#which is plot relative rather than me attempting to get as much romance tropes as possible

[titaniafey]

A little preview of my wip Ghostflower fic. Though I dont think it counts as ghostflower and leans more to just Gwiles. Specifically Earth!42- Miles and Gwen. I think there should be a separate dynamic for them respectively. Their personalities are kinda reversed. Miles is the one that's more broody and angsty, while Gwen is an adorable sunshine that can roast your ass like the sun. And she's still got that edge to her. Of course 😌

But AGSPSKFLGKGJD Y'ALL TELL ME WHAT YOU THINK?

---------

New York, concrete jungle where dreams are made of

There’s nothing you can’t do.

All right, I am only doing this just this one time. My name is Miles Gonzalo Morales. I used to wonder why my dad didn’t put Davis as my last name on the birth certificate. He told me it’s because he just doesn’t want it to get in the way of making my own name for what he did in the past. Said he and my uncle used to get into some shaaaady business here and there. For all his insistence to erase the past and never look back, I find myself doing things backwards. Because all I be doing right now is get caught up in the past. Trying my damnedest to right it. To give meaning to it.

Fisk still has his sights on being Mayor. His campaign pitch was a load of bull. Everyone knows the villains that run around the city wreaking havoc was in cahoots with him to get the people running as far away from this city as possible. His vision of being a livable safe New York in which he put up in honor of his late wife Vanessa Marianna and son Richard Fisk sounded like an empty promise. If anything, he was hellbent on making an unlivable New York. His grief spreading its reach to drive people away. It tends to do that to a man. In that aspect I can empathize for him.

But what stops me from pitying the fool is that he’s going on driving away families who wish for a new start in the big apple. As well as people who established the roots here since opportunity was promised in the land of the free. Hiking up housing prices. Creating noise and riots on the street.

I could move forward If I wanted to.

If I did move forward me and my mami would’ve been living peacefully in Puerto Rico right now with my maternal grandparents.

If I did move forward, I wouldn’t be sticking out for the city that granted my dad countless opportunities no matter how much he messed up.

If I did move forward, I wouldn’t be giving my dad justice for all the things he has fought for this city. His death would have been in vain.

If I did move forward, no one would’ve stood up to the likes of Fisk.

No one would’ve had the guts to go against him.

And the only one that could do that was someone above the law. Someone who runs under the cloak of the night. Someone who could portray the villain if they needed someone to be angry at. Someone who turned Fisk’s attention away from grabbing every silver lining left in this city to cling on to.

If I did move forward. I wouldn’t be the Prowler.

And if I hadn’t taken up the role of the prowler… I wouldn’t have seen what my dad, my mami, my uncle wanted me to look forward to.

Sunshine breaking through a dark sky. A city burned alight with a new hope. A blue eyed angel flashing me a bright smile.

Just as New York can be greedy, as it takes, and takes, and takes. It also gives, and gives, and gives.

It’s okay to look back in the past. But it’s also important to not get hung up with it that you won’t be able to see the new day in front of you. It’s called New York for a reason ain’t it? Just because one bad thing happened doesn’t mean life stops there.

You wanna know how I got here? Let me take you back to the time when life stopped for me.

[experimentaldragonfire-fics]

experimentaldragonfire’s SU Fic Rec List

Stuck at home? Running out of stuff to read? I figured I’d put together a semi-comprehensive series of fanfic recommendations so that all the hours I’ve spent on AO3 over the years can be considered at least vaguely useful. A lot of these are quite old, so if you’ve only read more recent fics, you might find something that you haven’t seen here!

Please feel free to add your own links and recommendations--I personally would love more reading material! This list will focus on SU fics, but I’ll probably make more for other fandoms going forward if anyone’s interested. Bear in mind that, as I’ve mentioned, since many (most) of these were written a while ago, they might not represent exactly how the plot of the show progressed (though they now provide a pretty interesting look at the older fanfic tropes/theories!)

Also, upfront: most of these, when ships do appear, are Lapidot or PearlRose--clearly, I’m very narrowly-focused on what I read. And if one of your fics is on here and you want to be tagged, let me know and I will do so!

Steven Universe Fic Recs

General (None or canonical/background/multiple ships):

histories by avulle (T, F/F, Gen)

“Pearl (pearl) is born in what would have been the year 100,492 BCE. (She is not older than the entire human race—but only just.)”

An introspective look at the Crystal Gems through the years, written in a style that’s practically poetic and absolutely gorgeous.

Inferior Blue by hTeDruknenPotaT (M, Gen)

"Your name is Lapis Lazuli. Lapis is a fun thing to name your child when your last name is Lazuli, and when your name is Lapis Lazuli, blue seem like a nice color to dye your hair. It's fortunate that blue is your favorite color, that you manage not to despise it after all the blue you've been surrounded by all your life."

Lapis Lazuli meets a strange young boy who helps to heal the scars of her past.

The first time I read this fic, I stayed up until 5AM and cried into my pillow through the final chapters. And it continued to make me cry every time I reread it. Massive angst warning, but if you can handle fics that are beautiful but tragic, this is for you.

capacity by broken_halleluiah (G, F/F)

After a routine council meeting, Pink Diamond insists on repairing a broken piece of equipment. The result is far more than she bargained for.

A fic speculating on the nature of Pearls in Homeworld society, written well before we got to see any of that in canon. As such, it isn’t entirely in-line with later canon, but is still entirely worth reading.

Breaking Down by PTlikesTea (M, multi)

Rose's world view is shattered by a black market pearl and the realization that everything she knows about them is wrong.

An extensively long series of shorter mostly-self-contained stories exploring a version of Homeworld society where Pearls are considered as little more than disposable property. Major warnings for Pretty Much Everything--definitely keep an eye on the tags--but this is an iconic series of works, started in 2015 and predating many of the later revelations about canon Homeworld. 

A Gem and Her Pearl (Rose) by Potential Violet (G, gen)

Blue Diamond forces Rose Quartz to get a pearl, changing Rose's life, the pearl's life and the course of Gem history. All relationships begin somewhere, this is the beginning of Rose and Pearl's.

Another take on Rose and Pearl’s meeting, and the status of Pearls in Homeworld society (there’s a bit of a theme here with these recommendations). Again, predates most canon revelations regarding the topics, and predates all of the canon information about the Diamonds.

Pearl, Interrupted by AceyEnn (E, multi)

In August, Steven Quartz Universe was born.

In August, Rose Quartz died in childbirth.

In December, Pearl decides she can't handle any of it.

Or: Pearl Tries To Kill Herself And Ends Up In A Therapy Group Run By Her Best Friend's Mom (Well, One Of Her Moms).

Human AU focusing on Pearl dealing with Rose's death--or rather, not dealing with Rose’s death. Major content warnings for suicide attempts, self-harm, etc (please read the tags), but overall a very well-written story. Still updating, despite being first posted in 2016! 

Lapidot:

in which Peridot is Not At All Surprised by the sudden appearance of a new waiter by gaySpaceRock_exe (G, F/F)

Peridot meets the new waiter at her regular restaurant and immediately falls head-first in love. 

Cute and fluffy, what more do you need in a fic? 

Homesick by DrPaine (G, F/F)

An encounter at the Galaxy Warp.

Short oneshot predating the Peridemption/Barn Arc, can be read as friendship rather than romantic. 

Observation by DrPaine (G, F/F)

Peridot is a technician, meant to catch every detail. Not something she’s very fond of, but making yourself aware of your surroundings can be helpful, when you’re slipping into troublesome thoughts.

Incomplete but very much an introspective look at Peri’s character as perceived back in 2015-ish. Not as much focused on romance as on concepts of identity and anxiety. 

Of Stage Lights and Stage Fright by AcrylicPaint (M, F/F)

All Lapis wanted was to participate in the local production, but there was a minor element she hadn't taken into consideration when she agreed to take the leading role, and that was; dealing with the cute techie's constant staring.

That, and the fact she was beginning to stare too.

Human theatre AU, and an excellent completed multichapter fic. I remember that when I first read this, I was in high school and part of the musical, so it was a very topical read--and now it’s the height of nostalgia. 

No Regrets by Raptor_Red (E, F/F)

No Regrets, or, the story of how Peridot tried to romance the blue-haired tattoo artist from the parlor across the street

A personal favorite! The writing in this fic is just so nice to read, and though I’m not usually a fan of tattoo artist AUs, this one really managed to make the whole concept make sense within the story. I can’t count how many times I’ve read this fic. Please read this.

12 O’Clock at Your Local King Soopers by InsomniacArrest (T, F/F)

Lapis works late night shifts, Peridot is somebody's overworked assistant, they both need more sleep and better people skills: the grocery store story.

Is it a Lapidot fic rec list if I don’t include 12KS? Probably the most iconic fic for this pairing, with good reason. Also, consider this a recommendation for literally everything IA has ever written--there are too many good fics to name them all individually, otherwise they’d comprise half of this entire list.

Of Meteors and Minimal Speech by Waypaststrange (moonbeatblues)(F/F)

In which things at the barn settle down, nobody speaks much, and strange lights appear in the sky.

Vaguely fluffy oneshot, very cute!!

Awkward Office Encounters by SilverEyedRukia (T, F/F) 

Due to a broken down air conditioner on a scorching hot day the computers' overheated systems need fixing. Luckily for everyone a blonde technician is up for the job, but unbeknowst to them the IT nerd turns out to be someone they didn't expect her to be, especially not Lapis who kind of asked her out on a date already.

Human workplace AU, starts off relatively comedic but gets into Emotional Territory towards the end.

Camp Pining Hearts by kamanzi (M, F/F)

Peridot and Jasper return to summer camp after their freshmen year of college--this time, as counselors. Peridot is disappointed to learn that nothing is quite the same, especially her relationship with her best friend. Whose fault is this? She blames Jasper's girlfriend.

“‘Let’s go back next year and be counselors,’ she said. ‘It’ll be fun,’ she said.”

Human summer camp counselors AU that’s definitely long enough to use up some stuck-at-home-self-isolating time.

A Week by teamchaosprez  (E, F/F)

Who knew that a single night of drunken sex could push Peridot and Lapis from being roommates with a mutual crush to regularly fucking and maybe - just maybe - eventually becoming girlfriends and standing up to the homophobia surrounding both of their family lives.

A human college AU focusing a lot on working through interpersonal relationships and coming to terms with emotions

Set Me Free by cym70 (T, F/F) 

Being roommates gives Lapis and Peridot a lot of time to get to know each other and, despite their rocky history, they might just be able to make something entirely new.

