#when you want to adapt something GET TO KNOW THE ORIGINAL MATERIAL FIRST

[witchesoz]

Okay, I will say it... It absolutely INFURIATES ME that people say they want to make (or start making) a project about Oz - as in the literary Oz, the original Oz, the Oz books, right?

And then... then they say "Oh yeah I never read any of the books outside of the first one, and I don't intend to. I'll just use Wikipedia articles and various Oz adaptations".

WHAT THE HECK IS WRONG WITH YOU ARE YOU LITERALY SO LAZY? I mean... you do an adaptation of a specific material that was overtly overshadowed and ignored, is surrounded by misinformation and misadaptation, and with more than half of its content not found on stuff like Wikipedia... And you don't even bother reading it to know what you are getting into?

If you want to do something based on the MGM movie, it's fine. If you want to do something based on Wicked, it's fine. If you want to do something based on the friggin' anime series it's fine! But don't start claiming you want to do based something on Baum's original book when you clearly don't want to!

Because you know what the worst offense is?

Not only are Baum's books books for CHILDREN which means they are quick and easy to read... BUT THEY ARE IN PUBLIC DOMAIN! Which means not only you can find copies of them everywhere... THEY ARE ALSO EVERYWHERE ON THE INTERNET! THERE'S TONS OF WEBSITES with ALL of Baum's books available for free to read any time you want, at any speed you want, with no effort to bring!

You have all of this material at your fingertips, ready to grab, and you just... "Nah, I say I will use the Oz books but I only read one and the rest comes from adaptations". GRRGRHRHFTHRAAAAAA

[shuttershocky]

I'm FGO's biggest hater so you know I'm serious when I say this all began with FGO releasing in English in 2017. No longer could Type-Moon bury their heads in the sand and pretend an international audience for their visual novels didn't exist, not when JAlter sales alone made 3 million dollars.

Anyway, it's actually really cool that we can see Nasu go back and decide an actual intended reading order for Type-Moon works. Mahoyo was written first but never released to the public, Kara No Kyoukai sold like 6 copies on its first release so nobody read it, while Tsukihime and even the original Fate/Stay Night would stay out of mainstream store fronts due to being eroge, leading to readers coming in to Type-Moon almost entirely through (often troubled) adaptations and never the source material.

But it doesn't have to be like that anymore. Mahoyo got remade in 2012 as a VN, Fate/Stay Night got rereleased as a mainstream commercial work on the PS2 with Realta Nua, and Tsukihime got a Remake for consoles.

So it's pretty cool that Nasu used the first official English (and Simplified Chinese, they're an even bigger market tbh) translations of his novels to make something of an actual reading order.

Do you want to get into Type-Moon? Read Witch on the Holy Night, it's simple, has no routes or choices, and lays all the basic foundations of the setting. Tsukihime: A Piece of Blue Glass Moon then elaborates on the monsters and the militaristic Holy Church that Mahoyo introduced. Finally, Fate/Stay Night rounds this out by going back to the mages, getting deeper into their society and while introducing a whole other kind of monster in the heroic spirits that became so iconic to the entire otakusphere.

It doesn't have to be hard and inaccessible anymore! We're so fucking back

[jasonswhitetuftofhair]

“Come at me, Baby”

Characters/Pairings : Jason Todd (Red Hood) x female!reader.

Synopsis : Jason and Reader spar and after training things get steamy filthy.

Content Warnings : SMUT. Slow burn. Poor writing. Lots of plot. Training/Sparring (reader learns combat). Curse words. Pet names. Overstimulation. Multiple orgasms. Protected sex. Size kink (barely noticeable). Oral (fem rec.). Fingering. Dry humping. Use of object as toy (Jason uses a muscle massage gun on you). Vaginal intercourse. Light bondage (Jason ties your hands w/ resistance bands). Reader insert (sorry). Aftercare.

Fandom : DC, Batman.

Word Count : 5202

Author’s Notes : First fic I’ve written. Like ever. Also, this is a repost; I originally posted this for the first time in October 23’ but I deleted it in December 23’ due to insecurity.

This week had been tiring. Multiple meetings, a lab breakout scare, a few late night patrols all on top of studying the material you’d been given had started to add up. All you wanted was to retire for the night, go to your room and take a nice, relaxing, long, hot bath. Gorge yourself with junk food and put your show on, and then sleep like the dead. But no, tonight called for an evening training session with your training instructor.

Jason. Jason Todd. Before you had entered the gym, you weren't sure if you would be up to train tonight. But watching him enter the double doors with his hot-as-hell all black tactical pants, skin tight athletic t-shirt and combat boot ensemble quickly made you reconsider. As if it was hard.

Ever since Bruce had finally gotten Jason to accept his proposal of conducting training sessions with everybody, you’ve been feeling like a sitting duck. You had been trying to hide your feelings from the older vigilante for a while now. A while as in since you first arrived at the manor. Nearly eight months had you been stumbling around whenever he was near, barely making eye contact and feeling like an idiot because of him. And you had been succeeding, too! Barely, but still. He didn't know anything and now with your new arrangement, how could he not pick up on the vibes you were sending out? It was only a matter of time before your feelings were compromised and you were left heartbroken and feeling like a fool, your friendship with him long gone.

It wasn't so bad, though. You had always been good at adapting and Jason wasn't necessarily bad on the eyes. It was kind of fun, too. His little dry humored remarks, shared inside jokes and just…him, made him good company. After all, he was your friend. You haven't known him long, but it still felt like you’ve known him forever. But that was the problem. Your friendship with him was too much of a treasure to have it be risked just because of a little crush. You’d rather be plagued by the overwhelming melancholy of your predicament than not have him at all. If the only way you could allow yourself to indulge in the feel of his hands on your body was when he was training you in combat, then that was something you were okay with settling for.

“Earth to Y/N. Um hellooooo, you there?” Jason’s equally teasing and concerned words pulled you from your trance you hadn't even realized you’d fallen into.

Your embarrassment quickly appeared on your face and didn't go unnoticed by him. “Yes! Sorry, I’m here.” Having been snapped out of your thoughts, you noticed that Jason had you held against him mid-air. You threw a punch at him, but he of course dodged it so you did what you first thought next. You tried to kick him in his side but he quickly grabbed your ankle and gently but strongly twisted it so that your body changed direction. Before you could lose balance and fall he grabbed your other thigh and caught your body against his, holding you to him. You didn't react at all, though, and his initial thought was that he crossed a line he didn't know of and did something to upset you. He called your name and you didn't answer the first time so he paused the lesson and brought you back to him.

He was a little worried, honestly. He knew you to be like this, often catching you staring off into space and likely daydreaming or stuck in deep thought. It was your expression, though. The mild sorrow, a little bit of adoration shining in those pretty eyes he loved so much, too.

“You sure? We can take a break if you need it,” he offers, gently smiling at you, “is everything okay? I didn't hurt you, did I?” he asks worriedly. Gazing into his eyes, your heart almost swells up. He looks so genuine, like it would hurt him if he hurt you and you let yourself pretend it's for other reasons. “Yes, I’m fine, promise. Just have a headache s’all.” It's enough to relax him just the slightest but he doesn't believe you. Your body language is just not convincing enough. He finally puts you down and lets his eyes skim all over you. He tells himself it's to check for signs of discontent or injury, but he knows he can't lie to himself. Youre just too fucking beautiful. He shakes himself out of it before the blood rushes south and gets back to the lesson.

“So. You really need to get out of the habit of kicking. It can't be your first instinct, sweetheart. You're exposing an entire limb to the enemy and you're not skilled enough yet to counter whatever it is they plan on doing. I know it's hard, but you need to really start implementing your upper body strength,” he explains to you, occasionally letting his fingers linger on your skin when showing you what the enemy could potentially do to you. You truly appreciate how gentle and accommodating he is when it comes to teaching you. You’ve seen him train with the others and sometimes his harsh tone is enough to make you jump even when his words are directed to someone else. He’s been so patient with you and the thought of him going out of his way to train your aversion-to-fighting self makes your heart flutter. You nod along with him, letting him know you haven't gone off to La La Land again.

“Alright. Come at me, honey,” he orders while positioning himself in the default defense stance. Legs strong, but ready to move. Arms by his side ready to catch and balance. Core strong and taut, chest puffed. Eyes on you, just as he likes it. He finds it adorable how clueless your little expression is. Eyes wandering all over the place, arms trying to find a good way to support yourself and legs waddling to their correct position. Like a baby deer learning how to walk. He hears your little words of encouragement to yourself and watches your eyes, watching the gears turn in your brain. While his focus is stuck on your pretty face, he doesn't notice your left hand curling behind you while you spin yourself around, pressing your back to his front. He grunts and catches your right hand before it can land around his bicep. You quickly move your feet backward and jump behind him, putting all your strength into kicking his back hamstring, but he’s already several steps ahead of you. He turns around before your foot can land and grabs your ankle, destabilizing your legs and grabbing your wrists, holding them tight in his right hand.

This of course leads his mind to other things, things that would involve this very position. You curl your leg around his stretched leg and twist your body around, landing you on top of him. Your legs straddling his abdomen and palms resting on his waist. He doesn't mind at all, though and senses a pause in your movement. He notices your tired expression, your flushed face and neck, the sweat on your hairline, neck and brow. You jump, as if just now realizing the position you had him in. You move to sit next to him and he moves into a sitting position, no longer back to floor. You flash him a cheeky grin, happy with yourself for winning this time.

“Did I do good?” you ask him excitedly and he chuckles, your pretty little smile having caused his heart to skip a beat. ‘Did I do good?’. That phrase would be on repeat in his brain for a little while, he could tell. The way you seeked his approval caused his groin to stir and he stood up, quick to distract himself.

“You did. I’m proud, that was much better. We’re gonna focus on your upper torso, now, okay?” He guides you to stand and places his hands on either sides of your shoulders, guiding you to stand in front of him. “I'm gonna throw at you, and you're going to block them.” He playfully wiggles his fist in front of you and you grab onto it giggling. Oh how he adores that sound. He sneakily aims and his fist appears next to your collarbone, you move your body out of the way. He does it again, this time it comes next to your left shoulder. You grab his wrist with both hands and block it. He doesn't miss the way you needed both hands to wrap around his wrist. He moves again, fist to the right of your face. Your eyes widen and he shushes you and you relax. You both know he wouldn't make a move to successfully cause you harm.

This goes on and on for what seems like forever. Your stamina has dwindled down a while ago and he can tell how tired you are. He thinks about cutting training early, but for his own selfish reasons he decides against it. He doesn't want your time together to end. Still, you're barely putting in any effort and you're certainly not trying to hide it from your instructor. His eyes haven't left you since the session began and he was very pleased with all the intel he’s received. Your short, panted breaths. The way your cheeks and neck flushed with that pretty shade of pink that suited you so well. Your wide eyes, how they seemed to sparkle under the annoyingly bright lights of the gym. How they seemed to water whenever he stared into them for too long. Your wobbling lip whenever you got a little too into it. How you went out of your way to put both of your hands on him, regardless of if it was beneficial or not. The way you didn't even move out of the way of his punches anymore. You just watched the muscles of his arms flex and wished they were around you instead.

“You gotta put in some more effort for me, princess. I know you can do it,” he tells you, cooing at the way you whine at him, silently wishing he would end training early. He chuckles. “C’mon, block em’, sweetheart.” You roll your eyes and try to muster up whatever strength left in your exhausted body. Your hands meet his and successfully block a hit. He doesn't forget how you rolled your eyes, though. What he wouldn't do to have you bent over his lap for that. He finishes with the punches and leads you to the equipment.

He stands you in front of the power rack looking thing, gripping your waist and holding you up, waiting for you to grab onto the handles on top. “Chin-ups. Fifteen of em’,” he tells you and you groan. He knows you hate chin ups. “Tsk, tsk. C’mon, princess. Don't make it twenty. These help with your shoulder and bicep strength. Use an underhand grip, palms facing you.” You sigh and get into position, starting what he told you to do. You made sure to be as dramatic as possible, though; you were too tired to keep the brat in you at bay. Jason, on the other hand, doesnt try to hide the way he is blatantly staring at your ass, thighs and waist. He burns the image in his mind and moves closer to you, holding onto your waist to make you feel secure.

