing Kid Icarus of all things just made me remember this tweet:

Yes Anthony did get mad at me for being thirsty for Bowser

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