A friends-to-lovers fic, post-Barn Mates. Very sweet!

Waltz of the Nian by QuickYoke (T, F/F)

Lapis doesn't understand fusion at heart, but she does know she's an unideal partner for it.

 Lapis' relationship with fusion, and also Peridot. A fic that basically encapsulates the ideal of profound prose that makes you feel things, even if you don’t precisely know how or why.

Pushing by Like Hearts by mautadite (T, F/F)

“Sounds like you’re really counting on that road trip magic.”

(Peridot and Lapis do Midway City, and Empire City, and Plateau Ville, and all the places in between.)

Canonverse road trip, because every rec list needs a “the characters go on a long journey together and find themselves, and each other” fic. And because this fic made me feel so many emotions.

A thousand years (F/F)

I have died a thousand years, waiting for you.

 Childhood friends-to-adult-lovers human AU, one of the fic tropes that always just punches me in the face with feelings.

[thejakeformerlyknownasprince]

Why do you think the Animorphs fandom doesn't have as many AU stories as some of the other fandoms? I don't mean non-cannon stories, but those where the characters are taken from the Yeerk Invasion concept enitrely and dropped into another sandbox: coffeeshop AU, Hogwarts AU, etc. Even really common additions to the cannon world such as soulmate AUs seem to be less used with Animorphs. Any thoughts as to why?

Reason 1: The characters are 13.

Technically they grow up to ages 16 - 19 before dying horribly the series ends, but their problems and concerns are very much those of actual early adolescents.  They don’t drive (not even cheat-driving with mopeds or helicars like in other teen superhero stories), they don’t go on real dates, they don’t have jobs, and they don’t use money except for occasional emergency purchases of shoes or tacos.

Obviously that doesn’t preclude the protagonists from suffering through romantic clichés, but it means that there’s less material to work with than in a series such as Harry Potter or Supernatural where the characters do have these kinds of classic adult concerns.  It also means that (and fandalites are classy af so they tend to recognize this) there’s an inherent squick factor in hardcore romance, even in AUs where the characters have been aged to 18+.

Reason 2: There are no love triangles.

Probably the closest we get is Rachel realizing in #27 that she has romantic options other than Tobias… which leads to her realizing that Tobias has what she wants and needs in a romantic partner, whereas a civilian guy simply doesn’t.  Other than that, we have the moment in #44 where Cassie realizes that she’s flirting with Yami… which sets up the realization that Cassie might be better off with someone who has more capacity than Jake to make her happy.  No one cheats, no one fights rivals, and no one experiences much jealousy.

Characters dealing with their romantic feelings in mostly-healthy mostly-transparent ways, whether in or out of relationships, doesn’t leave much room for rom-com miscommunications and the like.  Ergo, there’s no room for characters being forced to date or to confess their feelings by circumstance.  Even Jake and Cassie’s unhealthy dynamic remains unhealthy for, like, a book and a half, before they have an amicable post-breakup goodbye in #53.  Not much room for romantic angst.  Speaking of which…

Reason 3: Do we really need MORE angst?  REALLY?

This series is about six mostly well-adjusted kids having their entire lives destroyed by the horrors of war.  If angst is your jam, there’s no need to add it by introducing backstory elements or hurt-comfort premises that we didn’t already see in canon.  You can literally just grab that time Jake watched his cousin drag his internal organs off the ceiling (#16), that time Cassie killed an innocent prisoner of war on reflex (#19), that time Tobias was tortured into insanity (#33), those times Marco committed matricide (#15, #30, Visser) and you’re off to the races.  A lot of fan fiction tropes are all about angst (Tony Stark’s dad never loved him, Stiles Stilinski wishes he was special, etc.) and where Animorphs is concerned, there’s really no need.  On a similar note…

Reason 4: Adding ridiculous humor would be redundant.

This is a series where running gags include (but are not limited to): the hawk kid getting his talons stuck to cetaceans when he tries to acquire them, “These Messages” (e.g. commercials) and CinnaBon being the only artistic creations of humanity worth saving, the main villain of the series being a Cat Person, all the Animorphs debating whether it’s cannibalism to eat fried chicken in seagull morph, the resident alien being unsure whether vinegar and motor oil count as beverages, and the kids getting out of obligations with excuses that range from “I have to go buy a nicotine patch before I become a teen smoker” to “my cousin — and not the one you’re thinking — just got into a fistfight with a six-year-old over Raisinets.”  Coffee shop humor, de-aging humor, and other whacky fan fic premises simply can’t top what we already have.  Not only that, but a lot of the whackier fun AUs — animal transformation AU, gender mashup AU, evil twin AU — have already been done in canon.

Reason 5: The cast is already pretty tight.

By this I mean that the cast is tight in that there are few wasted or tangential characters, and that the cast is tight in that there are few intragroup conflicts.  It’s not really possible to “break” the dynamic in ways that would feel organic (e.g. Civil War AU) without losing a ton of what makes the series itself.  There are also relatively few minor characters that one can add to the original six’s dynamic in meaningful ways (although yours truly is guilty of trying), because they’re so isolated and codependent.  Writing AUs in which the characters just meet for the first time during the fic is... possible, but IMHO would feel deeply weird.

It’s also a fairly fundamental aspect of what makes Animorphs unique that there are no mentors anywhere in the series.  The kids get occasional information from Erek or the YPM, but they have NO ONE they can turn to if they want to ask for advice.  ALL of their attempts to seek mentors end in said adults revealing themselves to be incompetent (Elfangor, Gonrod, Ithileran), morally bankrupt (Alloran, Arbat), unwilling to help because they have their own agendas (the Ellimist, Toby, Aldrea), or simply less experienced in relevant areas than the kids themselves are (Eva, Jara, Mr. Tidwell, Sam Doubleday).  It is possible to add adult characters to the team through crossovers or other AUs — but to do so is to fundamentally alter the structure of the series.

Reason 6: The plot is already pretty tight.

Animorphs isn’t a perfect piece of coherent plotting, but it also doesn’t have any huge glaring plot holes.  There’s nothing that the whole fandom agrees needs to be “fixed”: some people want Cassie to be wrong more often, some people would like direct queerness, some people dislike the tragic ending, some people think the late-middle sags, some people want more Tobias-narrated books, some people (*cough* me) want the series to be 55 books long so that Rachel gets to narrate one last story… None of these represents a majority opinion, the way that the “what have you done to our Jaime Lannister!?!?!?” outcry is currently dominating the Game of Thrones fandom to the tune of 800,000+ signatures on the world’s silliest Change.Org petition.

The events of the series follow pretty logically from one another, which means that there aren’t tons of divergences on a single theme, and also that it’s pretty easy to invent divergence points from canon itself.  There are occasional modern AUs and college-age AUs, but a lot of the time they have to differ dramatically from the source work to pull off the effect.

Here’s where I acknowledge my bias: I dislike the majority of super-popular AU ideas.  Some strike me as harmless romantic clichés (hatebanging AU, accidental dating AU) or wealthy-American-kid clichés (college AU, wedding AU).  Some strike me as sacrificing character for plot (fake married AU, sword-and-sorcery AU) or not having much plot at all (wedding planner AU, elaborate-miscommunication AU).  Some are downright problematic in their magical codification of power dynamics (omegaverse, sex pollen) or deeply concerning consent issues by definition (soul mates, coffee shop AU).  Most of them are perfectly good story ideas, but most of them are not to my taste.

All of these AU ideas can be done well and have been done well, because every cliché becomes a cliché by being genuinely brilliant until overused.  I mostly avoid these stories anyway because too many of them are plagued by setting rather than motivation forcing the characters to go from Point A to Point B or even forcing the characters to become romantically involved.  So there is a distinct possibility that there are Animorphs stories out there that use these ultra-popular AUs, and I just haven’t encountered them.

[aedyre]

Ohhh, I was about to go to bed when I saw @ariela-of-aedyr‘s ask meme :D decided to do it now and not wait for asks since well... bed, and technically it’s Thursday here already :’) also i just wanna babble about my baby

1. What did your Watcher make of the Deadfire Archipelago? Was it their first time there, or had they been there previously? 

First time! Alfaris had never actually left the Aedyr Empire before the start of POE1 and hasn’t even seen all of the Empire at that. His first impression was pretty much “ugh so much ocean and see travel I don’t like boats-- OH GREAT I’M ALREADY STRANDED. awesome.” He... still isn’t that keen on it by the end, though he gets used to it. He also doesn’t like how the archipelago is run very much and could do without everyone and their mother vying for power against each other instead of addressing the very obvious problems being had. He did like the weather though! At least better than the Dyrwood’s.

2. Did they have a favourite location?

Not... really. Neketaka probably comes closest by virtue of being the biggest city around, but it also has both the Gullet (which pisses him off because the Roparu have such shitty living conditions) and the Kahanga palace (which pisses him off because he does not get along with the Kahanga royals :’D). Other than that he liked visiting small, unimportant villages that just peacefully existed. And the Engwithan ruin the Wahaki live in, because of the Thaos mural.

3. How about a favourite companion? Or a favourite NPC? 

Of the new Deadfire crew, definitely Tekehu 😛 He’d endeared himself to Alfaris by the time they entered the Gullet together and Tekehu expressed his shock and dismay about how the people there are treated, and after that they got to comforting handholding really fast which was some wonderful gay shit. (...Also I just like it as a romance trope. Loved it with Aloth in the first game, loved it here, it’s good.)

As far as NPCs go... he rather likes Director Castol and Flaune Elette because he likes their idealism and vision. It’s why he very firmly sided with Castol during the company meeting, which should have been clear to the governor from the beginning -- “Ah yes, this extremely idealistic person who wishes to help people and has no interest nor need in making money (because he comes from money and is essentially never without it) will surely side with my profit oriented leadership over another idealist visionary!” ...Yeahhhhhh, no.

4. Was there a companion or an NPC that they just couldn’t stand? What was it about them that irritated your Watcher? 

None tbh. Alfaris is relatively easy to get along with and to go into the “I can’t stand you” category you need to be a huge dick. (And if your name is Thaos, even that isn’t enough :P) He’d butt heads with Vatnir and Ydwin over ideology, philosophy and theology --though in Vatnir’s case he’d mostly want to help get Vatnir away from Ryrmrgand and more comfortable -- with Ydwin he’s lowkey “well you’re wrong about the wheel but I guess you’re entitled to your wrong opinion :/”, but he doesn‘t dislike either of them. He also wishes Serafen would “talk normally” and Maia ends up leaving because he sides with the Vailians, but they get on well until then.