You huff and sigh out, hoping he’ll give into you. Throughout the entirety of the session, his hands have been on you. His breath has been on your neck. The feel of his body on yours. Him in your proximity. It was frustrating. Having him so close, but far away. Little did you know he felt the same. His hands move to rub encouraging circles into your hips and you whimper out loud, to your embarrassment. He doesn't even try to hide his smirk, though. Once the exercises are done, he holds onto you, purposefully moving his big hands to rest on your ass, bringing you down. You’re done with his teasing and turn around, pressing your palms flat to his chest and keeping him at bay. You signal with your eyes that you’re not in the mood for the teasing and he coos, holding your face between his two hands. “Is there something you want, baby?” you whine and cry out for him trying to hide your face into his chest but he only lifts your chin back up so he can see you. “Come on, sweetheart, if you want something you have to ask for it.” “hmph! I want you to stop teasing me, Jason!” He smiles wickedly and lets you go. “Training is over,” he states simply and you sigh contentedly, walking to the locker room.

Before you can open it, though, Jason’s hand wraps around your wrist and you turn to him. “You didn't actually think I was done with you, did you?” he asks but doesn't wait for an answer. He opens the door to the locker room and guides you into it before locking the door. In an instant you're pressed against the door, cold wood on your back, and Jason’s mouth on yours. It's not much of a fight for dominance, his tongue having beat yours instantly. It feels heavenly. Not just the feel of his tongue in your mouth, tasting yours, but finally all this pent up tension leaving your body. You sigh into the kiss, Jason’s hand comes up behind your neck to grab the hair at the base and you mewl against him.

You were losing oxygen and his kisses traveled from your lips, to your chin, to your jaw, the sweet spot on your neck. His big hands wrapped tightly around your waist and the feel of his open-mouthed kisses on your neck has your jaw slack and breathing uneven. He smiles at the way you look like a puppy with your open mouth and panting, practically drooling.

“This okay, sweetheart?”

You were practically soaking through your panties by now and the tenderness of his words and low pitch of his voice certainly wasn't helping. You nod a yes and throw your head back at the feel of his harsh sucking on your neck and collarbone. He growls and spanks your bottom, “I need words, Y/N,” he commands and you whine out loud yet again. “Yes! Please, need you, Jason,” you tell him and that’s all he needs to hear.

Carrying the two of you, he picks you up and holds you against him. Your legs wrapped against his waist and he sits down on a bench, you still on his lap. His kisses don't stop and the feel is euphoric. His hands haven't stopped roaming your body. The feel of his big hands groping at your soft, supple flesh through the clothing separating you from him combined with just…him, was damn near enough to make you go crazy. You were tugging at his hair and pressing your face against the crook of his neck, desperate to smell his pheromones and your soft lips pressing kisses of your own against his neck had him hard against you already. When you felt his hardness against your tummy you gasped and tugged on his hair a tad bit harder and he moaned against you. Little curses left his mouth and you were seeing stars. Nothing had barely even happened and you were already this close to being admitted into Arkham Asylum.

Suddenly his hands paused their movements and his tone became one of seriousness. He grabbed your chin and forced your face towards his. Your pretty little glossed over eyes shining up into his had his breath hitch and for a split second he forgot what he needed to do. He could see the curiosity on your face, your teeth tugging your lower lip and he had to avert his eyes.

“Fuck, Y/N. I need to tell you something. I-I like you, Y/N. And not just in a friendship way. I understand—” he started but you cut him off, lurching towards him even more and grabbing his head between your hands, kissing him with a force you didn't know you could possess. He could feel you smile into the kiss and he let you have control this time. Not for long, though. He grabbed your hair into his fist and you gasped. “I-I like you, too, Jason. Have for a while now,” you mumbled against him and he grabbed your plump bottom with both hands, bringing your body flush with his. This only fueled the fire, though; his rock hard cock straining against his pants feeling your core against him had him clenching his jaw and closing his eyes, trying to control himself a little bit.

“I like you a lot, Jason. A lot a lot,” you whimpered against his lips and he smiled. You could see the genuinity in his eyes and the softness in his smile. He placed a gentle kiss against your forehead and then one on your nose and finally one on your lips. “I'm glad, sweetheart. Very glad,” and with that he grabbed your hips and shifted your legs a little bit. He forcedly rocked your clothed cunt against his hardness and your eyes closed, head tossed back. It was almost too much, too fucking much. You had been teased all night long and with all this foreplay you weren't sure if you would last. You tried to paw his hands off of your hips and stop your movement, but you just weren't strong enough. His devilish grin staring up at you, his pretty girl, had you whining and grow the ache in your pussy. “Stop, ��s too much, stop, please, Jay,” you begged against him and all he could do was smile. “Stop? You want me to stop? But I’m not even doing anything, baby,” he teased. He knew he was teasing the damnit out of you. Even as you begged for mercy, there you were, still riding his clothed dick. You couldn't help but follow his lead though, your hips couldn't help but relish in the feeling of his hands tight on them, guiding you back and forth. Even if you wanted to you weren't sure if you could stop. God, it felt so good. Nothing you had ever felt like before. His hands on your hips and his mouth abusing your sensitive skin. The hardness of him grinding directly onto your clit. It was all so amazing.

He could tell you were close. He’s never had you before but he already knew all your tells. Your panting and labored breaths. The way you couldn't keep your eyes open. The stuttering of your hip movement. How you tried to get closer to him, even though you were flush to him. Gasps and whimpers leaving your mouth. Your hands tried to paw his hands away yet again. Think you’d learn the first time. His mouth went right back to sucking marks into your skin and he cooed at you. “C’mon, babygirl. You can do it. I know you need it, sweetheart. Just let go and cum for me,” he softly commanded. Hips following his words, your pace quickened and he ground you down onto him. His own hips jerked up and his cock spanked your core. Within moments the climax unraveled and you let out a screech. The white hot bliss greeted you and the power of your orgasm could be felt in every nerve ending of your body. You shook for a good thirty seconds and your vision went blurry. You slumped against him tiredly and he chuckled. His soothing hands rubbing circles into your back and sweet nothings helped calm you down and your high rode out. You lazily started unbuckling his belt and he grabbed your wrists, stopping you. Oh how you liked the feel of his hands grabbing you like that. “Tsk, tsk, Princess. ‘M not done with you yet.”

In an instant he was untying your shoe laces, kicking them off your feet and forcing your pants down to your ankles. His hands ripped your panties off and you were exposed. The brisk air was biting against your wet cunt and you gasped slightly. He raised you up against the lockers and wrapped your legs around his head, hands planted firmly on your ass holding you midair. The smell of your arousal and the previous orgasm dripping everywhere had him painfully hard. “Tell me if it's too much, baby, and I’ll stop, okay?” You whispered a ‘yes’ and he finally satiated his desire to have your cunt in his mouth. His mouth went straight for your clit and you shrieked at the feeling. His light little sucks on the nub had you rolling your eyes back and jerking your hips. Continuous moans leaving your mouth only encouraging him. He licked a stripe straight up and down the length of your pussy and his own moans left him. You tasted fucking delicious. Like everything he had imagined. All those times he imagined how you’d feel and he was finally fucking seeing for himself. He felt like a kid on goddamn Christmas, his hands tightening his grip on your ass. You were sure there’d be handprints in the morning. His thumb went to rub rough circles on your little bundle of nerves while he thrust his tongue in and out of your weeping hole. You started to cry out for him, hands pushing against his head and fingers gripping his hair attempting to pull him off of your pussy. Absolute the fuck not. He looked to his right and to his luck there was a set of resistance training bands hanging from a hook. He smirked and looked up at your fucked out face and he chuckled to himself. Holding you up with one hand, he reached to his side and grabbed a cable band. You watched his movement and saw what he was doing and your eyes widened. The kinky bitch. “C’mon, princess. Give em to me. Since you don't know how to keep your hands to yourself, I have to take em away from you,” he teased playfully condescending. He tied your hands together behind your back with the workout gear and he hummed satisfied with himself before resuming his meal. He was fucking merciless with his tongue and you soon learned your crush was a borderline sadist. His mouth wrapped around your clit and his sucks were harsh and unforgiving. Like a man starved, he ate you like you were the last source of hope for his soul. His finger started fucking you, too. He started with one but your drenched hole quickly accommodated for more. Soon enough you were on the brink of another orgasm and he forced it from you roughly. “Again, sweetness. You can cum again, cant you? Give me another.”

The orgasm brought tears to your eyes and you wouldn't stop shaking. Your thighs were quaking around his head and your back arched off of the cool metal of the lockers you were propped against. Toes curling, head thrown back, continuous moans and screams leaving your lips. Your second climax of the night arrived and you screamed into the locker room, little sobs leaving your ruined body. He let you ride out your orgasm against his tongue until he was fully content and gently brought you down, placing one last kiss against your lower body. He sucked his fingers that were just shoved inside you, not breaking eye contact with your tired eyes. He placed his forehead against your own and wiped away your tears.

“You okay, baby? Was that too much?” he asked worriedly. He didnt want to fuck up his first time with you and feared he lost control of himself. You smiled tiredly against him and shook your head lightly. “‘M okay, promise. Jus’ need you, Jason.” He smiled and shuffled you towards the mirror and sinks. He took off his shirt and laid it on the edge of one of the sinks he was about to bend you over. You realized it was for your comfort and smiled up at him, feeling your heart swell up. Even when he was about to absolutely obliterate your cunt, he still managed to be a gentleman. He unbuckled his pants and finally his cock sprung up. He sighed, finally feeling relief. He watched you stare at his size through the mirror, seeing your eyes widen and your teeth tug on your lip. He lightly guided you into the position he wanted you in and you sighed contently, feeling comforted by the thought you would finally be fucked by him. Watching him pull a condom out of nowhere and rip it open with his teeth had you on the edge of your seat. He sheathed himself with it and made sure everything was ready. “Ya’ ready for me, sweetheart?” he asked while lining his tip up with your entrance, smearing your wetness all around his head. You gasped and shouted a little “yes” and he chuckled, sinking in. Even with two orgasms loosening your little cunt up for him, he was still a little much to adjust to. Both of your heads tossed back in sync and you closed your eyes, sighing for him. You worked your hips against him, wanting to feel more. He grunted and grabbed you by your hair, bringing your head up to look in the mirror. “Keep your eyes up here, baby.”

Once you were fully adjusted to his size, he slid almost all the way out and then re-entered your warm, wet heat. It felt so good. He set a pace and it was so heavenly. You could cry with how good it felt. You both needed this, needed this release for all the pent up frustrations in your lives. Sounds of flesh smacking against flesh and his grunts and your little sighs filled the room and the smell of sex was heavy in the air. His hands were on either side of your hips and his eyes met yours in the mirror. It was fucking exotic. Seeing your eyes perfectly, watching the pleasure unravel on your face. Pleasure he was giving you. His pace quickened a hair and you gasped. Your hips moved backwards against him, in time with his thrusts. You felt him deeper and the perfect rhythm of his cock repeatedly hitting that spot inside you almost hypnotized you. He smirked a little bit as he watched your fucked out face in the mirror. No thoughts, head empty. It was clear only pleasure was what you felt.

You didn't even notice him reaching above the both of you and retrieving something from the cabinet. Only when you heard the familiar buzzing noise did you wake up from the transe you were in and see what he had in the mirror. A muscle massage gun. For a moment you were a little confused, why was he hurt? Then you felt the big spherical head of the gun against your clit and your eyes rolled to the back of your head for the umpth time that night. He smiled and cooed at you from above. Yeah, he was definitely a sadist. He angled the gun a little bit to the left, wanting to overstimulate your abused little button. His thrusts hadnt ended and it was too fucking much. His pace was faster and harder and deeper now and had you both moaning up a storm. Your hands were finding themselves gripped onto the sink counter and you were struggling to keep your eyes open and in the mirror. He moved the massage gun setting higher and kept it firm against you. Your thighs were shaking and you were glad you were being held against the sink by him. You weren't sure you would be able to keep yourself up if you weren't.

“C’mon, pretty girl. Give me one more, please. I know you can. Cum for me, sweetheart.” You closed your eyes, feeling bliss about to erupt in you again. He quickly corrected you, though. His hand not being used to hold the machine to your clit came up to your throat, squeezing lightly on the sides. Not enough to cause genuine pain or prevent oxygen into your blood, just enough to give you that lightheadedness and in an instant you came on his cock. Your final orgasm was so intense and pleasurable—not surprisingly—and it lasted nearly thirty seconds. He removed the massage gun and returned both hands to your waist. His brutal thrusts as he chased his own orgasm helped you ride it all out. That blissful feeling that lasted longer than your orgasm did. All the stress leaving your body. Finally his sputtering hips stilled as he emptied his hot load into the condom and you whined, half wishing he was emptying himself into your wet little cunt instead. One day.

You both sighed and felt content again. You were sated and had finally gotten what you wanted. His loving palm rubbing circles into your lower belly, soothing you. He peppered light kisses on your skin and slowly slid out of your heat. He turned you around and kissed your forehead. All this loving kissing of his was making you wanna cry, it felt so good. Not just to be fucked right by him, but to have him, too. He was yours, now. And you were finally his. He grabbed your face between his palms and gazed lovingly into your eyes. “You okay, baby? Was that good? I didn't hurt you did I?” You smiled softly and nodded, “Yes, Jay. I'm perfect. You were amazing,” you reassured him with a blush.

He picked you up and sat you on the edge of the counter and got a washcloth from a basket, wetting it under the sink. He wiped the sweat and cum off your body and gave a kiss to each spot after it was clean. He helped dress you and by the time he was carrying you making his way to your room in the manor it was late. He opened your door and locked it behind him, leading you both to your attached bathroom. He undressed you again and turned on the shower. He lightly coaxed you in, seeing as you were so drowsy from all the night’s activities. He undressed himself and got in, lathering your body wash on a loofah and cleaning you. He wanted to make sure his baby was clean and cozy and content. When he was done washing you, he washed himself and enjoyed smelling like you a little too much. He carried you out of the shower and dried you off, clothing you in jammies and then put on some clothes you had stolen from him a while back.

He held you in his arms and you two cuddled each other all night long. You were his now and he couldn't be happier.

[romor]

I'm starting to think people don't understand that adaptations have to be different. Did netflix have the same amount of time as Book 1 to work with? Technically yes, but 20 episodes is for sure more than 8 so they didn't.

If you are constantly comparing it to the original and upset about the changes. Then for sure the netflix adaptation is not for you.

I've seen some bad adaptations over the years, for example my favorite book is Inkheart. Even the 2010 Avatar movie is a better adaptation than Inkheart's.

Conclusion it's a pretty good series, if you like the original, if you can watch it without constantly comparing it to the original you will enjoy it more.

Editing to add to this since so many have said something.

Inkheart is not a horrible movie, but it is a bad adaptation. Fantastic cast, with no loyalty to the source material.

There is a difference between adapting a story, and remaking it. This is literally being referred to as the netflix adaptation, so clearly it's not a remake. Because it is an adaptation, changes are expected. It would be stupid to expect a copy and paste story.

The changes make sense, because if you want book 2, and only have 8 episodes to work, you have to make a lot happen. The original show has clear start and end points for the events that occur (aka you know that start of the episode and the end). That's fine, when you have 20 episodes to work with, each 20 minutes. That doesn't work with 8 episodes each 1 hour (or about an hour). It doesn't translate to smooth storytelling. A lot of important things occur in book 1, but let's not forget that book 1 is also more episodic vs the rest of the series. In fact don't we often say "it gets better," about the book 1? What I am saying, a lot has to happen in the first season to set up not just season 2, but season 3. They did really good making sure those events happened.

I don't mind the mixing of plot because they didn't have much of a choice if they wanted a cohesive plot. I would also like to add I'm so glad the removed the northern air temple episode's setting. Never felt right with me.

I'm not saying don't compare them because it's impossible not to. I'm saying that if you are constantly going to be thinking of everything they changed, if you think the original series is so perfect. So unflawed, that how dare they even try. If you are going to be watching it already offended that they decided to even touch it. This adaptation is not for you.

If you were like me and wished that fire did in fact burn everytime it touched someone. If you are like me and thought the original series was too light-hearted for its plot. Then you will enjoy it. It's a fun adaptation, that keeps as loyal to its source material as it can be.

Yes I have my issues with it, but that doesn't mean it wasn't a fun watch.

[recoord]

Why Good Omens season 1 has already fulfilled Sir Terry Pratchett's wish

Neil Gaiman said he wouldn't make a sequel to Good Omens

Neil Gaiman at SXSW in Austin, Texas in 2019:

[Gaiman also confirmed the series will only be six episodes, with no intention of trying to go for another season if successful. "The lovely thing about Good Omens is it has a beginning, it has a middle, and it has an end," he said to appreciative applause. "Season 1 of Good Omens is Good Omens. It's brilliant. It finishes. You have six episodes and we're done. We won't try to build in all these things to try to let it continue indefinitely."]

Source: Entertainment Weekly (2019)

2018 - Neil Gaiman on X- Twitter

Tweet link here

Also Neil Gaiman in 2023:

["It won't be confirmed unless enough people watch Season 2 to make Amazon happy...

...But obviously Season 3 is all planned and plotted and, if I get to make it, will take the story and the people in it we care about to a satisfying end."]

What happened?

Were the profits and ratings high enough to create two more seasons out of thin air? At this point, seasons 2 and 3 seem more like a greedy stretching of a beloved story already told in its entirety in the first season.

Has the first season already fulfilled Sir Terry Pratchett's wish?

As read above, Neil Gaiman himself said: "Season 1 of Good Omens is Good Omens."

Gaiman was very opened about how pleased he was with Season 1 and how he made it having Sir Terry Pratchett's wish in mind.

Interview for The Verge (May 30, 2019)

Link : Neil Gaiman had one rule for the Good Omens adaptation: making Terry Pratchett happy

Interviewer: Do you feel pressure from knowing this has to be the definitive best adaptation it could be?

Gaiman: No. All I wanted to do was to make something Terry would have liked. It wasn’t like, “Make the best thing.”...

...Gaiman: The lovely thing about Good Omens [the miniseries] is that it’s still Good Omens. If you loved the book, this is that thing that you loved. And I will make you fall in love even more with Sergeant Shadwell. I will make you fall even more in love with Newt than you thought you could, I hope. It does demonstrate that I do kind of know what I’m talking about, which is a nice thing to know.

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman on an interview for The Guardian in 2019.

Link: Neil Gaiman: ‘Good Omens feels more apt now than it did 30 years ago’

There are times, he insists, when “you make something you like so much that you don’t really care what anyone else thinks of it.” There’s a clue to this, perhaps, in the show’s final frame, which reads “For Terry”. “He didn’t believe in heaven or hell or anything like that,” Gaiman says, “so there wasn’t even a hope that there was a ghostly Terry around to watch it. He would have been grumpy if there was. But I made it for him.”

Why was Good Omens season 1 so good and you could really feel Sir Terry Pratchett's contributions?

Gaiman himself has already told us the answer:

...Gaiman: So with Good Omens, I feel like what I got to do was put the thing I made with Terry on the screen and then buttress it. What I added isn’t completely different from the original. It’s not out of left field.

Neil Gaiman for The Verge (2019).

There was original material to work with (Good Omens, published in 1990), on which we certainly know that Sir Terry Pratchett himself actively worked from start to finish.

Is there a proper sequel to Good Omens the book on which to base 2 more seasons of the series?

Neil Gaiman says the following on an interview for GQ in 2019.

Link: Neil Gaiman Says No to Adapting His Own Books—Except This Time

...But with this, it was like: Okay. Terry is gone. He wanted me to do this. He wanted me to do it for him. And that gave me a kind of weird impetus. And it meant that I felt very much at liberty to take every conversation that Terry and I had ever had about Good Omens. Not just the book, as written, but everything beyond it. We planned a sequel, never written, so I got to steal the angels from the sequel. I got to steal from every conversation Terry and I had about how we would do this. It felt very personal, and I guess kind of… holy. If that doesn’t sound too ridiculous. But it was a mission.

Two conclusions can be drawn:

1) Informal conversations about the plot of a sequel do not equate to an officially written sequel.

2) Neil Gaiman has already used many of the ideas he and Terry Pratchett had planned for a never-written sequel to Good Omens and those ideas were largely added to and executed in the TV adaptation of Good Omens (2019).

Why keep stretching those ideas if the co-writer is no longer able to actively contribute and help to create a proper sequel?

If Gaiman were the sole creator of Good Omens we'd have a different conversation, but that's not the case. The first season of Good Omens was already a beautiful homage to Good Omens and Sir Terry Pratchett's work on the book.

Did Terry Pratchett write around 75% of Good Omens?

Link for the post here.

Link for the post talking about the video and sharing the video here.

Edit: I wanted to bring this point up to point out Terry Pratchett's important contribution to the making of the book, not to highlight it as an excuse to distance Gaiman from the novel. We will have to accept that he also contributed to the creation of the book.

Sir Terry Pratchett's last wish

2017 - Rob Wilkins on Twitter (X)

Terry Pratchett’s Unpublished Work Crushed by Steamroller

By Sophie Haigney - The New York Times

Terry Pratchett, the well-known British fantasy author, had a wish fulfilled two years after his death: A hard drive containing his unpublished work was destroyed by steamroller.

Mr. Pratchett, a wildly popular fantasy novelist who wrote more than 70 books, including the “Discworld” series, died at 66 in 2015. That year his friend, the writer Neil Gaiman, told The Times of London that Mr. Pratchett had wanted “whatever he was working on at the time of his death to be taken out along with his computers, to be put in the middle of a road and for a steamroller to steamroll over them all.” Mr. Gaiman added at the time that he was glad this hadn’t happened.

Now, though, it has. Mr. Pratchett’s estate manager and close friend, Rob Wilkins, posted a picture of a hard drive and a steamroller on Aug. 25 on an official Twitter account they shared.

Shortly thereafter, Mr. Wilkins wrote that the deed was done.

I have not been able to find the exact reasons why Sir Terry Pratchet wanted his unfinished and unpublished works destroyed, but we can respect his last wish as a way for him to have control over what he felt he was ready to share with the world and what he was not.

Is Good Omens the exception?

With all that has been presented so far, I can only conjecture, but not be sure. I can believe that there was Terry Pratchett's permission and desire to make an adaptation of Good Omens, the original book published in 1990, but to my mind, creating two more seasons of a never-written sequel doesn't fit as part of Terry Pratchett's desire.

He is not among us to actively participate in a sequel and if his last wish was to destroy his unfinished works, I can't believe that he would have wanted to give his approval to something new published under his name and without his supervision.

Sir Terry Pratchett talking about a never-written sequel to Good Omens

“Neil and I thought about a sequel an awful lot initially. We talked about it on tour. And I think it was a big relief to both of us, when one day we looked one another in the eye and said, 'I thought you wanted to do a sequel.'..

Interview for the Magazine Locus. Locusmag archive page

This is me speculating, but I don't think there was real enthusiasm for creating a sequel until Gaiman alone saw profitable potential in the TV adaptation....

Good Omens also belongs to the those who love the story

I think it's okay to still love the story of Good Omens. Personally, I will always be grateful with the story and the characters for giving me confort in troubling times, but I find seasons 2 and 3 as some kind of excuse from Gaiman to keep profiting and benefiting from the story (more now than ever due to the SA allegations*).

Aziraphale and Crowley will always live happily in a lovely cottage as long as we want to. Even before season 2 was announced, many of us had already accepted that. Many artists have imagined lovely endings for our innefable husbands and in my eyes their works won't be any less valuable than whatever Gaiman had planned.

Note:

I don't like talking about Season 3 of GO without mentioning the current 5 SA allegations against Neil Gaiman (Main writer of seasons 2 and 3 and showrunner), so in case you want to know more about the allegations against Neil Gaiman. Here there's a great Round Up link (Podcasts links, transcripts, etc.)

Credits for the Round Up link to Muccamukk. Thanks a lot!

*more thoughts on supporting season 3

[dailyadventureprompts]

do you have any advice for running and/or adapting prewritten modules?

DM Tip: Coloring outside the lines. 

A piece of advice that’s vitally important for DMs, especially newer DMs to recognize is that presenting our party with a fleshed out, vibrant world is a magic trick mostly reliant on us having enough easily adaptable world-pieces laying around. It’s a matter of building the track as they go, and though modules provide a box full of pre-selected track pieces that can be useful building that backlog, the process is still reliant on YOU to fill in the blank space and account for the odd directions your party might end up in. 

As such, it’s important for us to look at modules not as a recipe that must be followed to have a good time, but as a concentrated dollop of inspiration/jumping off point upon which we can create our own adventures. There’s a similar philosophy behind my own adventure prompts, as I seldom expect people to be able to use them 1:1. Even I have to adjust things and change details when turning a series of individual prompts into the material of a campaign. 