5. Was your Watcher glad to have Eder, Aloth and Pallegina back again (if indeed they did)? Was there any other companion that they would have liked to have back in their party? 

Yes!! I mean, Aloth is one of his bfs and Edér and Pallegina are his bffs. He wouldn’t mind any of the others except Durance back, though he especially misses Sagani and Kana.

6. What was your Watcher’s ship(’s) name(s)? Did they enjoy being Captain of a boat? Would they rather have been back at Caed Nua?

.....I can’t fucking settle on a name tbh. Last playthrough it was The Prince, named by his mum the Mecwyn when she heard that he would like a nice big ship with maybe a lot of cannons because there are pirates everywhere here, mother, can you believe it? But that wasn’t all that creative and is subject to change if I think of something I really like after all :D

He... didn’t exactly enjoy being a Captain, because traveling by ship is not his preferred method, but he also wouldn’t have preferred being at Caed Nua -- he was getting close to done with what he could do there to help and would have installed a steward before long anyway, and the Deadfire is where he was needed now.

7. Did they have a favourite quest or side quest? How about a least favourite? 

I’d say no real favorite -- there were moments he enjoyed, like being able to help Biha, or get medicine for the sick Roparu, but nothing where I would say “Yes this entire quest is something he loved”. Similarly there were a lot he really did not like, but it’s hard to point to a specific one -- shoutout goes to Nemnok’s though because he got really damn pissed about the whole “oh let’s sacrifice our children to our new god” thing. a) No!!! Just no!!!!, b) dammit Thaos, once again proof your entire plan didn’t work because people are *still* doing this shit. The sacrifices ended up being all right after all, but the spirit of it still made him mad :P

8. Did your Watcher find romance, or close companionship, in the Deadfire? If so, who did they get close to, and how did that relationship develop? 

HOO BOY does Alfie ever have companionship :D I don’t often care much for polyshipping, but he’s a big exception to that. Admittedly, hc wise he was already in a relationship with Aloth, because screw this dancing around your feelings for 5 years stuff in their case (and honestly, no way Alfaris wouldn’t have made sure to keep in contact with Aloth, while Aloth was off hunting down the Leaden Key!). He’s already close to his past incarnation too, though Caolan’s part of their soul ends up being kidnapped by Eothas and thus not around for a big part of the game.

And then there’s Tekehu, who, along with Aloth, is basically tailor made for Alfaris :P Sweetheart who wants to help people? Sad woobie who needs emotional support? A big sub? Yes. Good. Perfect. Alfie was making hearteyes at him by the time they left Neketaka together after dealing with the mess in the Gullet. Tekehu was similarly drawn to the Watcher rather quickly (he’s so easy to raise affection with...) and they talked a lot about the Deadfire and about the Huana and whatever was going on in their quest(s) at the time. Then his last fears that maybe Alfaris wouldn’t want to or couldn’t give him what Tekehu wanted were laid to rest when Alfaris revealed that yeah, actually, he is a dom and he likes taking care of people and giving them what he needs and literally everything Tekehu just described as seeking in a romantic and sexual partner is something he’s happy to give.

9. Which faction did your Watcher side with in the end, if any? Was there a particular reasoning behind their decision? 

The Vailians! The pirates were never in the running despite Furante’s attempts, Alfaris was already annoyed with Onekaza and her brother over the Gullet and Onekaza’s behaviour (please stop trying to do ~banter telepathically kthxbye), then she sent him on a menial errand to get Mairu (”I’m a visiting foreign Prince but ok, maybe this is some cultural difference I don’t get”) which resulted in him freeing the dragon and then him and Onekaza slinging insults at one another. “It’s a poor ruler who doesn’t recognize what is under her feet” gave me life and him too for getting it off his chest :’)

And when it came down to Rauatai vs the Republics, he decided that animancy was more useful to deal with the crisis at hand. Which admittedly was also helped by Pallegina being his bff and very much influencing his opinion of the Republics towards being more positive.

10. Where do you imagine your Watcher’s life takes them after the events of Deadfire? 

He would absolutely keep an eye on what’s going on on Ukaizo, considering how important rebuilding the Wheel is (especially since he’s such a big fan of reincarnation too!), but since he can’t exactly help the animancers fix it faster... I think he’d visit home, try to spread the truth about the gods more (which is helped, I imagine, by Eothas’s actions), help Aloth with the Leaden Key, and just generally keep an eye out for the next crisis to lend his hand, since his overarching goal is to make the world a better place and prove to Thaos that kith doesn’t need the gods for that and isn’t as bad as Thaos has come to believe.

(Though my money for a potential sequel plot would be something involving Yezuha considering the storms are now gone.)

[aion-rsa]

Doctor Who’s Best Comfort-Viewing Episodes

https://ift.tt/2UgJy48

I mean, it’s not like absolutely everything is terrible right now, but certainly a lot of things are and we could all do with a break. As a result, here’s a list of Doctor Who stories – one chosen per Doctor – that I put on for comfort. Sometimes you need something familiar and well-worn to unwind with.

This list is very much subjective, some of it is down to which Doctor Who videos I could afford when I was 10. These stories work for me and it’s unlikely they will work completely for someone else. Also worth mentioning is that this list is incomplete; these are not the only stories I watch for comfort, and indeed sometimes that’s not the reason I watch these stories.

First Doctor: ‘The Aztecs’

‘The Aztecs’ is a great example of Doctor Who that can be both familiar, endearing and brutal. In this story Barbara is mistaken for the goddess Yetaxa, and attempts to use her influence to stop the practice of human sacrifice. The Doctor rails against changing history, the High Priest plots to reveal Barbara’s ploy. To escape, Ian has to fight to the death, Susan has to avoid an arranged marriage, and the Doctor has to pretend to romance an Aztec woman who might have the key to letting them reach the TARDIS again. It’s all very morally murky yet comes away feeling generous.

A lot of the characters are flawed and interesting. You understand their motives even if you don’t agree with them. The original TARDIS crew, who have hit their stride now, are included in this. The Aztecs are shown to both practice human sacrifice and meet writer John Lucarotti’s description of ‘a highly civilised and cultured race’.

It’s also a well-made show, and if anything the improved picture quality has been cruel to Barry Newberry’s backdrops – not for lack of detail, but for picking out the folds in the material. With the script doing the same for the characters, ‘The Aztecs’ shows us that comforting does not have to equal light.

Second Doctor: ‘The Macra Terror’

There’s something counterintuitive about choosing a Troughton story with almost no existing pictures because so much of his performance is visual. However, having first experienced a lot of Troughton stories as audio there’s still a lot to admire in his expressive vocal performance.

Also something potentially counterintuitive here is that I’m picking a story outside of the Base Under Siege format that dominated Season 5, which for many people is their platonic ideal of Doctor Who. However I feel that this does a great disservice to a subgenre I’m going to call ‘Weird Troughton’, defined by being an outlier from the series format or featuring Troughton still working out the role (so ‘The Highlanders’, despite being a historical with no science-fiction elements, counts because Troughton is still trying out strange and fun things with the character). ‘The Underwater Menace’ is ridiculous and I love it anyway, David Whittaker very much ploughs his own furrow, and ‘The Mind Robber’ raises the possibility that Doctor Who is a self-aware entity. ‘The Macra Terror’, now available as an animation, is for me one of the best pieces of drama produced from this group, managing to be sinister, fun and have giant crab monsters in it.

It’s an angry take on uniformity, jingoism and control and feels very current. The Second Doctor’s response to having his clothes cleaned and hair combed in accordance with colony beauty standards is great. Ben’s brainwashing gives Michael Craze a chance to show his range, and by choosing not to play it in a zombie or fugue state it’s all the more chilling. Plus, and I can’t stress this enough, giant crabs.

Third Doctor: ‘The Sea Devils’

‘The Sea Devils’ is a sequel to ‘The Silurians’, Malcolm Hulke’s story of prehistoric lizard people who were the dominant species on Earth before humanity. That story was a more considered, intense tale, whereas this is more of a romp with depth. With aquatic lizards instead of underground ones, it also features the Navy rather than UNIT, and the Navy is credited with assisting the production.

Possibly because of this collaboration Jon Pertwee (formerly of the Naval Intelligence Division during World War Two) is clearly having a great time. Otherwise the tropes of the era (the Master, the military, meddling civil servants, Jo Grant gets to be resourceful and plucky, six episodes that could have been done in four) are all present and correct and ready to be argued at. It’s extremely comfortable, and directed with pace and energy by Michael E. Briant (he also knows when to slow down: the submarine attack, for example, where the sailors arm themselves and get into position, watching in horror and confusion as the door melts in front of them).

Hulke injects just enough detail into the characters to bring them to life, with the cast rising to the challenge. Colonel Trenchard, for example, feels like someone you could hear at a golf club complaining about immigration. The final two episodes dispense with any notion of depth and instead we get a big ol’ fight scene where the Navy gets to show off its machinery and the stunt team gets to show off its flips and falls.

This story also features an experimental synth score and a swordfight between the Doctor and the Master where one of them stops for sandwiches. The Pertwee era is pitched incredibly astutely. Sure, it’s absolute nonsense, but it’s amiable nonsense with teeth.

Fourth Doctor: ‘The Ribos Operation’

‘The Ribos Operation’ (or, as it should be known ‘The Best Fourth Doctor Story’) kicks off The Key to Time arc by systematically undermining the entire concept. The Doctor is given a mission by the White Guardian (ostensibly nicer than the Black Guardian but with a hint of unease to him), to find six pieces of The Key to Time and restore balance to the universe. The Doctor is given a new companion, a recent Time Lord academy graduate with all the book knowledge but no experience of the universe.

Robert Holmes’ script is layered, funny, and treads a perfect balance between anger and (unexpectedly) kindness. It hides its subtleties with engaging dialogue and characters, all played with the right levels of bombast. And such characters! Garron and Unstoffe, one of several Doctor analogues (he’s a big, booming and charismatic conman, with Unstoffe as his game but questioning companion who brings compassion that Garron can’t) are rightly regarded as the standouts, but it’s also worth noting the Graff Vynda K: a villain of the piece, a prissy warlord full of self-importance but never heard of before or since, a backwater despot bullying his way across a tiny corner of the universe. The Doctor’s solution to a vainglorious, self-mythologising monster? To blow him up. An interesting response on a number of levels.