The first step when you’re thinking of adapting an existing work  (whether it be a module or a narrative you want to turn into an adventure)  is to ask yourself and your players if this is the right fit for what they want to play.  There’s no point in adapting an adventure focused around a heist if your party wants to be out exploring the wilderness, and there’s no point in adapting a wilderness exploration adventure if your party wants to do a political thriller/urban mystery.  Just like with creating a homebrew campaign, you want to match the story to the expectations of your players. Trying to build a machine without knowing what it’s for is an exercise in frustration, as is trying to build a story without knowing the general direction you want it to be going.  

Next is to read the work back to front, making notes as you go, specifically looking for: 

Interesting ways the narrative could spin off from this, and what adventures might occur if your party make different decisions than what the story allows. 

What emotional work you need to build into the party’s backstory/previous adventures/to have them make the decisions you NEED them to. 

What happens if the party fail at each major step of the journey. 

Ways you think you could do X thing better. 

After you’re done with that, read another work with similar themes/subject matter with an eye of salvaging it for ideas to improve the first. Most modules have a direct path in mind with a few major branching points. What you want is raw material for when your party zigs when the original writers expected them to zag, as well as extraneous details that can make otherwise thin plot beats into sturdy pillars of your story. I can’t tell you how many times I’ve averted disaster or disinterest in my games by importing an npc or worldbuilding detail from something I’d recently read/watched into a narrative I’d thought was fully planned out but was just failing to fire

Finally, sit down with a notebook and try writing out the adventure step by step. Any time you get fuzzy on the details, it means you haven’t internalized the story you want to tell, and would end up running things by the book. This isn’t bad necessarily, but it’s the difference between a musician who has to go slow and follow along with the sheet music vs one who’s practiced enough to be confident in their performance. Recreating it like this might also let you see narrative potential that wasn’t necessarily evident in your first attempts.

Art

[animebw]

So, I've been getting almost all my hibike euphonium knowledge from osmosis from what you say. So I wanted to know how integral to the plot is that guy some people ship kumiko with (never learned his name), not only in this season, but in the previous ones too.

Because I don't think you mentioned him at all while talking about this season, other then kumiko being tired when people think they are dating, but I have seem some people say that they did end up together bc something something hair clip in the epilogue?

Also wanted to know if they dropped or dealt with the Reina crush on the teacher thing

You do seem to cherish this show a lot, so I do wanted to check it out myself, but these two things are the only things holding me back at this moment

So here's what actually happens: in the original novels, Kumiko and Shu get together at the end. Unambiguously. She confesses, he gives her the hairclip back, it's a whole big scene.

In the show, Shuichi has maybe twenty lines of dialogue across the entire final season, not a single of which has romantic implications or framing, he has a single line of dialogue in the entire final episode, and then we see Kumiko has the hairpin in the epilogue but it's not commented upon and Shuichi is never seen again.

Last week when episode 12 aired, the original author Ayano Takeda posted on Twitter that she was happy with the changes KyoAni made, and she encouraged fans to appreciate her novels and KyoAni's adaptation as equally valid interpretations of the same story. There was, however, a follow-up tweet where she further clarified that she had the final say on any changes the show made, and if Hanada or Ishihara or whoever proposed a change she wasn't fond of, it was ultimately her call whether to let it happen or not. So what this feels like to me? Is a compromise. A compromise between Takeda's original vision and KyoAni just very obviously not giving a single shit about Kumiko and Shuichi as a couple.

Now, KyoAni's been changing things in Eupho ever since the first season, and in fact, most of their shows diverge pretty heavily from the source material. And since I haven't read the original novels, I only have secondhand knowledge on what KyoAni added or took away. But what I have heard is that while all of Kumiko and Reina's subtext is still there in the novels, Shuichi has a far more visible role in Kumiko's life, with many more scenes dedicated to them as a romantic subplot. In fact, I've heard there were a few scenes in season one between Kumiko and Reina that were originally between Kumiko and Shuichi in the novels. I can't confirm if that's true or not, but frankly, it would not surprise me one bit.

Obviously, I don't know the reasoning behind the decisions KyoAni made. But looking at Hibike as a whole, it feels like they looked at this story with a pretty standard het relationship subplot and realized there was actually a far more compelling love story lurking just underneath the surface, one that Takeda herself didn't seem to realize was as special as it was. So when they turned it into an anime, they made the conscious choice to downplay Shuichi's role as much as possible and cash all their chips on centering her relationship with Reina as the real heart and soul of the story. And over the course of nine years, they supported that story as much as they could, finding every way possible to prioritize them in the narrative and frame them with the cinematic language they've deployed for so many straight couples in the past, while simultaneously refusing to give Kumiko even a single moment where she appears romantically interested in Shuichi.

And I want to stress that last point in particular: outside of that one scene in the Year 2 movie where Shuichi almost kisses her, every single interaction Kumiko's had with the idea of being in a relationship with Shuichi has been "Oh HELL no." She's constantly avoiding him in their first year, she can barely work up the effort to be civil to him while they're actually dating, and it's only after they break up that they're able to be on good terms with each other as friends. Even in this final season, there hasn't been a single moment where it's felt like either of them were considering getting back together. Shuichi's just been happy to support her, and Kumiko feels comfortable around him for the first time ever, and that's the extent of it. It's only the comments from the first years that suggest anything about a romantic subplot still ongoing between them, but none of that is reflected in any of their onscreen moments.

Like, even putting Kumirei aside, there is just no romantic tension between them anymore. Not even in a "Wow, where did that romantic moment come from? That was so forced out of nowhere!" sort of situation- the love story between them is completely nonexistent at this point. The only evidence in this entire fucking season that they start dating again is Kumiko having the hairpin in the epilogue (which, side note, hasn't been brought up all season either), which, frankly, is so open to interpretation that Bandai's shareholders are salivating in jealousy. Sure, maybe it does mean Shuichi asked her again and she accepted, but it could just as easily mean he gave it to her free of charge and accepted she didn't think of him that way. Or it could even mean he gave it to her and said something like "Once Reina finally gets turned down by Taki-sensei, make sure you give this to her, I think it'll be put to far better use that way." And frankly, that last interpretation is way more supported by the show I just watched than simply them getting back together.

The point is, KyoAni does not care about Kumiko and Shuichi getting together. It has never cared about Kumiko and Shuichi getting together. Honestly, my crack theory is the reason they sped through Kumiko's second year in a movie is to get through her Dating Shuichi arc as fast as humanly possibly. But Takeda clearly does care about them getting together, considering that's what happened in the novels. And I suspect that's one thing she decided not to budge on when they were in conversations discussing the changes KyoAni wanted to make. So to compromise, KyoAni put in the barest minimum effort to suggest things technically played out like they did in the novels- "Look, she's got his hairpin! That means they got back together!"- while refusing to spend a single solitary second on it beyond that and removing any explicit confirmation so everyone who doesn't care about them as a couple- KyoAni included- can interpret it otherwise and be fully justified in doing so.

Because from start to finish, through the entirety of this season, the love story that stood at the center of everything was Kumirei. Every last plot beat, every last thematic throughline, every last bit of swelling music and romantic framing and effort spent making you root for two people to stay together, it was always them and no one else. Even the big change they made in episode 12 where Kumiko loses the soli only further cements their story as the story of this show, with Reina's utter devastation at losing her only confirming just how special Kumiko was to her in a way not even Taki-sensei truly measures up to. I've said it in the past, but even moreso now than ever, it is impossible to look at the arc of Hibike Euphonium and not see a love story between these two girls, a story about just how fucking much they mean to each other and all the reasons their connection was something unlike anything else on this earth.

And if you choose to see it as a story of Kumiko and Shuichi getting together instead? Then you are actively fighting against what the show is communicating to you every second of every episode. You are, in fact, the delusional shipper inventing a romantic subplot where none exists. You are everything that yuri shippers are accused of being when they choose to actively engage with the text as it exists and not as you imagine it to be. Because as open-ended as the ending is, as straight as it pretends to be, it is far easier to imagine a future where Kumiko and Reina reunite as lovers than a future where she somehow falls for the guy she's never shown any interest in before. Frankly, if I was a Shuichi truther I'd feel pretty insulted by this ending! "What do you mean their entire subplot is cut out and it's only half-assedly implied in the epilogue that it totally happened offscreen? What is this bullshit?!"

This is why I chafe so strongly against the queerbaiting label. I watched three seasons of BBC Sherlock, I know full well what queerbaiting looks like. But a love story like this does not happen out of malice. It only happens because every single person involved, from animators to voice actors to directors and everyone in between, believes in it so strongly that they're willing to push as hard as they can to make it as real as physically possible within the limitations at their disposal. Kumirei is Hibike. Their story is Hibike. And if KyoAni can't convince Takeda to let them embrace it fully, well, they can at least wrestle her to a stalemate that allows that interpretation to still be possible- and, even, more plausible than the direction she initially took it down.

Adaptation is an art of making changes. It requires a text to stand on its own, fully apart from whatever source it sprang from. And KyoAni in particular has always embraced the philosophy of treating adaptation not as a one-to-one copy machine like so many of its contemporaries, but an opportunity to build something entirely new. All of its shows are, first and foremost, shows before they're translations of their source material, works of art designed to be taken as wholly complete experiences however much they resemble their inspirations or not. In Hibike! Euphonium the novel series, Kumiko and Shuichi are canon. In Hibike! Euphonium the TV show? It's flat out impossible to come to that same conclusion unless you're dead-set on believing what you want to believe, evidence be damned. And if you're so obsessed with this mid het ship that you choose to ignore the single greatest love story of all time to pretend it's more plausible, then you're simply an idiot who's opinions aren't worth engaging with.

[vivitalks]

Last night I saw the Great Gatsby musical. Before I went, I reread the Great Gatsby book (for the first time since 11th grade!) to get a refresher on the source material and the original story. Having the book so fresh in my mind made seeing the musical really interesting, and now I am going to do something I never thought I'd do, which is post some lengthy meta about The Great Gatsby. If you haven't seen the musical, this post may still be interesting to read, but it does contain some mild spoilers, so I leave that up to you. If you also haven't read the book, godspeed lol.

There's a lot I could talk about here when it comes to the way the book was adapted for the stage. But there's one particular thing I want to zero in on in this post, and that's the "unreliable narrator" of it all.

In the book, Nick Carraway is our narrator. He's an unreliable narrator practically by default - the idea is that he's retelling events that occurred two years prior, from memory. But even knowing that Nick is probably not reporting all events and characters with complete accuracy, it's hard to know which parts exactly are wrong, or what might have happened in reality, because even though he's an unreliable narrator, he's still the only narrator and this is the only version of events we know. We're forced to take Nick as our surrogate and take him at his word. Until the musical.

(I wondered how the show was going to deal with the fact that the story of Great Gatsby is not only told by an unreliable narrator but also by an outside perspective - generally speaking the events of the Great Gatsby aren't happening to Nick, they're just kind of happening around him. Yet he's the voice of the story, so in that way he's central to it, and I was curious how they were going to balance that fact with the fact that Gatsby is functionally the main character.

I think they struck a really good balance in the end. Nick's beginning and ending lines, lifted verbatim from his book narration, frame him clearly as the anchor of the story - I think that's the best word for it; the audience jumps from scene to scene, many but not all of which contain Nick, but we know that Nick is always going to be where the action is, or that he will at least know about it. He may not be the main character, but he's an essential character. But I digress a little bit.)

The difference between the way the story is imparted to the audience in the book versus in the musical boils down to this: in the book, Nick "plays" every character, so all their dialogue and actions, their mannerisms and the way they're described and reported, it's all informed by the beliefs Nick holds about them. Whether he means to or not, his biases paint certain characters in certain lights, and because he is our eyes and ears to the story, we have no choice but to absorb those biases.

But in the musical, every character is literally played by a different actor. Nick can only speak for himself. Nick can only tell his own parts as they happened. He may be "telling" the story, but we're watching the story. We have the benefit of an unblemished perspective on things - we can watch the events the way they actually unfold, regardless of how Nick believes or remembers they went down.

This difference - between Nick as the narrator and Nick as merely his own voice - is crucial in how the musical develops each character, some of them fairly different from how Nick described them in the book. And there's one book-to-stage change - a fairly small one, all things considered - that, to me, illustrated this difference perfectly.

There's a line towards the end of the Gatsby book. Something Nick says in narration, after his final conversation with Tom Buchanan, talking about how Tom gave away Gatsby's name and location to George Wilson (which ultimately led to Gatsby's death). Nick writes:

"I couldn’t forgive him or like him, but I saw that what he had done was, to him, entirely justified. It was all very careless and confused. They were careless people, Tom and Daisy — they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made…"

When I read this line in the book, I couldn't help vehemently agreeing. Screw those rich assholes! Money does corrupt! Tom and Daisy ARE careless wealthy people! It was easy to side with Nick, not only because he was the only perspective on the situation that I had, but also because he said this in internal response to a conversation with Tom, who, I think we can all agree, is a major jackass and a deeply unsympathetic character.