There’s nothing wrong with this story. It’s superbly constructed and well-made. It’s a perfect anti-epic, and the only story I’ve rewatched on DVD as often as I did VHS.

Fifth Doctor: ‘Enlightenment’

A wondrous peak in Eighties Doctor Who, starting as a cerebral science-fiction adventure before morphing into a cerebral science-fiction adventure that’s camp as tits.

You may recall Craig Ferguson’s description of Doctor Who as ‘the triumph of intellect and romance over brute force and cynicism’. ‘Enlightenment’ is a great example of this, with the romantic image of seafaring ships sailing through space corrupted by both the aloof officers and the Black Guardian’s influence. The Guardians here are ostensibly still representations of order and chaos, but mostly they’re ‘nice old man with bird on head’ and ‘ridiculous hyuk hyuking villain with bird on head’. The officer class are made up of Eternals – a race of godlike immortal beings who created this space race for entertainment – a great concept invented by writer Barbara Clegg after witnessing her rich relatives interact with her poorer ones at a family gathering.

The Doctor, through his intellect and faith in his companion, removes the corrupting forces. It’s not clear what happens to the surviving ships after the race is finished, but imagine finding one abandoned in space. It’s such a strong image in a story full of them. Clegg’s writing is full of great concepts and characterisation, including some excellent work with the regulars that makes them feel much more like real people than usual.

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Sixth Doctor: ‘The Mark of the Rani’

In which Time Lady the Rani experiments in a north-eastern mining town, causing violence to erupt.

First of all there’s the score, which is still of its time but feels distinctive due to its more tranquil ambient feel. It doesn’t sound dissimilar to The Microgram, someone who travels round the North East of England recording ambient noises and playing synths over them. There’s even one recorded at Beamish, which completes the loop here.

‘The Mark of the Rani’ is set in Killingworth, north of Newcastle, and technically so are the accents. They sound like someone went round RADA asking ‘Has anyone heard the song “Let’s Get Ready to Rumble” by PJ and *checks notes* Duncan?’

This slightly askew version of reality fits Pip and Jane Baker’s version of Doctor Who. Their debut script for the show establishes their style of endearingly serious batshit nonsense (landmines that turn people into plants, leading to the immortal line ‘The tree won’t harm you’). It’s like their stories are written by Wallace with minimal input from Gromit.  

As a result ‘Mark of the Rani’ stands out amidst the aggressive stories surrounding it. It can be taken as merely enjoyably daft, but it’s also got some substance to it. Pip and Jane clearly remember Doctor Who as being the kind of show where the Doctor and his companion got on, so Peri is subjected to less arguing and is even defended (admittedly in terms of utility) by the Doctor.

The Rani is actually a character here, as opposed to her other appearances where she is simply A Villain In Doctor Who, and her presence immediately reduces Anthony Ainley’s Master to a supporting comic relief character. This suits him. When you’re standing in a field caked in shit pretending to be a scarecrow and laughing at passers-by for not noticing you clearly we can’t take you seriously anymore, so at least this story doesn’t pretend he’s a credible threat.

So on the one hand it’s daft, silly fun, but on the other it’s a mid-Eighties story featuring a chemist torturing Northern miners for her own gain. Guess what degree Margaret Thatcher graduated from Oxford with?

Speaking of Thatcher:

Seventh Doctor: ‘The Happiness Patrol’

Within Doctor Who fandom, no one has ever said ‘Oh you don’t like the McCoy era? I’m sorry, you never mentioned it’, and ‘The Happiness Patrol’ revels in all the things its detractors hate about the era. It’s intentionally camp and uses symbolism rather than demanding to be taken literally, like a more confident version of Season 24. The Kandy Man is rightly noted as (visually) a Bertie Bassett parody, played as the ludicrous creature he undoubtedly is.

Knowing that it is restricted in what it can show in terms of violence, the show had now worked out how to be ostensibly child-friendly and incredibly morbid, hence the screeching sweetie-creature, the Day-Glo ray-guns, and the guy who gets drowned in a vat of jam. When you’re three and have never seen Doctor Who before the Kandy Man is downright terrifying, this bizarre monster who twists and turns and screams. This was my first experience of Doctor Who and, appropriately enough, it scared the hell out of me.

As an adult, I find it’s a pleasing return to the ‘Weird Troughton’ stories of the Sixties, the ones where the Doctor was an unassuming but powerful anarchic figure. Here we have a variation of this, where the Doctor has been trying to explore the universe but finds it full of monsters, and starts doing something about it.

Before Season 26 attempted something approaching realism, this story suits Ace and the Seventh Doctor who both feel like Children’s TV archetypes who have grown tired of their roles. Ace’s CBBC leanings (with crap swearing and Blue Peter badges) fits into this heightened reality better than she does a less tonally certain story (like ‘Battlefield’). ‘The Happiness Patrol’ feels like a combination of the different approaches of the McCoy era, a best of album with a life of its own.

Eighth Doctor: ‘Night of the Doctor’

This is specifically because of the circumstances of broadcast, although it’s also a melancholy meta-commentary on the show’s cancellation and wilderness years in which Paul McGann gets to demand ‘Bring me knitting’.

It’s not merely the return of McGann to the onscreen role of the Eighth Doctor after 17 years, it’s that this was kept a surprise until the mini-episode was released in the build-up to the 50th anniversary special. It was such a treat, and I still remember the email I sent to the site’s TV editor when I watched it for Den of Geek. It read ‘OH MY F***ING GOD’ and was sent while the episode was paused just after the word ‘expecting’.

And so I told my friends. I know people watched this in work meetings on their phones under the table. It’s associated with a lot of feelings, not least building excitement. This one is connected very clearly to a moment of shared joy.

Ninth Doctor: ‘The End of the World’

While ‘Rose’ is rightly adulated as bringing Doctor Who back to a large prime time audience, ‘The End of the World’ had a different job to do. Viewing figures went down for this episode after over 10 million people watched the series opener, but went up again after this, suggesting positive word of mouth from this episode, consolidating the success of ‘Rose’.

The production team were aiming to use this episode to show off how Doctor Who could look in 2005, with hundreds of CGI shots and dozens of aliens gathered together. It also showed the new Doctor’s emotional distance, in that his idea of showing off to his new companion is to take her to see her planet getting destroyed.

We also get, in a late addition to the script, Russell T. Davies’ knack for making the alien familiar with the character of Raffalo (‘You’re a plumber?’) who is almost immediately killed, further demonstrating RTD’s knack for knowing which character’s death will have the most impact (and if you’ve not read his novelisation of ‘Rose’ you really should if just for Clive’s death in prose form. Honestly it’s incredible).

‘The End of the World’ is a comforting reminder of the nascent excitement surrounding the 2005 series, that feeling of turbulence that eventually settled because of the strength of these early episodes.

 Tenth Doctor: ‘The Fires of Pompeii’

The episode itself has a soothsay-off between Metella and Lucius to set up a plot point and the series arc, and the first TARDIS trip for Donna as a full-time companion. You immediately get to see the strengths that Catherine Tate is going to bring to the series, not merely her comic and dramatic ability but the way Donna is able to stop the Tenth Doctor from his worst impulses, and by bluntly dismissing the notion of fixed points in history meaning just allowing bad things to happen. This is, for me, the best episode in the first half of Series 4 by a long way.

Sure, there’s a colossal death toll here which is far from comforting, but as ever nostalgia and context plays a huge part here. This was an episode broadcast on the night of our fan club’s night out, a phase of my fandom that turned me from someone who liked Doctor Who in primary school into an adult fan. This has, overall, been worth it. So what this story reminds me of is, following on from ‘The End of the World’s establishing the series, is the initial excitement and patterns of Russell T. Davies’ series where he set up some key words or phrases early on and fandom tried to work out their significance, resulting in the heady days of someone saying Norman Lovett was going to play Davros in ‘The Parting of the Ways’ on IMDb.

Eleventh Doctor: ‘A Christmas Carol’

Quite a few contenders here, but I’ve gone with my favourite Christmas Special because these episodes are often Doctor Who at its broadest, suitable for the half-cut who dwell in food-comas. This episode is one of the last of these stories, before the Christmas Specials became steeped in the main continuity of the series. It’s also a great example of the childlike impulsiveness of Matt Smith’s Doctor before he became more of a teenager in Series 6. It’s great fun and the riffing on Dickens lands really strongly for people like me, who often respond more to a strong realisation of an idea than they do pathos.

This story is designed to be comfortable and succeeds by establishing what a Steven Moffat Christmas Special will look like: lots of time-travel, obviously, but also a big budget version of ‘The Happiness Patrol’s daring the audience to find it too ridiculous. As a result we get a remix of A Christmas Carol featuring flying sharks pacified by a mezzo-soprano, with the joy of these disparate elements coming together through that most underrated of Moffat staples – a grumpy old man learning to let go while being dragged through the sky by animals who usually lack the power of flight.

Twelfth Doctor: ‘Mummy on the Orient Express’

With Capaldi realising his initially abrasive take on the character was too much, this story relieved the tension that had been building with the Doctor’s behaviour, allowing him to explain himself and setting up the arc that culminates in ‘Hell Bent’.

Once this was broadcast I breathed a sigh of relief. Despite wanting it not to be the case I’d had to reach for the positives in the Capaldi era thus far; with the exception of ‘Listen’ the stories had felt like treading water until ‘Kill the Moon’ split the room. Even if you don’t like it (and I mostly don’t) that was the first story that felt like it was trying something different and paved the way for the increased complexity of the Twelfth Doctor’s character. Ultimately what the show needed at this point was a run of good stories, and – appreciating some people don’t get on with ‘Forest of the Night’ (and I mostly do) – this was the start of a really strong run.

‘Mummy on the Orient Express’ is a mash up of concepts that Doctor Who excels at, with an enjoyably horrific Mummy and the actual countdown to its victims’ demises contributing to making each death count. This is harder than it looks, the balance between violence and pathos taking into account the family audience, but the combination of ideas really makes them land as brutal without gore. By putting the Doctor through this writer Jamie Mathieson manages to explain his apparent heartlessness as weariness at making tough choices, but being unable to resist getting into situations that require them. The path is now clear from here to the heights of ‘Hell Bent’ and ‘The Doctor Falls’.

Thirteenth Doctor: ‘It Takes You Away’

Obviously there are fewer Jodie Whittaker fewer stories to choose from, and for me it has to be one from Series 11 because that felt like a palette cleanser for an approach to Doctor Who that never manifested. For all its ups and downs, limiting continuity references and focus on new characters or threats felt like a good move. Certainly the guest writers all provided solid stories, and while the series didn’t soar for me it felt like a good platform to improve from, which is partly why Series 12 was so disappointing (it felt like it addressed problems that weren’t there, ignoring the ones that were).

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‘It Takes You Away’ is frequently surprising, offering a simple blunt horror of loss (the childlike refrain of the title, the fear of absence) combined with endearingly outlandish performances by the actor Kevin Eldon and a sentient universe manifesting as a talking frog. It allowed Jodie Whittaker a rare success in negotiating her way out of a situation, and progressed the character arc of the series with Ryan and Graham’s changing relationship. It’s obviously imperfect (ideally, Hanne’s Dad’s manipulative behaviour would be properly addressed) but it’s also imaginative, moving, and weird, and these are three things I really want Doctor Who to be.

Share your go-to Doctor Who comfort viewing episodes below.

The post Doctor Who’s Best Comfort-Viewing Episodes appeared first on Den of Geek.

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[lady-adventuress]

Books I Read in 2017

Alphabetical list here, reviews under the cut in chronological order:

Almond, David: A Song for Ella Gray

Bardugo, Leigh: The Grisha Trilogy, Six of Crows, Crooked Kingdom

Cline, Ernest: Ready Player One

Cloonan, Becky, Brendan Fletcher, and Karl Kerschl: Gotham Academy Vol. 1-2

Cluess, Jessica: A Shadow Bright and Burning

Coulthurt, Audrey: Of Fire and Stars

del Duca, Leila and Kit Seaton: Afar

Dragoon, Leigh and Jessie Sheron: Ever After High: Class of Classics

Flores, Chynna Clugston, et al.: Lumberjanes/Gotham Academy

Gaiman, Neil: American Gods

Gaiman, Neil and Chris Riddell: The Sleeper and the Spindle

George, Madeleine: The Difference Between You and Me

Gilmour, H.B. and Randi Reisfeld: T*Witches #1-10

Hale, Shannon: Princess Academy: The Forgotten Sisters, The Unbeatable Squirrel Girl: Squirrel Meets World

Hicks, Faith Erin: The Nameless City, The Stone Heart

Jensen, Michael and David Powers King: Woven

LaCour, Nina: We Are Okay

Larson, Hope: Chiggers, Mercury

Lubar, David: Sophomores and Other Oxymorons

Riordan, Rick: The Trials of Apollo #1-2, Magnus Chase and the Gods of Asgard #2-3

Shea, Lisa: Ever After High: Once Upon a Twist: Cerise and the Beast

Stewart, Cameron, Brendan Fletcher, and Babs Tarr: Batgirl Vol. 1

Stoker, Bram: Dracula

Sugiura, Misa: It’s Not Like It’s a Secret

Turtschaninoff, Maria: Maresi

Weir, Andy: The Martian

West, Hannah: Kingdom of Ash and Briars

I also listened to a lot of audiobooks as I was working this year, but since I have terrible audio comprehension, I stuck to books I’ve already read and know I like:

From Tamora Pierce, Alanna: The First Adventure and the Trickster series, read by Trini Alvarado. The Protector of the Small series, read by Bernadette Dunne. The Immortals Quartet, Sandry’s Book, and The Will of the Empress, Full Cast Audio narrated by Tamora Pierce. All of them were good, but I especially loved hearing the Trickster series and all of the Full Cast books. I absolutely recommend them. Immortals was my favorite.

From Eoin Colfer, the Artemis Fowl series, read by Nathaniel Parker. I liked it a lot. It’s nice being able to hear the accents and remember that Artemis is actually Irish.

T*Witches #1-10, by H.B. Gilmour and Randi Reisfeld. Twin witches who were separated at birth meet at age fourteen and must learn magic to protect themselves from their evil uncle. This is a series from my childhood that still holds up in a cheesy nostalgic way. I always found the attempt at teen slang baffling, but at its core the story is still about family and girls supporting each other and trying to do the right thing. Excellent and complicated relationships between both biological and adopted families, excellent and complicated supporting characters.

Dracula, by Bram Stoker. An ancient vampire brings death and evil to England while a group of mostly-bumbling protagonists try to stop him. It’s hard to read a book like this without being influenced by the cultural interpretation, but one thing that really threw me off is the importance of characters that seem to get really downplayed in adaptations. I wouldn’t say I enjoyed the book, but I did enjoy how ridiculous parts of it was.

The Unbeatable Squirrel Girl: Squirrel Meets World, by Shannon Hale and Dean Hale. A fourteen-year-old girl tries to make new friends while keeping her squirrel tail and superpowers a secret. I love Shannon Hale’s children’s books. Squirrel Girl had the charm of her Ever After High work, surprisingly without being as over-the-top. Doreen isn’t the type of protagonist I tend to relate to and I always get a little weirded out with anthropomorphized animals, but the book was fun and funny with distinct voices and an appropriate amount of camp. Also, footnotes.

The Difference Between You and Me, by Madeleine George. The closeted popular girl and school outcast are on opposite sides of school politics, which causes problems in their secret relationship. I feel like there are tons of fanfictions like this, so I was glad when this book didn’t run into the overused tropes. Unfortunately, it didn’t really have much in the way of conflict at all, which was surprising when it seemed like every single character’s opinions were meant to be deliberately polarizing. I thought that situations and characters were set up really well, but none of it really came together in a satisfying way.

Chiggers, by Hope Larson. Graphic novel. A girl navigates summer camp drama and befriends the girl no one else likes. I’ve heard a lot of good things about Hope Larson, but I couldn’t like this book even though I was trying to. It felt like nothing was happening for most of the story, and I’m not sure what was accomplished in telling it. The elements of magical realism were interesting, but it wasn’t enough to carry the story, and neither was the mundane drama. There wasn’t enough time to invest in the characters.

Mercury, by Hope Larson. Graphic novel. A girl’s experience with a mysterious gold prospector affects the life of her modern-day descendant. The story was thought-provoking, even if it took me a while to get into it, and the magical realism was well-integrated. I don’t love Larson’s cartooning style, but I thought it was much more readable than Chiggers without sacrificing its uniqueness.

The Nameless City, by Faith Erin Hicks. Graphic novel. A boy befriends a native girl in the city his people conquered. Hicks’ visual storytelling skills are excellent, and I love how her characters and expression can be both subtle and cartoony. The story was thoughtful and deals with political realities in a way that doesn’t demonize or alienate anyone. Jordie Bellaire’s color palettes are beautiful.

Unfortunately, the sequel The Stone Heart doesn’t quite live up to the first book. The art is still excellent, but the pacing and plot seemed less well-planned, especially since the story now seems to be heading in a more predictable direction. There’s a third book forthcoming, so maybe that opinion will change.

Batgirl Vol. 1: Batgirl of Burnside, by Cameron Stewart, Brendan Fletcher, and Babs Tarr. Trade paperback. A college student tries to reinvent her vigilante identity while dealing with being the personal target of a mysterious villain. This was definitely not a bad book, but it also didn’t feel like a Barbara Gordon book. If you’re writing for characters with decades of history, that legacy deserves to be respected, and I’m not sure Stewart and Fletcher accomplished that in the writing. Separate from preconceptions, the plot was solidly set up with good dialogue and distinct characterization, although I thought Barbara’s arc had a weak resolution. Tarr’s art is great, though, and I can definitely see why this series is so popular.

Gotham Academy Vol. 1-2, by Becky Cloonan, Brendan Fletcher, and Karl Kerschl. Trade paperbacks. A girl investigates a haunting at her school, which is connected to a mysterious summer experience she can’t remember. Kerschl’s character acting is excellent, and the relationship between the protagonist Olive and her ex-boyfriend’s sister Maps is immediately compelling. The cast is well-rounded and interesting, and I enjoyed reading a comic set in a superhero world without being a superhero book. Plot elements are set up from the first issue, and the story is a lot of fun overall.

A Song for Ella Grey, by David Almond. A modern version of the Orpheus and Eurydice myth is told from the perspective of Eurydice’s best friend. Almond is an excellent writer, but I felt like this was a story that didn’t need to be retold, especially with his addition of a tragic unrequited queer romance. The protagonist doesn’t have any agency within the storyline so it felt like a series of events happening in sequence rather than a narrative. I did think the formatting shift at the turning point was interesting, but the myth dragged unnecessarily in order to fill the length of the novel.

The Trials of Apollo #1: The Hidden Oracle, by Rick Riordan. The Greek god Apollo is sent to earth as a teenager as punishment for his arrogance and is bound to the service of a young girl. It’s hard to enter into the Trials of Apollo series without prior knowledge of Percy Jackson and the Olympians or Heroes of Olympus, and even as a fan of the other books in the universe, I had a hard time engaging with Apollo as a protagonist. The narration fit the character well, though, and Riordan deals with serious subjects without resolving anything prematurely. I liked that each chapter was introduced with a haiku rather than a title.

The second book in the series, The Dark Prophecy, is similar in tone to the first. I would say the biggest change is the addition of Leo and Calypso from the prequel series to finish off the classic trio of heroes. That dynamic was interesting, and I also really enjoyed the appearance of my favorite Percy Jackson character.

We Are Okay, by Nina LaCour. A girl deals with grief over her grandfather’s death and reconnects with her best friend during winter break of her first year of college. It was a slow start and I had some trouble keeping up with shifts in the narration, but I ended up liking this book a lot. The writing is atmospheric and captures the protagonist’s thoughts well. The setup for the mystery is subtle and doesn’t take focus from the characters.

American Gods, by Neil Gaiman. After three years in jail and his wife’s death, a man takes a job that involves him in a war between old and new gods. I really like Gaiman’s writing, and Shadow is a protagonist that is engaging despite his relative passiveness. Even so, I wouldn’t say this was a book I actually enjoyed all that much, and plot twists were well-developed to the point that they weren’t particularly surprising or satisfying. I’ve seen a lot of stories modernize gods, so Gaiman’s treatment didn’t seem as unique as I’d been led to believe. That being said, maybe I would have enjoyed this more if I’d read it earlier.

Magnus Chase and the Gods of Asgard: The Hammer of Thor, by Rick Riordan. A teenager resurrected as a Viking warrior goes on a quest to retrieve Thor’s hammer. This series in particular seems to depend on pop culture references, so while I liked the writing, I wonder if it will stay as relevant as Riordan’s other books. I did really enjoy the cast and the expansion of their backstories, and this book sets up what seems to be more of a crossover with the Percy Jackson series.