But in the musical, this line is spoken aloud by Nick. And he says it to Daisy, in her house, as she's packing up to skip town after Gatsby's death. In fact, he doesn't just say it; he shouts it, visibly and audibly outraged at her audacity to lead Gatsby on, ghost him, skip his funeral, and then move away to avoid the fallout. Nick is angry and highly critical of Daisy. But because we're no longer confined to his shoes, we also get to see Daisy's reaction - not as Nick remembers it, but as Daisy actually reacts. And because of that, we're able to really see, and confirm, that "Daisy is rich and careless" is not the full story.

I have to credit Eva Noblezada for a phenomenal performance (duh). Daisy in this scene is emotional, grieving, and it's clear she has been trying to contain these feelings for the sake of her husband and her own sanity. She's remorseful, not that Gatsby is gone necessarily, but that she allowed herself to entertain the fantasy of running away with him, only for it to be torn from her. She is trying to make the best of her unavoidable reality. And then Nick tears her a new one, calling her careless, accusing her of destroying things and being too rich to care.

And as I watched that scene, I was no longer wholly on Nick's side. I understood that this situation was so much more complex than Nick's chastisement acknowledged. Sure, Daisy wasn't innocent, but she also wasn't the callous rich girl Nick made her out to be. She did love Gatsby. And she also had a whole life with Tom. She had a daughter. She was a woman in the 1920s! That's a kind of life sentence even wealth can't erase.

The way Daisy responded may not quite have landed with Nick (if we consider the kind of fun possibility that the musical is the events as they happened and the book is Nick retelling those events as he remembers them two years later, then clearly Nick's disdain for Daisy's actions overtook whatever sympathy he felt for her), but the musical gave Daisy the opportunity to appeal to us. The audience. Having this omniscient perspective of things allowed us to draw our own conclusions, and I found myself a lot more sympathetic towards Daisy when I could both see and hear how she responded to Nick's verbal castigation.

In the book, Nick is the narrator. In the musical, Nick is a narrator. But he's no longer the sole arbiter of the story. The audience got to make our own judgements on the events as we witnessed them. Every one of us was a Nick - beholden to our own biases, maybe, but at least not beholden to his.

[bluecatwriter]

So I watched a tv movie called Bram Stoker's Van Helsing (2021) that's only about the London Lucy segment of the story and… you know how no one (despite Van Helsing's fear) is seething with jealousy over Lucy? well, it's a love triangle now because they wanted to make it more interesting. Arthur and Jack keep headbutting for dominance and Arthur is so jealous that he's the one who throws the garlic away at night, for Jack to not be the one who becomes the hero in Lucy's eyes.

Putting this on the pile of Dracula stuff that includes Arthur, but completely changes him to "fix how boring he is"... (see also Anno Dracula (allies with Dracula, becomes a serial murderer all because the Newman loathed Arthur in the book), The Athena Club series (allies with a demon to become a fascist ruler), Dracula 2006 (huge rich jerk, invites Dracula to fix his syphilis), Dracula 2020 (loves to publicly humiliate Jack, horrible person)

Every day I learn about a new adaptation in which my boy is massacred... :'( Bless you for watching so I don't have to.

Turning the Suitor Squad into a love triangle (square?) is just lazy writing, period. Ohhh, multiple guys are interested in one girl and they're jealous and fight over her?? HOW ORIGINAL. *eye roll* It's such a cliché that there is NO excuse for using it, and triply so when the source material doesn't have it in the first place! Arthur throwing the garlic away because of some male ego thing makes me want to smash a chair through my dining room window.

It's honestly discouraging how little imagination adapters seem to have. All right, adapter guy, so you think Arthur Holmwood is boring... it's not a completely unreasonable statement. But look— look at the actual source material and see what's buried there! Just off the top of my head...

-Being someone who cries so openly and on so many different people is a huge character trait. Show how he's defying Victorian masculine norms by freely expressing emotion (or how he's conforming to the stereotype of Sighing Lover) and do something with that.

-What kind of person travels literally all the way around the world, having tons of wild and wacky adventures, and yet never tells any stories about it? What is his motivation for not trying to impress his girlfriend with tales of running from wolves or crashing a ship in Polynesia? What does this say about the way he experiences life?

-The story is ripe with little hints about how incredibly close he is to both Quincey and Jack. If adapters weren't so homophobic, they could explore all sorts of possibilities there.

-He likes dogs! That's a whole character trait!

-All right, adapter doesn't want to engage with any of that and is set on making him evil? Okay, then, make him evil in a way that fits the source material. Once again, making him jealous of other men or a philandering spoiled lordling are super-cliché. How about thinking about what could make him actually go off the rails? Is he haunted by how obedient he was in killing Lucy, even when he didn't know exactly what was going on? Does he carry a grudge against Van Helsing for making him into a killer? Do we take the text at face value that when he set his mind to it, he was ruthlessly effective in ending Lucy's undead life— does he get addicted to that feeling, does he get righteously caught up in vampire hunting (or just murder) because he can't bear the thought that he could've been wrong?

People making adaptations don't have to follow canon, of course, but it seems reasonable for the decisions to be rooted in canon, for readers/viewers to be able to draw a line from point A to point B. At the very least, there's no excuse to fall back on tiresome tropes.

Thanks for giving me the chance to rant about this. :D

[tessarionbestgirl]

“Softening the main Targ because people “love” them” is just history revisionism unless anon somehow means Jon. Dany is wayyy more aggressive and cold in the show. Her ending was planned early, so this makes sense for the show to do this bc book Dany can’t even kill hostages much less nuke a surrendered city. It almost feels like Ryan is adapting book Dany which is bizarre bc she and book Rhaenyra are about as different as you can get!

Yes, I think D&D took Jon nuances and made him a generic prototype hero. In the book he is so much more strategic than the short temper guy he is in the show, I hate the battle of the bastards and that whole arc because nothing show!Jon does after his death fits in his book version, their fanfic was always there, It Just got progressively worse when they didn't have material to adapt. I pretty sure when Jon comes back from the dead he is not going to look the same. Death always takes away something from people in asoiaf.

And in part agree to the whole Dany thing, they made her since s1, more cruel and military focused than she was in the books and taking away her connection with magic took essential part of her character and her arc. In that sense, yes, they adapted part of Dany's arc into Rhaenyra, but It does not fully works. Because both characters are supposedly care about "prophecy" and the weight of the family legacy, but Rhaenyra behavior through the first season does not reflect this. Furthermore, the arc that Rhaenyra is supposed to be copying in this season is Dany's in the book A Dance with Dragons.

Whatever the claims are completely different, because Dany is fighting against oppression and slavery and Rhaenyra is fighting for her to be queen. Thematically, ironically, Alicent is the one who borrows the most from Dany in the show. Her young version arc is a westerosi version of what Dany goes though in book one, her marriages are very much alike as well. Even the Idea of she, narratively, to be more than the mother of the one who should be "the king/The stallion who mounts the world" is present in the show.

But It does not fully works and is bizarre and disconnected because those characters are never originally thought out to be the same and neither Ryan or Sarah, despite understanding certain themes they are unable to recreate because they are not as talented as writers as Martin is. Rhaenyra is a character to be a Cersei's reflection and hint at Cersei future conflic and endgame.Alicent is her own character but being a mother still essential part of who she is and her motivation, taking that and make her sacrifice her only child is insane character murder because It took the motivation she was build up into It, It takes her character foundation. I have no idea what her story moving up because lmao what even is the story after that "queen in chains"? Just after they ended her finally reaching her "freedom".

Daenerys presence on a Dance of the Dragons, It should only happens as a hidden subject, though the prophecy. Same as Jon with the Gregan And Jace pack, that they cut out for no good reason what só ever.

And the Aegon's prophecy I truly I believe it is something real, It already play a part on Dany dreams and because Martin himself said will play a part on future events so is confimed as true and canon.

GRRM: In some sense he[Aegon the Conqueror] saw what was coming 300 years later, and wanted to unify the Seven Kingdoms to be better prepared for the threat that he eventually saw coming in the north."Daenerys Targaryen is no maid, however. She is the widow of a Dothraki khal, a mother of dragons and sacker of cities, Aegon the Conqueror with teats." ADWD

Whatever I am not as sure in the book canon Viserys even know the prophecy. I think It died with Jaehaerys, and I have a strong theory of why he didn't pass that information, but, this post is to long already. I believe neither Aegon nor Rhaenyra knew about it.

The Daemon part is acually the one I believe, I stugled a lot about how this arc ended, but after analyzing and digesting, I think it makes a lot of sense for him to suport Rhaenyra after he come to sort religious experience, because is not for her, It is because he new view on the events, and that makes sense.

Either way, Sorry for my Ted talk anon, AMD thanks for sending a ask.

[sciderman]

i’ve been eating up the DP/W brain rot like slop, but your critiques are making me think too much about it and now i realize it’s. it’s not that good 😭 i feel like a toddler being spoon fed by marvel and disney. i’m still gonna like and reblog the homo fanart and such, but damn.

do you think there’s any way for marvel comics to be made into movies well?? i feel like everything is just run by the same people

i feel a little bit like those stories where like, everyone gets like a mind spell on them or like, a love potion or such, and i'm here (immune) to that love potion so it's up to me to shake everyone out of the spell. thank you @makehimwhimper... i love the url, by the way.

marvel comics have been made into movies well! i mean, they won't be anymore, if disney continues to swallow everything up, but - once upon a time, they could be done well! i do think logan is just - straight up a good movie. okay, it's not fun. but it's a good movie. and i think the first deadpool movie - though not perfect, and not any sort of milestone of cinema - has all kinds of charm and a respect for the source material.

i think the best we'll be getting in the way of marvel adaptations is probably whatever sony's doing with spider-verse - but i think a big thing about what makes those work for me is all the new things they did with it - fact is, i think audiences actually DO want to see something new. and i don't know if faithful 1:1 adaptations of comics is necessarily going to work. but just - there's a curse in marvel that i can just smell right now, it reeks - it's the smell of the people working at marvel just not respecting their audience at all. and i think it's a disney problem, really. where disney is in this stage where they'll avoid creating anything new or innovative and depend solely on you recognising IP (but ideally, only recognising it at face-value, so you're not critical when they inevitably get it wrong) - because recognition is just what is selling right now. and it works on 100 different levels - because even if you hate the new deadpool and wolverine movie, you're nostalgic for the better x-men movies. now streaming on disney+. disney has your wallet regardless of if their new movie is good or not. you didn't like the new star wars stuff? you're in luck. the original star wars. now streaming on disney+. they're remaking lilo and stitch. you think it's a stupid idea. the original is so perfect. come to think of it i should rewatch lilo and stitch on disney+. i'll buy some merchandise. so even if you're upset with disney, you're running back to disney's open arms. there's no escape.

it's kind of disney's business model now - that actually works in their favour - to give you a bad movie that reminds you of better movies. because they still own the better movies. they still own the merchandising rights. you don't like the new spider-man? here. the better, older spider-men are here to save the day. but we still own the merchandising rights. anything with that guy's face on it. that's money in our wallet.

disney's found an infinite money loophole. why would they expend effort making a good movie or take risks when a bad movie that references better movies generates so much more income?

[aesethewitch]

"First comes the working, then comes the work." Alright @witchquests.

I think there are two ways to interpret this statement. The first is: the magic is done, it's out in the world; now, put your feet to the pavement and make it happen. This is true in my practice -- simply wishing for something or casting a spell about it won't make something happen for nothing.

Magic and casting spells alters the chances of something else happening. A banishment reduces the chances of whoever (or whatever) you've banished from showing up. A cleansing spell improves the chances of something (or someone) leaving your space. A shield spell improves the chances of you reflecting or avoiding negativity in your daily life. A success spell improves the chances of getting a new job.

But if you're not putting job applications in, you won't get the job. If you aren't asking the thing to leave your space during the cleansing, it won't work. If you don't block that asshole, they're going to keep messaging you.

Magical actions bolster mundane actions. You cannot create something from nothing, and you cannot force the future into shape. That isn't how it works. You can influence it, and you can make changes. Magic + Mundane = Improved Results.