Book three, The Ship of the Dead, was also really fun. The closing of The Hammer of Thor was a little misleading in that the crossover elements were limited to the beginning and end of the story as usual, but by this time the characters are more than capable of standing on their own. It seems like this book is the last of the series, and it managed to close out the plot pretty well.

Six of Crows and Crooked Kingdom, by Leigh Bardugo. Six teenagers are hired to break a political prisoner out of a foreign country. Not only is this an excellent heist story with a really detailed plot, but each of the characters are fully developed and they all have their own arcs throughout the books. Bardugo’s cast is inclusive and intersectional without feeling like she’s checking off a list and the writing is witty with clear voices. Both the characters and plot drive the story. I can’t say enough good things about this duology.

The Grisha Trilogy, by Leigh Bardugo. A teenage soldier discovers an elemental power and becomes part of a plan to overthrow a corrupt monarchy. This trilogy takes place before Bardugo’s Six of Crows books, but it was disappointing in comparison. I really disliked the protagonist, and there was a lot of focus on a frustrating romance, to the point that it overshadows the interesting worldbuilding. The plot dragged in places, despite being too thin to fill three books. Even so, there are a few really great supporting characters that almost made it worth it.

Sophomores and Other Oxymorons, by David Lubar. After a successful freshman year, a teenager’s overconfidence causes problems at his high school. This is the belated sequel to Sleeping Freshman Never Lie, which is one of my favorite books. Sophomores seems more self-referential and has a subplot that doesn’t seem to fit the tone as well, but for the most part it had the same witty charm that I loved about the first book. Of course, the best part of the series is still Lee, the female lead.

Maresi, by Maria Turtschaninoff. An abbey novice discovers her calling when a new girl with a troubled past arrives. This book was originally published in Finnish, I believe, but I think it must have lost something in the translation. The narration is distant, and even though parts of the world are described, it was hard to picture any of the setting. Overall it didn’t really hold my interest.

Kingdom of Ash and Briars, by Hannah West. After gaining magic powers and immortality, a girl becomes responsible for ensuring peace throughout three kingdoms. I really didn’t like this book. It treats the female characters poorly, especially the antagonist, and although the plot is ostensibly about duty, it’s heavy-handed, relies too much on tropes, and is really obviously motivated by romance. A lot of this can be overlooked if it’s ironic or just done well, but it never came together and ended up being very frustrating.

Of Fire and Stars, by Audrey Coulthurst. As she enters an arranged marriage, a princess has to hide her magic and her attraction to the prince’s sister. Even though the two protagonists are supposed to have equal weight, I ended up almost actively disliking one of them. The plot isn’t terribly engaging, but because I couldn’t get behind one of the characters, the romance couldn’t carry the novel for me. It wasn’t bad, but I wish it was better.

Princess Academy: The Forgotten Sisters, by Shannon Hale. A commoner-turned-princess takes an unattractive job to teach court manners to three royal sisters. This book is the third in Hale’s Princess Academy series and it is just as excellent as the first two. The plot is set up well across multiple books, and Miri is an excellent and flawed protagonist who is capable without overshadowing the other characters. The romantic plots don’t feel forced and the narration accomplishes a lot of interesting worldbuilding. Another book with girls supporting one another despite not necessarily understanding each other.

The Martian, by Andy Weir. An astronaut is stranded on Mars after an early mission evacuation and must survive until he can be rescued. I was skeptical about the premise, but everything is well thought out and clearly explained, without sacrificing either reader engagement or scientific accuracy. The protagonist has a great voice, but as soon as the perspective shifts away from his first-person mission logs, it’s easy to tell that Weir isn’t a very experienced writer, since the other characters and third-person narration are not nearly as well-defined. Overall, though, it was still a good book.

Ready Player One, by Ernest Cline. A high-schooler who is desperate to escape a dystopian future dedicates his life to solving a virtual reality puzzle and becoming the heir to a video game empire. There were two things that I really disliked about this book, the first being the protagonist, who seemed like a terrible person for most of the book. The second is that, despite being ostensibly a celebration of pop culture (and especially 80s pop culture), the overall viewpoint seemed really rigid and judgemental. The writing was fine, and there were some really interesting puzzles, but in the end I felt like it was male nerd entitlement in novel form.

Ever After High: Once Upon a Twist: Cerise and the Beast, by Lisa Shea. The daughter of Red Riding Hood and the son of King Charming are forced into the roles of Beauty and the Beast in order to escape their midterm exam. Cerise and Dexter seem like an odd pair, which sometimes works in the Ever After High universe, but didn’t really here. Part of this I think is because this book is written for an even younger audience than the original so the characters lost a lot of their nuance. The only part of the story that surprised me was almost immediately negated by a soap opera-worthy plot device to prevent the status quo from changing.

Afar, by Leila del Duca and Kit Seaton. Graphic novel. A girl tries to fix problems caused by her newfound ability to project herself into different worlds, while keeping her younger brother out of trouble. There is a lot of visual worldbuilding here, which I thought was very well done. Plot wise, it felt like the protagonist’s arc was maybe just the first act of a much longer book, but the characters were solid all around.

Lumberjanes/Gotham Academy, by Chynna Clugston Flores, Rosemary Velero-O’Connell, Kelly Matthews, and Nichole Matthews. Graphic novel. The ensemble casts of Lumberjanes and Gotham Academy work together to free their teachers from a girl’s attempt to relive a disastrous birthday. I think this book is set up more for fans of both series, and since I’ve only read a little of Lumberjanes, I felt like I was playing catch-up for some parts. I did really like the parts that showcased the Gotham Academy characters, though. I felt like the art was missing the lushness and texture of what I remember of the regular series, which was disappointing.

Ever After High: The Class of Classics, by Leigh Dragoon and Jessi Sheron. Graphic novel. The children of popular fairy tales learn more about their parents by using magic to relive parts of their high school experience. This book was very disappointing compared to other parts of the franchise. The art is minimal and flat compared to the webseries, and all but one of the anthology-esque stories felt like retreading old ground. I also really disliked the narrative hoops the audience was expected to jump through just to keep anything significant from changing.

It’s Not Like It’s a Secret, by Misa Sugiura. After moving from Wisconsin to California, a Japanese-American girl struggles to build a life she is happy with while keeping secrets that could ruin her family. This book was a bit surreal to read because specific parts of it were identical to my high school experience, while other parts were completely foreign. Still, the writing is solid and thought-provoking, and I liked that there is no easy answer to the protagonist’s problems.

A Shadow Bright and Burning, by Jessica Cluess. A newly-discovered sorceress takes on the role of a prophecized savior in a fight against enormous apocalyptic monsters. I found it a little difficult to get into the characters, especially since there is only one girl in a large group of boys and the gender difference is a large part of their interactions. I disliked the romantic subplots, which seemed to take over the narrative, even though the worldbuilding and political aspects of the plot were really interesting.

The Sleeper and the Spindle, by Neil Gaiman and Chris Riddell. A queen postpones her wedding to deal with the sleeping curse that threatens to spread from the kingdom next door. The story begins as a mix of archetypes from Snow White and Sleeping Beauty, but Gaiman’s atmospheric writing elevate it even before the surprising finale. Riddell’s illustrations and other visual choices for the physical book are beautiful and tell the story meaningfully. Highly recommended.

Woven, by Michael Jensen and David Powers King. After his murder, an aspiring knight goes on a quest with a spoiled princess to stop the universe from unraveling. This book had an interesting premise, but its execution filled me with rage. Although it pretends to have dual protagonists, the princess is treated horribly by the narration without any kind of self-awareness. She is given a thin veneer of fighting ability but no agency in the story and is constantly being rescued without payoff. The writing and pacing also seemed flat. Overall extremely frustrating, especially because of the hints of interest.

[hextual]

Podcast Recs

The following recs/summaries may contain light-to-moderate spoilers, though I try to keep things vague and rot13 the more specific stuff! Here is an abbreviated spoiler-free rec list, for the sensitive among you.

Night Vale Presents

The three non-WTNV shows have all finished their first seasons (and Alice Isn't Dead just started its second). They're relatively short and contain complete story arcs. 

WTNV: The ur-podcast, the light horror fiction narrative that kicked off the trend. Y'all know it or you don't. If you've somehow never heard it and don't want to start from the pilot, I recommend trying Episode 13; it's a stand-alone episode in a slightly different format than the rest, but it gives a good sense of WTNV's general aesthetic. Also it's just really really good.

Alice Isn't Dead: A surrealist horror roadtrip about a trucker searching for her wife Alice, who isn't dead. She's got nothing to lose and a lot of dangerous road to cover.

Orbiting Human Circus: Bizarre and magical and a little bit heartbreaking, like all good circuses should be. Julian is the janitor of a heavily fictionalized Eiffel Tower, and he desperately wants to be part of the Orbiting Human Circus show that he cleans up after every night.

Within the Wires: Dystopian sci-fi 1980s AU, told through a series of 'relaxation' cassettes. More grounded in reality than the others, though that's not saying much. The medium is also foregrounded much more in the narrative.

Hiatus

Wolf 359: SUPER dark, though you wouldn't know it from the first dozen episodes. However, the inflicting-trauma to coping-with-trauma ratio is low enough that I listened to the whole thing and will almost definitely listen to Season 4 when it's released starting this June. Also, no queerness whatsoever (making it unique on this list).  

Eos 10: Spaceship sitcom. Less artistically ambitious than most of the others on this list, which is not necessarily a point against it. 

Airing

The Strange Case of Starship Iris: Newer sci-fi podcast that I absolutely love; it ticks all my very specific boxes (including medium-as-message) and is also just really well constructed and executed. I adore every single one of the main characters. There are only 4 episodes but I'm so hyped about it. 

The Bright Sessions: Audio files from a therapist to teens and young adults with superpowers. Everything I ever wanted X-Men to be: light on the fight scenes/explosions, heavy on exploring what it means to have superhuman powers and how that might affect your life/relationships.

The Penumbra Podcast: Cyberpunk noir pastiche that sometimes gets a little too broad for me but is generally good fun of the Thrilling Tales! variety.

Ars Paradoxica: Time travel in one of its more complex interpretations. Paradox is a major plot element. Kind of sci-fi historical fiction?

Now for the more detailed writeups, including overviews of queerness and genre. As I said before, potential spoilers are rot13′d...but Here There Be Dragons etc.

Night Vale Presents

All of these are incredibly solid shows with an otherworldly feel to them that I love, despite being otherwise quite different.

All main characters are queer; WTNV has queer side characters (including nonbinary characters), but afaik the only other explicitly queer characters in AID/ORC/WTW are love interests of the MCs. That's pretty understandable, though, given that the casts of the three non-WTNV shows are exponentially smaller, and they've aired significantly fewer episodes.

I want to mention something in a totally value-neutral way: none of the shows feature homophobia or directly discuss queerness (lowkey exception for one episode of WTNV). I actually enjoy that, personally; it's usually very restful to spend time in worlds where queerness is normalized and unremarkable. Occasionally, however, I do want a slightly more direct approach, so I wanted to make a note in case you're in that kind of mood. 

Welcome to Night Vale The first and only podcast I listened to for about a year. Honestly, do I even need to say anything about WTNV?  I do want to mention that I think it's gotten a little bogged down in continuity over the last year. AFAIK it wasn't conceived as a long-running narrative arc, and a lot of its early charm came from the total lack of context. After Year 2, I feel like it did start spending a little too much time explaining things and filling out backstory for elements that, frankly, didn't need them. YMMV ofc, and I still listen to/enjoy every new episode, but I'm not madly in love with Year 3 the way I was with Year 1-2. Queerness: Queer af! The main character gets a full same-sex romance arc; V'q pnyy vg 'unccl-raqvat' ohg vg'f fgvyy batbvat nf n ybivat naq urnygul eryngvbafuvc, juvpu vf rira orggre. Multiple side characters are queer, including a few nonbinary characters who use they/them pronouns.  Genre: tucking into a short stack at 2am in a diner in the American Southwest, slowly realizing that the woman behind the counter called you by name even though you've never been here before, and also you can't quite remember how you got here in the first place. Alice Isn't Dead Beautiful, creepy, and acted by the brilliant Jasika Nicole. I'd place this more firmly in the horror genre than the others, so if you're sensitive to that kind of thing, take note; there's some suspense and a little bit of violence. That said, I am usually MASSIVELY sensitive and can't even watch trailers for horror movies (I have made my peace with never ever seeing Get Out), and I was perfectly fine with it. Queerness: The main character is a woman married to Alice, who isn't dead. It's like the opposite of the Bury Your Gays trope. Genre: driving along a nameless interstate late at night, the world around you narrowed to the section of road thrown into sharp relief by your headlights, and the occasional glint of animal eyes. The Orbiting Human Circus of the Air ORC is the most fanciful of the Night Vale family. The other shows seem like they take place in realities just a shade off from ours, but ORC completely throws any pretense of realism out the window. There's no real sense of a world outside the Circus, and why should there be? The Orbiting Human Circus of the Air has an infinitude of fantastical delights: singing saws, a bird that can mimic (almost) a full orchestra, tap-dancing mice. There's no trick or sleight of hand involved, not even a dusty tome of magic spells. ORC simply presents a world in which these wonders exist in hidden corners. The story is sometimes melancholy, and there are regular hints of a deep sadness underneath the surface, but the main character is defined by his determination and...well, 'optimism' would be too strong a word, but he has an unyielding sense of hope. He doesn't actually think things will turn out well for him (and he's so often right about that), but he clings to the hope that this time, maybe it might. Queerness: Gur znva punenpgre nyyhqrf gb na rk-oblsevraq bapr. This is one of the lighter touches of queerness in the Night Vale family. Genre: peering through a dusty velvet curtain just offstage, while brightly-costumed creatures dance to a tune you haven't heard since you were a child. Within the Wires While all Night Vale Presents shows have some kind of narrative conceit framing the audio medium (community radio station, trucker radio transmissions, broadcast wish fulfillment), those tend to be vehicles for the story and stylistic flourishes, rather than core elements of the story itself. WtW is presented as audio cassettes on full-body relaxation, and the cassettes themselves become key actors. This is not a story that could be told in any other medium, which personally I freaking love. This is also a more sci-fi show than the others, despite being set in AU 1980s, and more blatantly dystopic. The world-building's a little more evident, which is neither a good thing nor a bad thing; I think it's a side effect of being more sci-fi than fantasy. Everything feels like it has an explanation, even if the explanation is not provided, and it all fits together smoothly. Also: the narrator has a mild kiwi accent, which I find incredibly soothing. Queerness: Yep. Gur znva punenpgre unf n pbzcyvpngrq ohg qrpvqrqyl abg cyngbavp (s/s) eryngvbafuvc jvgu gur jbzna gur gncrf ner vagraqrq sbe.  Genre: lying quietly in a sensory isolation tank until you inexplicably start crying for the first time in years.

On hiatus

Wolf 359 So, there are a couple voice actors in Wolf 359 that don't do a whole lot for me, performance-wise. I don't want to get more specific because YMMV and I'm also just a really picky audio consumer, but there you have it. Mostly it's not an issue, though. This is also one of the darker shows I listen to, although it starts out with more of a zany sitcom vibe. There's a fair amount of murder, murder attempts, and general people-being-horrible-in-ways-they-believe-to-be-justified. It's not something I think I could sit through again, but it is a captivating story told well. There's a lot of focus on the emotional arcs and characters dealing with trauma, which I am All About in sci-fi. 

Queerness: zero. Zip. Zilch. It doesn't feature any romance arcs at all, though, so...I found it tolerable. Honestly, if it hadn't come so highly recommended, I probably would not have given it a shot. Genre: placing your hand on a rusty, unmarked door that wasn't in the ship schematics, and knowing you must step through—you must step through. Eos 10 After my first pass at this write-up, I realized that I was being really negative—far more negative than this show deserves. So I want to be clear: I listened to and enjoyed every extant episode of Eos 10, and I'm looking forward to Season 3, whenever it's released. It's a pleasantly entertaining space sitcom and I've gotten attached to the characters; the writing's solid and the voice acting is generally pretty great. It's just not quite tailored to my specific tastes. Ok, back to what I originally wrote: This podcast feels a lot more mainstream/conventional in its tropes than the others. Unlike most of the podcasts I listen to, the medium is invisible to the characters: it's not pitched as a radio show or a voice recorder or a series of motivational tapes. To me, this adds another layer of remove between the audience and the story. It's fine, it's just very straightforward in its presentation, with no medium-specific conceit or anything. It’s not really outsider art in any sense, and could legitimately be a TV show if it had the budget. That's a pretty good description of the show as a whole, honestly. It makes no pretense at being high-concept, it just does what it does. Queerness: This one...is not very queer. One of the side characters is gay but it doesn't really come up a lot. There's also a gay minor character that gets mentioned but never appears, and it's kind of a running gag that the gay character has a thing for the main character, who insists he's straight. It's a gross trope and I kind of winced at it, but it's usually framed by other characters as "are you sure you're not interested, because [gay character] is way out of your league and you're really not going to do better," which mitigates it somewhat for me? Also, gurer ner uvagf gung gur znva punenpgre zvtug npghnyyl or vagrerfgrq va gur tnl punenpgre, but only time will tell whether it's queerbaiting or not. Look, it's not an ideal situation. If it’s a dealbreaker, I totally understand, especially since there's no clear answer to the "is this queerbaiting" question and due to some unfortunate creator health issues, we might not get one for a while. Genre: ducking out of the way as a harried-looking man in a lab coat and stethoscope pelts down the hallway, yelling "GET ME FIVE UNITS OF ALIEN SEX POLLEN, STAT!"

Airing

The Strange Case of Starship Iris

I love this show a disproportionate amount, given that only four episodes have aired. This is a newer podcast, and one I stumbled on completely by accident! I wasn't expecting much, but it was sci-fi and the main character's last name was Liu, so I decided to give it a shot. And then it turned out to be not only awesome but also totally queer! I think I actually said "HAH! YES!" out loud when the queerness was canonized within the first few minutes. (This is why I live alone.) Plus, this is a small thing from a throwaway line, but...the main character weighs roughly the same amount as I do. Do you know how often that happens with Asian characters? Never, is how often. For possibly the first time in my life, I feel like I can legitimately headcanon a main character who looks exactly like me. I'm definitely going to do some incredibly self-indulgent fanart at some point. Unprecedented overidentifying with the main character aside: honestly, it's like this podcast was tailor-made for me. MAJOR SPOILERS FOR EPISODE 1 (and kind of 2): Vafrpher ovbybtvfg wbvaf ent-gnt perj bs fzhttyref jvgu n sbhaq-snzvyl ivor naq nyvra phygheny pynfurf, nyy senzrq va n fvavfgre zrgnaneengvir gung hfrf gur zrqvhz nf n cybg qrivpr, CYHF cbgragvny ebznapr orgjrra na Rnfg Nfvna jbzna naq n Fbhgu Nfvna jbzna? Um, sign me the fuck up.  The only downside is that this has definitely raised my expectations for new podcasts by an unreasonable amount. Every new podcast I've tried since Starship Iris has been vaguely disappointing. My podcast standards are way too high now, and it's all Starship Iris's fault.

Queerness: YES. The main character is a queer woman, there's a nonbinary alien species and the alien crew member uses they/them pronouns, and there's a trans guy. Also, this is wild speculation, but V guvax/oryvrir/ubcr gung bar bs gur bgure srznyr perj zrzoref vf orvat frg hc nf n ebznagvp vagrerfg sbe gur znva punenpgre. There's some explicit discussion of gender identity in a non-traumatic way which tbh is like water in the freaking desert.

Genre: ??? it's too new and I love it too much to assign it a genre. 

The Bright Sessions

As I said in the spoiler-free summary: this is everything I wanted X-Men to be. Hell, it's everything I ever want superhero stories to be, and it's why I've been drawn to superhero stories since I was a teenager. The Bright Sessions deals with the complex consequences of, e.g., having empathy powers as a teenager while learning how to manage your own emotions and maturity. The main character is Dr. Bright, a therapist specializing in people with superpowers, which naturally provides the perfect angle for those people to get really navel-gazey about their lives. There is an actual overarching plot with a shadowy government agency, of course, but that's definitely not what I'm here for and luckily that’s clearly just a vehicle for the feelings.

Queerness: One of the main characters has a m/m romance arc; another main character is asexual; a side character (who may soon be considered a main character?) is bisexual. Because the conceit is therapy sessions, Dr. Bright does inquire delicately about how her patients may or may not be coping with emerging/existing queer identities, but none of them find it traumatic.

Genre: telekinetically fiddling with a desk puzzle limned in afternoon sun, as the doctor asks: "And how does that make you feel?"