The second interpretation is perhaps not what was originally intended. After your spell working is done, it's time to work on the spell. You can't just set it free into the wild and let that be that. Well, alright, you can. But you won't improve at all doing that.

I'm a firm believer in the power of taking notes and writing shit down. By far the best way to improve your magical practice, cast better and more powerful spells, and learn what you really believe is to write it down.

Eventually, I'll talk about my note-taking methods in more detail because it really was a game changer. But the essence of it is to write down all the details of the working. That includes when you originally decide to do it (and when you're writing the notes), when you plan to cast it, ingredients/materials, the type of working it is, who or what you plan to invoke, and WHY you are planning on doing the working. And that's all before you even do the spell!

During the spell, you keep notes. Write it all down. Something weird happens? Write it down. Candle flickering? Write it down. Felt a shiver down your spine? Write it down! Nothing strange happened at all, and it all went smoothly? Write. It. Down.

And then you take more notes afterwards! How do you know a spell is working? How are you tracking it? I have a formalized system for this sort of thing that adapts to different types of spells. Write down how you feel afterwards, physically, emotionally, spiritually, energetically, whatever. Write down any thoughts you have. And then come back to it later and see if it all worked.

Spellwork doesn't end just because the spell's done. Keeping notes like this is, in my opinion, essential. Especially for beginners, but experienced practitioners benefit, too. It's the best way to examine your practice as it evolves.

Plus, it's practical -- if you want to go back and do a spell again but have it more efficient/effective, you have all your notes right there. You know what you did because you wrote it down. And now, you can tweak the process. Do it differently. Try different ingredients. Do another method. Work with another paradigm.

Etc.

[n-fblog]

Reo, Nagi, and Differences from the Main Manga

Thoughts from Episode: Nagi, chapter 17

Reo:

This chapter was kind of needed for him to "abandon" his ego of becoming the best with Nagi (and we can see it sort of fading in the textbox) -- and simultaneously get rid of that growing attachment he has to Nagi. Really sad to see him say, "thank you" as if he doesn't even have the strength to break them apart himself (and he didn't)

The chameleon makes its first chronological appearance so we can clearly see him start to 'adapt' his thinking and playing even though it's not fully fleshed out yet, which is exciting! I wasn't sure if that was something he made up with Shidou before, but it's hilarious to know it all started with Nagi, AGAIN. Or maybe this is the manga trying to convey that he's changing himself to help Nagi walk away lol

His inferiority complex with Nagi makes itself kind of known here, with the monologue- "Those are the words *I* wanted to say,," but was unable to...

Somehow, Nagi being able to encourage Reo makes him the stronger one mentally -- which is tough for someone who subconsciously already thinks he can't go very far without Nagi skill-wise.

Poor guy... and he still has so far to go before he starts to think he can fight on his own.

Nagi:

Man, this chapter pretty much confirms that their mischaracterization and miscommunication goes both ways lol. Nagi spitefully admonishes that he isn't Reo's 'toy' when Reo flips from "wanting to be the best" to "wanting to stay together"-- These guys have such a hard time acknowledging their friendship outside of football, it's actually painful.

I can't tell if he made any sort of connection betweey 'toy' and being Reo's 'treasure'. But that's almost definitely a metaphor on Reo's part. What a lot of people misuse is that Reo calls Nagi his 'treasured possession' when I really, truly don't think he meant viewing Nagi as a literal object. But how else do you expect a rich boy who's only been shown love through material things to describe something he values? *(see tags for a rant on this lol)

I do wish we'd gotten more insight into how he felt when he heard what Reo said in the moment, but this chapter was already long as it is. I do think Nagi's expressions sort of speak for themselves.

I mean, he straight up looks like he's about to cry here. 

I would argue that part of Nagi's promise to 'stay together' during the entrance actually includes 'believing in each other' like he says here:

 And if that's the case, then what did Reo's claim of abandonment mean to him? Was it that Reo didn't believe in Nagi's newfound drive to win? Or was he mad that Reo didn't believe in himself? I think it's a bit of both, but I really want to see more thoughts in the manga or from the fandom

Blue Lock vs. Episode: Nagi

So... Nagi definitely seems more angry in this chapter, right? When you revisit Ch. 76, you can see that Nagi is a lot more apologetic towards Reo

( Here you see him lament not growing alongside Reo, but fired up and excited to work with Isagi)

vs. what we saw this chapter

(Nagi saying sorry and acknowledging he's changed, but looking less toward the future and more resisting the past)

Maybe this is just a difference in translations, but "I can't [am not able to] go back" feels a little different from "I won't go back" -- the former just feels like an admission (to Reo), while the latter feels a lot more confrontational, a downright refusal to go along with what Reo wants.

And that's fine, but it does reshape how I thought about Nagi, and I think it really emphasizes just how pissed he was at Reo by the end of 2nd Selection.

This reframes their interaction during U-20 tryouts for me. I originally thought it was mostly setting up Reo's chameleon style defense and Reo's internal conflict (which it is) but EpiNagi really just shows that Nagi also has a ways to go before they reunite in Manshine

I think this could be the panel (from Ch. 107, 3rd Selection) where Nagi forgives Reo -- it's the point where Reo sort of shows he understands Nagi's drive to win, and that he doesn't value staying together over improving anymore. After that, they have no issues (in Nagi's eyes) so it was probably easy to imagine walking up to Reo during MC v BM and asking for his help ... but man, we still have a long way til then, and I can't wait for EpiNagi to probably prove me wrong :p

[sunder-the-gold]

Do you think that Scott Pilgrim Takes Off was a series that was written by people who either hate the source material so much that they want to change it or love the source material so much that they want to make improvements to it?

First, I want to make it clear that I'm only strictly answering your question, and I'm not addressing the unrelated question of "Is Scott Pilgrim Takes Off any good?"

Second, a confession upfront. I haven't read Scott Pilgrim or watched the movie. I was definitely interested in watching this animated adaptation as my first introduction to the story, but I currently don't even have my own Netflix account, let alone have watched Takes Off for myself.

But I've been paying attention.

In that linked article, Grabinski, the writer for the 'adaptation', admitted that "There's a lot of ideas I did end up having that Bryan felt were wrong for Scott. Most of them end up in there..." (emphasis mine)

Have you heard about the Criterion of Embarrassment? It's the realization that historians had, that no person or nation would have a reason to record a lie about a great defeat or embarrassment. That if they passed such a story down in monuments, writing, or legends, it must be because they suffered a very real tragedy that they were desperate for their descendants to not repeat.

You may be more familiar with a modern take on the idea, through social media. "Posting your 'L's online", "telling on yourself", or "you could not have paid me to confess that".

Netflix is a corporation, and there is very little difference between a corporation and a nation. They seek profit to survive and grow stronger in a world filled with vicious rivals and would-be allies. Maintaining a strong, confident image keeps rivals from becoming too aggressive, and convinces would-be allies to continue investing support into what seems like a profitable venture.

Grabinski is a servant of Netflix, and will do his master's bidding for money.

Remember all the bullshit that Kevin Smith told the world about Revelations? Market strategy. Profit at any cost. Never admit when someone catches you with your pants down.

I'm not saying you should assume Grabinski's positive claims are lies. If a corporation tells me that grass is green and the sky is blue, I don't immediately assume everything I knew was a lie. That would be paranoid and self-defeating.

But what I will do is step outside to double-check, and see what the corporation may be lying about. The grass may currently be dead-brown, and the sky may currently be storm-green.

Grabinski admits that he asserted his vision in direct, knowing opposition that of the original creator, many times.

The same original creator who would have to sign a Non-Disclosure Agreement with Netflix that would gag him from saying anything negative about a venture into which Netflix invests a lot of money. So we also have to remain skeptical of silence and a lack of counter-claims.

But although we have to take positive claims and silence with a grain of salt, we absolutely should believe someone when they confess something that they would have EVERY REASON to not make up or confess unless it was a genuine fear and embarrassment to them.

"There's a lot of ideas I did end up having that Bryan felt were wrong for Scott. Most of them end up in there…"

"At the end of the day, if I don't feel like I've gotten away with something or like I robbed a bank and I'm not getting arrested, then I kind of feel like I fucked up when I made something anyway."

"There was a very long time where I felt like someone was gonna knock on a door and say, ‘Actually, you guys shouldn't do this.'"

A guilty conscience, by itself, isn't absolute proof of guilt. A conscience can be burdened with unworthy premises.

But this man couldn't reorient his conscience despite working with Bryan on this project for THREE YEARS, while wanting us to believe that he has Bryan's full, uncoerced blessing. And Grabinski can't stop telling on himself.

So we must use those embarrassing confessions as a fork to winnow the chaff from the grain.

"Our rule was that nothing would go on the show that either of us didn't like..." which is a positive claim that directly contradicts the embarrassing confession that Grabinski directly defied the creator "many" times to include things that "felt wrong" for Scott Pilgrim.

"If there's something Bryan didn't think was funny, it didn't go in there." But he'd already confessed to including things Bryan didn't agree with, and everyone can find something funny on its own merits without agreeing that it should be funny or that it belongs in some particular piece of art.

The Test of Love

How do you know someone truly loves something? That they seek to serve it, and not merely to use it?

Jesus of Nazareth had some things to say about love.

When asked what God's most important command was, he didn't just answer that the most important command was to love God. Because anyone could claim they loved God and that everything they did was in service to God. Madmen and monsters have done terrible things 'in God's name'.

So Jesus also told the people what the second-most important command was, because obeying this second command is how you know whether someone truly loves God.

"Love your neighbor as yourself." Because when you hurt God's other children, you are hating God.

What Am I On About?

Netflix does not love Scott Pilgrim if it disrespects Scott Pilgrim fans.

Netflix does not respect Scott Pilgrim fans when it uses False Advertising to avoid the possibility that some of them wouldn't have watched Ramona Flowers Takes Over.

Netflix does not love the fans when it is counting on hurt feelings to drive internet backlash, and for backlash to give it free marketing through Tumblr controversy.

Netflix DOES NOT LOVE. It produces and consumes. It is a corporation, designed to profit and survive.

A corporation will only sell worthwhile products as long as it fears you won't otherwise buy its products. But if you buy its products after it has blatantly lied to you, the corporation loses some of its fear.

It will lie to you again. It will try bigger and nastier lies. Because it does not love you, and you stopped making it fear you.

Netflix already did this with Masters of the Universe: Revelations.

Square-Enix did this with the Final Fantasy 7: Remake.

The corporations are all watching eagerly to see how successful this strategy is. Because none of them love you, and they are always hungry.

A final word: "Even THOSE fans? But I hate those fans!"

I don't think someone who focuses on how Scott Pilgrim is a 'bad person' is superior in any way to someone who denies Scott Pilgrim is a 'bad person'.

I think both sorts of people are myopically using Scott Pilgrim as a way to deny that they are ALSO 'bad people'.

And this meme also applies to what even the other characters of the story conclude about both Scott and Ramona!

"You two deserve each other -- not in the sense that no one else is good enough for either of you, but in that both of you should be quarantined together."

Ramona doesn't deserve a free pass denied to Scott.

If Ramona Flowers can be a good character because she's a 'bad person' who selfishly hurt a lot of people and who has to go through an entire story where she confronts her flaws, makes peace with her past, and tries to improve as a person...

Then Scott Pilgrim was not a crime against humanity for getting VS The World to tell the same sort of story.

Guess what! We're ALL 'bad people' who have selfish desires, who don't fully understand other people or what we're doing to them, and who have to learn how to be better people!

You don't get to point at a main character with real, ugly, human flaws and say "I'm better than him, so he shouldn't exist!"

You don't get to ignore a main character's flaws and say, "He's perfect the way he is and so I have every right to act exactly like him without any criticism!"

Because when you deny you're another 'bad person' like the rest of us, you not only refuse to improve, you become an even WORSE person.

[max1461]

One of the most frustrating things is making a post that you think is right, and also important, but which unintentionally conveys something that you think is subtly wrong. Especially when the post gets popular. You want to keep it circulating, you want your point to keep spreading. But you worry that you're spreading something bad along with it, a misconception that your readers might not even know they're absorbing.

That post I made about the Meiji restoration a while ago was one of these. I ended up making in unrebloggable, mostly because I was just getting tired of that discourse. I think it was a good post and I stand by it. I criticized the Meiji government for an ideology that saw "Westernizing" and "industrializing/modernizing/becoming competitive with the Great Powers" as necessarily part-and-parcel, and I criticized contemporary political leaders who think the same thing. And I think that's a fair criticism in both cases.