The Penumbra Podcast

I'd had the Penumbra Podcast on my radar/subscriptions list for a while, but I'd never quite finished the first episode...until the remastered/rewritten first story was released. The difference is astronomical. The creators talk about audio quality etc. in their reasoning for recreating the first story, but for me, the main distinction is the skill in storytelling and the confidence to create noir without relying on questionable tropes to signal "hard-boiled!!!" I sometimes think the writing and characterizations are a little broad, but that may be down to genre. Penumbra doesn't really go for 'subtle' or 'realistic.' An important format note: there's a main character with episodic adventures, but in between the two-part adventures, there are one-shots in various genres. I actually skipped most of the one-shots because I'm not great with horror or kid stories.

Queerness: The main character of the main story is queer (jvgu na qryvtugshyyl rzbgvbanyyl pbafgvcngrq z/z ebznapr nep gung'f abg va n terng cynpr evtug abj), as are numerous side characters. It's a noir pastiche, though, so the main character is pretty self-sabotaging in all areas of his life; a 'happy ending' doesn't seem incredibly likely. One of the stand-alone stories is a queer Western, which I found delightful. It's also one of the few stand-alone stories that has a bonus follow-up episode.

Genre: taking a long, slow drag on a cigarette as the rain blurs the neon lights and filth of the alien city below.

Ars Paradoxica

Ars Paradoxica shares a producer with The Bright Sessions, which is why I tried it! Like all decent time travel stories, Ars Paradoxica is meticulously planned with a lot of moving parts. The worldbuilding is intense and requires actually paying attention, which can be challenging for me since I typically listen to podcasts while multitasking.  Frankly, it moves a little slow for me...which is odd to say about a show that regularly has timeskips of months or years and literally involves time travel. I guess I feel that way because there's a lot of attention paid to the action and plot, but less to the emotional character arcs. And obviously my narrative preferences run a certain way, so I'm only really paying attention to the character stuff. Which, to be fair, certainly exists and is carried through well—it's just not in my preferred proportions. Plus, the cast is quite sprawling compared to most other podcasts, and the tone is almost Crapsack World but not quite. 

Queerness: The main character is explicitly asexual and briefly explains it, and there are a handful of queer side characters. It's semi-historical, and there's some discussion of managing visibility etc. 

Genre: staring into the dusty gears of a massive clock running backwards as the minute hand slowly approaches a blinking red light.

[recentanimenews]

Bookshelf Briefs 8/6/18

Demon Slayer: Kimetsu no Yaiba, Vol. 1 | By Koyoharu Gotouge | Viz Media – Well, that escalated quickly! Tanjiro, an earnest young man helping to support his loving but struggling family, returns home one day to a gruesome scene of blood and death wreaked by demons. One of his sisters survived, though she is now destined to become a demon herself. Desperate to save and protect what remains of his family, Tanjiro turns to the life of a demon slayer. The more I read of Demon Slayer the more I had the feeling that I had encountered parts of the story somewhere else before (except perhaps for Tanjiro’s superior sense of smell). But even so, it was an engaging first volume. Even if a series seems to be relying heavily on well-established tropes and familiar training montages, done well it can still be a great read. Demon Slayer might be one of those manga, but it also has the potential to be more. – Ash Brown

Devilman VS. Hades, Vol. 1 | By Go Nagai and Team Moon | Seven Seas – In addition to being a sequel to Nagai’s original Devilman story, Devilman VS. Hades is a crossover with the Mazinger franchise. To some extent, Devilman VS. Hades can be read as a standalone work—the most critical information needed to follow what’s going on is included within the series itself—but some basic familiarity with Devilman and/or Mazinger doesn’t hurt. (Fortunately, several incarnations of both franchises are readily available in English.) In Devilman VS. Hades, Devilman has literally fought his way through Hell to free the souls of those he holds most dear, unleashing a horrifying new apocalypse in the process. Devilman, Akira Fudo in his human form, must now face enemies old and new while navigating the grotesque and hellish landscape. Devilman VS. Hades is only three volumes long so the first understandably moves along at a fairly quick pace, but at the same time it can seem bizarrely unfocused. – Ash Brown

Dreamin’ Sun, Vol. 7 | By Ichigo Takano | Seven Seas – So, yeah, the prodigal lawyer dating the high school girl was never going to be a popular decision, and when you throw in the house basically being used as a dormitory for troubled souls, it’s not hard to see why Fujiwara’s father has decided to come in and bust it all up, since Shimana did not listen to his wise counsel an go away forever. That said, he’s an obstacle rather than a dad, and so we’re not thinking about how to appeal to his better nature, but how to surmount him. As for Shimana and Fujiwara, well, if nothing else his emotions are getting more immature when he’s with her—which may not be a bad thing. This is no orange, but it’s still good enough to keep reading. – Sean Gaffney

Dreamin’ Sun, Vol. 7 | By Ichigo Takano | Seven Seas – I can’t make up my mind whether I want Shimane and Fujiwara to succeed as a couple or not. Complicating this is the fact that neither of them can seemingly make up their minds, either. It’s totally reasonable that there’d be a lot of fluctuation and vacillation in a teen romance, but coupled with the swift pacing of this series, I just end up with a serious case of shoujo whiplash. As it stands, Fujiwara’s father seems determined to split them up, and Fujiwara is attempting to fall for Shimane and is sure that he will, given time. Meanwhile, I thought it was kind of interesting to see why Fujiwara’s friend, Miura, might’ve agreed to interfere on Fujiwara’s father’s behalf. I don’t really believe the series will end with Shimane heartbroken, but I’m not convinced this relationship will bring her happiness, either. We shall see. – Michelle Smith

Durarara!! re: Dollars Arc, Vol. 2 | By Ryohgo Narita, Suzuhito Yasuda, and Aogiri | Yen Press – I will note the biggest disappointment in this volume right off the bat: because it’s compressing events so much, it cut the bit with Shizuo using a car as cover by kicking it along in front of him, a highlight of the anime. Other than that, this is a decent adaptation, though I think I’d give the anime adaptation the higher marks. I did like seeing how just because the runaway Akane has been “retrieved” by her father does not mean that the problem is solved—Narita is good at showing that childhood trauma can stay with you forever and is not easily fixed. Especially in DRRR!!, where everyone is sort of broken. This moved way too fast, but is otherwise good. – Sean Gaffney

Fate/Zero, Vol. 6 | By Gen Urobuchi, Type-Moon, and Shinjiro | Dark Horse – I’m not sure why we had a year’s delay between the last volume of Fate/Zero and this one, but I’m glad we’re back with it, even if it continues to be a very bleak war. That said, nothing is too depressing as long as Alexander the Great is in it, and going from the discovery and destruction of the room filled with dead and tortured children to a three-way drinking discussion between him, Saber and Gilgamesh is mood dissonance of the finest kind. It was an excellent discussion, and reminds readers who are familiar with the original Fate series just how messed up Saber’s vision really is. As for the cliffhanger, will Tokiomi actually do something? GASP! Not for the squeamish, but excellent. – Sean Gaffney

Kiss Me at the Stroke of Midnight, Vol. 6 | By Rin Mikimoto | Kodansha Comics – This is a relatively serious volume of KMatSoM, which means we get very few SD-faces and no discussions of butts. It makes sense, given we’re up against some things that could spell trouble for this burgeoning relationship. No, not Shu; she’s taken care of fairly quickly by the classic shoujo tradition of the heroine just being far too nice and sweet to be horrible to. No, the main issue is Funny Bone and their past with Kaede, and the apparently death of someone in Kaede’s past—which he starts to tell Hinana about as we close this book out. I expect we may be entering whole volume flashback territory next time, but we’ll see how it goes. Does this mean no butts in volume seven either? – Sean Gaffney

Magi: The Labyrinth of Magic, Vol. 31 | By Shinobu Ohtaka | Viz Media – To no one’s surprise, Alibaba’s financial renaissance is running into serious trouble after a strong start, as Sinbad is not about to let him get the Kou Empire back to its former strength. Alibaba can try to avoid the rumors and come up with new and more fascinating items, but it’s more interesting seeing him meeting up with old friends, some of whom have gotten married and had children. Of course, the two most important friends of his have been missing for a while… and we finally catch up with them, and see that Aladdin has finally grown up all the way. He’s got his hands full trying to deal with Arba and her ability to possess people and take them over. Will we finally see them reunite next book? Signs point to yes. – Sean Gaffney

Murcielago, Vol. 7 | By Yoshimurakana | Yen Press – We’re taking a break from serial killers to deal with terrorist organizations long thought dead, but the output is the same—lots of gore, lots of dead people, this time mostly in the Diet and the police, along with a few innocent bystanders. Kuroko is trying to deal with this, but she’s a bit upset—yes, it looks like she’s actually worried—that Chiyo is finally moving on from her. She’s probably right to worry, and I’d say she should try to better herself except this is Murcielago. The main reason to read this series remains the gratuitous violence and the action sequences, and yes, there’s also a sex scene near the end, featuring Kuroko and the girl from the very first volume’s extra chapter stealing an escort girl and having their way with her. Sleazy and it wears it proudly. – Sean Gaffney

My Hero Academia, Vol. 14 | By Kohei Horikoshi | Viz Media – I really like how Bakugo’s rage issues are shown to be a major issue that he needs to resolve, but they’re also not something that makes him a villain or means he can’t have hopes and dreams. He gets frustrated at Izuku’s drive as much as Izuku was chasing after his strength, and so the two are now even more “fated rivals.” They’re also given confinement for a few days, meaning, oh no, Izuku is behind in classwork. He also gets introduced to a few third years, whose powers are fun and also strong, and the school explains that due to the villains growing in power (indeed, we meet the next Big Bad here as well), it’s time for internships! Can Midoriya and his still-learning quirk make the grade and get him work?. – Sean Gaffney

Sleepy Princess in the Demon Castle, Vol. 2 | By Kagiji Kumanomata | Viz Media – I continue to be quite entertained by this series, though its lack of any real plot or characterization makes it a bit harder to review. The reader needs to accept that the Princess’ various antics to get a good night’s sleep are going to verge on the cruel and awful every single time, but given that most of the demons that she abuses for their functions can resurrect, it’s clearly meant for humor. We branch out a bit from pure sleep this time, as she enters an athletic competition (being in shape leads to better sleep) and suffers from—horror of horrors—dry skin! I shudder to imagine anyone taking this seriously, but as a giant goofy “what horrors will she commit next” series, it’s fantastic. – Sean Gaffney

By: Michelle Smith