But I did have a major concern about that post, which is that it I think it played into this idea that the Meiji restoration was some absolute break in Japanese history, where Japan stopped being... idk, "authentically Japanese" and started being "a Westernized country". Which is almost exactly the type of narrative I'm trying to critique! Like, no! Disregarding even the general dubiousness of those categories: there was serious continuity between pre-Meiji and post-Meiji Japan, this wasn't an early-Soviet-Union-level reshaping of society.

Maybe I shouldn't say that, I don't know enough about the early Soviet Union. But you get my point. I worry that my post made it sound as if the Meiji government were ripping up shrine gates and shit left and right, shredding kimonos and foisting Western suits upon people, and banishing nay-sayers to the gulag. No! That would not really be an accurate description of what happened.

So I worried about giving the wrong impression. I think I've posted about this already.

But my whole point, really, the point I was trying to make with that post and the point I am perennially trying to make, is that the modern world is not inherently "Western". Not in principle or in actual fact. Modernity was made across the whole globe. That sounds like a sort of trite statement, a meaningless inversion of the typical Western chauvinist narrative, but it isn't! The more you learn about early modern history the more clear this really becomes.

Japan was an early industrializer. Not among the very first wave, but ultimately still early. This means it was not only "on par", in terms of access to material wealth and technology, with many nations in Europe, but that its industrialization also meaningfully predated that of much of Europe, especially Eastern Europe. The core element of industrial society—the industrial factory—is a technology. A technology invented in Britain, which just like any technology spread first to nearby regions and later to far off regions. Of course in the increasingly interconnected modern world, sometimes technologies make big geographical jumps, as industrialism made to Japan in the nineteenth century.

And of course I'm oversimplifying the history here, but my point is that this is all ordinary. There's a narrative which sees the whole process of the spread of industrialism as almost mystically exceptional. A divine enlightenment was given to the West, which from then on separated the West and the Westernized in their very essence from the rest, the unenlightened masses, the savages. The White Man's Burden. But, aside from being a perennial justification for colonialism, this view is intellectually immature. It's a just-so story.

Like all inventions, the industrial factory and the technologies which emerged around it have a geographical place of origin. But like all inventions, they spread—both inside and outside the West—and people in the places to which they spread immediately started iterating on them and adapting them to local conditions and contributing to the larger sum-of-effects we call the modern world. Modernity was made all over the globe. Japanese modernity is not a mere Western importation, layered on top of indigenous pre-modernity. It was made right there in Japan, by Japanese people, in Japanese institutions, and so on and so forth. It drew from ideas developed elsewhere (as cultures always have! As Japan did with China just centuries before!), developed in France and Germany and Britain, and it contributed ideas which were then taken up in France and Germany and Britain.

And these kind of effects are easy to see with Japan, because it was an early industrializer, but once you pay attention you see them everywhere. The making of the modern world not as a unilateral imposition of the West upon the rest, but as a mutual engagement of many societies across the globe making something new together—sometimes cooperatively, usually competitively, and very often at the expense of the most marginal. But, still, together, as an aggregate process.

Our world was made everywhere. I do think it sounds completely trite, especially because I'm rather tired and don't have the wherewithal to source more specific examples. But I really do think this because meaningfully clear when you engage with the history.

[randomsufff]

Ok fuck it- I keep seeing the Great Gatsby pop up (thanks Gravity Falls lmao) and recently saw The Great Gatsby on Broadway and I need to spill out my thoughts on this musical

I’ll hold off my grips with it compared to the book till the very end- since I know a lot of argument around this musical is that it’s an adaptation and the adaptors are liable for taking creative liberties. Which- yeah! That’s valid! But I’d argue that in order to adapt something successfully, if you’re gonna make huge (and I mean HUGE) changes to the source material, it’s gotta somewhat follow some reason that makes sense for the characters and/or adds some layer or depth to the story or else you get something like HBOs Velma. But more on that in either an entirely other post or later depending on how long this gets

Read bellow if you want a really fucking long, detailed description of the show and what I think it did right and very, very wrong.

I will say- as a TLDR rn- I thought the show was just…ok. Like- “yeah that show sure was a musical.” kind of ok. The good songs and amazing spectacle of a few of the numbers kinda cancel out the bad pacing and really questionable narrative choices the show made. Also- hearing Eva Noblezada sing live changed my life.

OK- so I’ll start out by saying- I believe we had basically all the original current cast except for Jordan Baker was played by Traci Elaine Lee (who was absolutely phenomenal so I’m not too sad about missing Samantha Pauly)

I really thought the show was ok. Like I don’t hate it vehemently but I don’t love it either. I feel like the only reason it’s so famous is because of its two powerhouse leads (Hot take? Maybe.) Anyways, I don’t know how to go about this so we’ll go list form

1) PACING WAS ATROCIOUS

Again, not even comparing it to the novel- the pacing felt really off and didn’t even make much sense story wise. Like we would rush past certain information and then linger on scenes that didn’t really need to be lingered on? At least to me, I felt like there was other stuff the show should have prioritized showing- CAUSE THATS THE THING WITH THIS SHOW- is that they TELL not SHOW a LOT of information- so it kinda just feels like you’re being tossed plot without experiencing it.

For example, literally as soon as the show starts, Nick and party goers just throw all the information about Gatsbys party and being mysterious at the beginning by telling us and not showing, like he never shown to be cryptically hanging around in the first like 20 minutes of the show (at least that I remember- there was a lot happening in the opening number 😭) . Which sucks because they did this REALLY COOL thing right before the show started where Gatsby was standing there and was immediately gone as soon as a screen passed. LIKE YOU COULDN’T HAVE THAT HAPPEN AGAIN WHEN THEYRE ACTUALLY TALKING ABOUT HIM???

(Also- recently saw a rehearsal (?) video where Gatsby like actually opened the opening song “Roaring On”, and that would have been great if they kept that! Because looking back, I felt like Gatsby had the least amount of stage time. Which probably I sn’t actually true, but it really felt like it. Like where is the main guy??? His first appearance (after his little disappearing act) is like, 20 minutes into the show. Idk for something that’s called “The Great Gatsby” he sure wasn’t on stage a lot. )

Then a couple scene later, Gatsby reveals to Nick- a man he JUST MET FACE TO FACE- that he’s in deep love with his married cousin and asks him TO HIS FACE that he wants him to set up a meeting with her. And then they move on. Like???

If you watched the show, maybe this’ll make sence to you, maybe this won’t, but it feel like they rushed past everything in the original source material, and only expanded and talked at length the aspects they wrote in.

Also the ending was so. Incredibly. Rushed. Like we don’t even get to see Daisys reaction to killing/hitting Myrtle. As soon as the fight at the Plaza ends everything else happens in like 15 minutes. Are you kidding me. WE DONT GET TO SEE DAISY ACTUALLY HIT MYRTLE. They did the ol’ “Bright lights get shined at the audience as character pretends to get hit” but that’s it! Literally THE REASON why Gatsby is killed and we don’t get to see it or their reactions in the moment. They just… tell us what happened instead of showing it to us. (“Daisy tried to swerve to the next lane but there was a car coming- and then… she just peeled off. She’s packing now…” YOU COULDN’T SHOW THIS TO US???) No idea of how Daisy or Gatsby reacted immediately after, only the next day. No rambled and frightened dialogue of their game plan, no glimpse into Daisys psyche where it’s shown she’s not going to choose Gatsby after all. Nothing.

Oh! And guess how long Gatsbys funeral was? Like a minute long. Just Nick sitting next to a casket in the background while party goers, Jordan and Wolfsheim dismiss Gatsby with a throwaway line. Like bro… that’s your main lead character… shouldn’t you give him, idk , at least more than a minute on stage when he dies? And like yeah I get that that’s the point that he’s forgotten, but I thought it was going to be more prominent than that! Give me Nick standing solemnly next to a casket thats dead center on a completely empty stage while he narrates how no one showed up. How despite the riches and infamy, no one, not even Jays own father (cause literally no one was by the casket on stage but Nick) showed up for his funeral. Instead of weirdly dismissing it like it’s not important?

2) NICK AND JORDENS “RELATIONSHIP”

Nah this actually pisses me off because there’s literally no point in this being so highlighted when it literally goes fucking nowhere.

So their relationship arc goes like this: Jorden says relationships sucks because she wants to be an independent woman in the 20s. Nicks like, I am not looking for a relationship but if we were in one I’d let you do all those things. They flirt, almost kiss, flirt more, do kiss, Nick says “let’s get married /j” Jorden says “yeah let’s get married /srs”, they get ENGAGED, they fight after discussing if they inadvertently caused Myrtle’s death (Jorden intentionally let Myrtle know where they were going that night), break up, and never speak to each other the rest of the show.

HELLO? What the actual fuck was the point of this then? If you wanted to expand Jorden to be the independent, feminist, girlboss *cough lesbian cough* that she is, just let her stay single?? She doesn’t need to be with Nick if you want her to be a part of the main cast.

The main problem I have with this is that the musical put wayyyy too much emphasis on it. And it’s so funny because there’s this big, dramatic, movie-esc pause Nick does after he says “I don’t want to marry you”, and sorry to the people who genuinely gasped, but be fr, are we surprised??? Jordan has been saying from literally her first line that men/marriage sucks, and that she would never do that willingly- then when she get married to a guy she knows for, at most? 1-2 weeks (idk how long the musical take place over), I’m supposed to take that relationship seriously????

In fact, I felt like their relationship often overshadowed Gatsby and Daisys, which shouldn’t happen, because the whole fucking shows about Gatsby.

For example, they steamrolled Gatsby and Daisys reunion with a budding Jordan and Nick plotline, for some reason??? Like they literally show Gatsby and Daisy seeing each other, have them say a few sentences wistfully reminiscing their first meeting, then have them go inside the house while their silhouettes are shown talking while the audience stays with Nick and Jorden OUTSIDE as they joke and almost kiss each other. HUH??? How are you going to literally push your years-long, slow burn yearning MAIN ROMANCE reunion to the side for a budding relationship that came out of nowhere and frankly dosent need to exist? And since we’re not going book accurate, you can actually SHOW how Gatsby and Daisy fall back into each others orbit, how their conversation went. But no.

It got so bad that I honestly can’t tell if one of the themes of this musical is something about marriage because of how much they pushed the “married/ people in a relationship” dynamic. Like what are you trying to tell me? All marriages are doomed??? I don’t even know (mayhaps just me being aroace)

What grips me the most is that they don’t even get any closure. Like they literally never speak to each other after that night Myrtle is killed. (Mostly cause the show ends literally 5 minutes later). The whole show they put these two together, build up their romance, show them having cute and funny moments together… all for what? For nothing?

AND I DID LIKE THEM. They were a cute couple, and their chemistry and jokes together were funny and charming. Their dynamic was interesting too, with Jordan wearing the pants, so to speak, and insisting she maintain her freedom while in marriage/ a relationship which wasn’t heard of in the 20s. But for all that to end because Jorden didn’t want to tell the cops Gatsby and Daisy possible ran her over/they’re partially responsible??? Like they INVESTED. SO. MUCH. in this relationship (to the point where they got ENGAGED???) that it feels so stupid and dumb for it to end like “wow you’re heartless :c I don’t want to marry you anymore :ccc” “well too bad, L, you’re guilty too asshole. Bye.”

AND what really grinds my gears is that if they cut this whole shit out, or at least made it more in the background, it would give more time to flesh out the few other problems I have with this show

3) SONG… EFFICIENCY (?)

Ok last point that’s not as much of a complaint as the others, but it was still something that bothered me. Some of the songs just say nothing/ repeat stuff we already know. Mainly thinking of (and sorry to people who like these songs- I’m not saying they’re bad! They’re just not a lot of info there) “For Her”, “Go”, or “Shady”

Like “For Her”, he’s just saying “I did [list of things involved with his fame/money] for her” for 4 minutes and you don’t even know who “her” is until like, the last line. Like this could have been a perfect opportunity to deep dive into Gastbys upbringing/ past, but the most the musical goes into Gatsby’s past is that he was in the war. Like you don’t get the sense that this man worked his way literally from the ground up for this woman. It’s just so repetitive that, even though it was Jeremy Jordon, I was getting bored halfway through.

AGAIN, this is not slandering Jeremy Jordan (JJ stans please spare me), you could have the most amazing Broadway singer sing with the best technique, but if it’s a dull, repetitive song, PERSONALLY, I’d be bored. They could have just combined this with another song, or as I suggested, add more purpose to the song and maybe put it later in the musical.

Similarly, “Go” (and, AGAIN, love Jeremy and Eva) was super repetitive and could have just been reduced to dialogue.

And “Shady”, though also a really good song, frankly could have been cut out. For some reason the musical really wanted Wolfsheim to be a main antagonist/prominent character and gave him this song- but there’s nothing in it that wasn’t already implied in the first Act and it really has nothing to do with any of the other characters, other then a vague “Jay and Daisy” gotta keep their affair secret (which… yeah I think we know that, but also to compare that to… hiding dead bodies and minding your own business- it’s???? Idk what they were going for)

(Tbh- I conversed with my dad who also mainly wanted to see the show for Jermey Jordan and Eva Noblezada and he said that none of JJ songs were that memorable, which I kinda agree with. He’s a great singer, a very talented man, but the songs he was made to sing in this show were not it. Just nothing of substance or catchiness. Which SUCKS. Because how are you going to get someone like Jeremy Jordan and not have him sing an absolute banger? But weirdly, none of his songs (maybe except “Only Tea” which I really liked) stood out which I’m so disappointed about.)

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Ok that’s all just as it’s own thing (mostly) NOW MY FUCKING PROBLEMS WITH IT COMPARED TO THE BOOK

1.B) NICK AND GATSBY’S FRIENDSHIP

THIS IS THE BIGGEST ONE- Nick and Gatsby friendship is so fucking integral to the original, and it feels like it didn’t even exist in the musical.

Like regardless on whether you ship them or see them as friends- Nick was Jays only fucking friend. He was the ONLY ONE who truly cared about him and went to his funeral when no one else did. In the book, Nick did So. Much. just because he wanted to for Gatsby. Gatsby had to ask Jorden to ask Nick to set up his tea meeting, he attempts to charm and lavish him in trips, and even tries to pay the man to get him to agree. But Nick refuses and is even offended that Gatsby would pay him money for such a thing and immediately accepts the night he finds out. And they actually hung out! Like a lot! At least before Jay asks him for the tea request. And though it could been because he wanted to make it easier for Nick to say yes, they were friendly with each other, and felt like actual pals. Nick genuinely was worried about Gatsby at the end, and even tried to warn him about what he was attempting to do multiple times.

In the musical that bond is just… not there. They rush past meeting each other, they never hang out one on one, and any interaction between them seemed slightly aggressive or politely concerned, like one would be to a stranger, which they technically are!!! The only reason he agrees to Gatsbys plan is basically petty revenge against Tom for punching Myrtle and being an asshole to Daisy/ in general. (Which- I feel like a move thats so out of character for Book!Nick cause he also dislikes Daisy.) Like Nick never learns Gatsbys backstory here (I don’t think he ever tells it, not even to the audience).

The “ you can’t repeat the past” line seemed more aggressively exasperated in delivery then the more soft concern for a close friend I initially read it as. And the “you’re worth more then whole rotten crowd put together” line didn’t really hit as hard because they don’t feel like close friends and nowhere in the show has Nick expresses this pedestal he puts Gatsby on like in the book.

Literally the only times they’re together alone is their initial meeting, and setting up for tea at Nicks. Every other time either Gatsby is with Daisy or Nicks with Jorden. They could have at least put together a cool ass montage of them hanging together, using those moving panels, going through diffrent activities as Jay introduces himself with his Oxford and army line, instead of dumping it all on him on their literal first meeting in his study.

(Also noted that they made it so Gastby owns the property Nick lives on and is renting it out for the man. Idk why they did this- to make it so Nick is indebted to Gatsby??? Also Gatsby vaguely threatens/ says something with a condescending/threatening aura (???) before Nick leaves after Jay ASKS A MAN .5 SECONDS AFTER MEETING HIM FOR THE FIRST TIME FACE TO FACE for the tea set up. Like there was a moment where he held onto Nicks hand as they shake goodbye, held his eye and said a line (I forgor) and kinda stood there staring him down before Nick awkwardly left. LIKE WHAT WAS THAT???? WHO ARE YOU???? WHY??? Literally doing everything to make sure no one can ship them)

2.B) THEY STRAIGHT-IFIED MY BOY.

NICK WHAT DID THEY DO TO YOU. It felt like they wanted to take away any whiff of an implication that this man is gay. Like literally no build up to Jay and Nicks friendship, no meaningful scenes between the two, going head first and completely committing to Jordan, AND THE MR MCKEE SCENE BEING LIKE THAT.

AND MR MCKEE, IM SO, SO SORRY WHAT THEY’VE DONE TO YOU. They made him to be some predator who harasses Nick the whole party scene. And this could have been so. easy. to fit into the queer lens if the actor who plays Nick (Noah J Ricketts, fucking what a talented man) acted interested in Mr.McKee but was actively restraining himself and trying not to engage in order to save face in front of Tom and Co. (Please, please, please- making a prayer circle and manifesting that one of the later actors does this down the line) But noooooo, Nick is shown to be mildly uncomfortable while McKee follows him around (in an unfortunately a banger of a song) EVEN THOUGH IN THE BOOK NICK ACTIVELY ENGAGES WITH HIM IN HOMOEROTIC DIALOGUE AND EVEN GOES TO BED WITHBNANJSBSJB

3.B) Jordan’s Purpose

Already touch this before but what the hell was the point of Jordan here. I love the “cool independent woman in the 20s” angle they were going for, but then why the hell would you immediately shackle her to a romantic relationship with Nick when that goes against literally everything she stands for. And I’m not saying she can’t get in relationships, but the speed in which SHE of ALL PEOPLE, was like “Yes I want to get married to you for real” make me…

Sure it was said in the novel that Nick and Jorden were together, but he was always flighty about her; saying he was attracted to her but also hated some of her qualities (dishonesty and heartlessness). It wasn’t the main focus like it was here (I can’t even remember much of their relationship in the book tbh) and they didn’t invest so much in it as they did in the musical that it didn’t feel out of nowhere or too much of a big deal when they broke up. Like it fr felt like the musical held up a “Gasp Now” sign when Nick said he doesn’t want to get married to her cause they wanted that moment to hit so hard for some reason???

AND. There was an ACTUAL PURPOSE to Jordan relationship with Nick in the book (a representation of the wealth he was attracted to then repulsed by [*cough* also contributing the “Nick is Queer” lens *cough*]) they… kinda? did it in the musical? And it would have been boosted by Nicks new naivety in the musical, but it falls short because they never speak again, or really explain Jordan’s value on wealth and herself is why it went wrong other then a “you’re heartless” line that feels out of nowhere. (Idk maybe I was too focused on how pointless that relationship felt that I failed to noticed if Nick had a Big RevelationTM here on Wealth and Jordan)

4.B) Character Differences

Some of them are great, like there’s more dimensions to some, but some character choices, I’m like- that goes against everything they’re supposed to represent in the book.

Like I found it so weird how willing Daisy was to run away with Gatsby in the musical when in the book it was more obvious, at least I read it so, that she was holding back a bit and was never going to run with Gatsby that far. Like wdym Gatsby could have had it all if he just ran with Daisy then, WDYM HE SAID NO BECAUSE OF HIS PRIDE???? HUH? WHERE did this priority of PRIDE come from???? When Daisy’s RIGHT. THERE. Like she was sobbing, begging him to run with her. In what universe would Gatsby turn that down???

Like many people say, this seems like it’s supposed to be a love story between Gatsby and Daisy, but in the book it’s pretty obvious how Daisy isn’t as committed to Gatsby then she is Tom cause of their Old vs New money.

And Myrtle? Why did she suddenly turn back to George? I felt like the only reason why that happened is cause the creators wanted shock and tragedy factor. Like “aw she finally found peace in where she is but oops now she’s dead”

And it would have been good if they actually showed why she thought this beyond the 3 minute song, cause that’s not enough time for someone who only chased after money to do a 180. Like, sure she figured Tom would just move on from her (YES EVERYONE CHEERED, GREAT CHARACTER MOMENT) but George isn’t shown to be that great either in his last moments with her. I mean he locked her in the house? Bathroom? and was pretty violent towards her. Sure we learn earlier that he’s doing a lot for her but we never SEE it. He sings to US the audience about his dream to move them out and live a nice life but not to HER which could have been a cute point of connection but nooooooo.

They also made Nick like, kinda naive. Like he really likes Daisy and Jorden and I guess Gastby (though it’s not shown) compared to his counterpart who know how money corrupts and kinda hates everyone (even Gatsby at points). Any I feel like they could have done well with making him naive to that fact, to really make this a tragedy (like Hadestown esc) but they fell short somehow. I think it’s cause the ending was so rushed. Like there wasn’t enough time to show the consequences of everyone’s actions and how hurt and changed he is. It all flys by in like 7 minutes.

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Ok now we’re done being cynical- here are the good things I liked

1.C) The woman are 3-Dimensional yay/ Nicks also here

Myrtle’s song (Second-Hand Suit) is phenomenal. Great way to introduce more character and backstory to someone who originally had none.

Also, again, loved Jordan’s independence angle (if only they WENT SOMEWHERE WITH IT) and I lowkey loved the “well Tom cheats why can’t you” line and Daisy’s whole attitude as she one ups Tom in the dinner table scene. Also Daisy was already kinda complex in the book, but it really shows how turmoiled she is here and that’s interesting,

And despite how I kinda ragged on it, I really did like Nicks personality throughout the musical. He was sooo humorous in a way he wasn’t in the book. Also, thinking about it, his nativity is an interesting spin on his character that I really would have liked if it was executed properly.

2.C) The songs fucking slap

I can’t lie, most of these songs are bangers. I have half of the songs on loop. Not to mention the actors who sing them are absolutely incredible. I won’t lie, I was mostly interested in this musical cause of Jeremey and Eva; and Eva, holy shit, is an absolute powerhouse to witness live. I was So. Surprised by how effortlessly she sang notes and how clear and crisp they were (“Absolute Rose” was… idk what it was about that song, but I’m obsessed with how she sang that song, [except the “open” part? Idk it grates me for some reason???] even though it’s not my favorite song) Like she truly embodies Daisy Fay and it was incredible to see that in person.

However, the rest of the cast was so incredible too, ESPECIALLY MYRTLE (Chilina Kennedy). Holy Fuck is that woman amazing at singing. Her two songs she sang absolutely ate, like I’m obsessed with her voice. Wolfsheim (Eric Anderson) and George (Paul Whitty) also had amazing voices.

Also NICK??! Holy shit, I’m so sorry you’re not in like any promotional stuff cause you fucking killed it. The way I’m obsessed with how he sings “If only I’d knew then, that I would never be the same” in “Roaring On” and how he sings “The Met” is amazing

3.C) Visuals- kinda

Some of the visuals were ok tbh- kinda boring- but the ones that went big, WENT BIG. Of course “New Money”, “Roaring On” and “The Met” are the ones that stand out the most in my mind. “New Money” and “Roaring On” are exactly what you probably think it is, big dance numbers with sparks and huge lights. But I loved “The Met” cause the furniture slid around and literally moved around Nick while people drifted in and out of the room. It was just great to watch visually.

4.C) THE ENDING NUMBER HOLY SHIT

I. Love. Love. LOVE. How they brought back the opening number, and the theme of party goers going on from party to party to show how unimportant Gatsby was to the world, and how everyone moved on.

Like, Nick stood in the center of the stage, reciting the end of the book, in tears and voice cracking, as the ensemble in the back slowly get revealed and are just having a grand ol time looking for the next party. Just- chills. It was amazing conceptually and they pulled it off so well.

If the musical got nothing else in terms of structure going for it- at least they got the last minute right cause omg, I love when media has opposing moods in the same scene, and they did so well here.

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Overall, yeah. Not horrible but I don’t love it. The lack in plot and nonsense relationships and complete disregard of the book didn’t totally ruin the musical cause I had a good time and liked the songs and such but I would not go back and re watch it.

I think of you know nothing about the book or anything about The Great Gatsby other then there’s a guy named Gatsby and he’s great and you just want a nice sounding show, you’ll probably like this, but people who are burdened by the knowledge of the book will be hung up on a lot of things I mentioned here.

Always, long ass post, congrats to anyone who actually read this real informal review. I haven’t gone into how this is a pretty bad adaptation, but I’ll have to do that in another post (if people want to see that) and another time cause this took my literal hours to type out.

(Tbh I might just do the adaptation essay anyways, cause I’ve written at least 4 papers on adaptation in media [and how Groundhog Day the musicals the best Movie to Musicals adaptation] and I love that shit)