#which is why I characterize these two a bit differently then I might if I was leaning more towards my normal stuff

[arolesbianism]

Some swap au Olivia and Jackie concepts for the main 3 universes 👍

[dceasesd]

why juni ba’s the boy wonder has my favorite jason characterization of any contemporary comic run: a needlessly in-depth analysis (pt.1)

oh boy oh boy am i excited for this one buckle up boys it’s gonna be a long one. analysis under the cut (WITH PICTURES!!)

i, like many others, have many thoughts and opinions about juni ba's the boy wonder that i'd like to express. i was having trouble formatting my rant, though, so i decided that it was easiest to just address some of the common complaints i've seen about the comic and jason's characterization and insert my ramblings throughout it. so far i've seen three main complaints:

the typical boiling down of jason's character to "the angry one"

his lack of strategy going into the fight with the demon is out-of-character

the neighbor's kid interaction

to start with the first one-- when introducing jason's character, in both the second and first issue, ba uses the descriptors "coarse", "bitter", "hardened", "brash" and, of course, "rageful".

so, yes-- i understand where people are having issues with this characterization. however, even if it's overplayed, it's still important to remember that jason is angry, and is driven, in part, by his anger at bruce and the joker. and, as ba highlights, he deserved to be! completely erasing jason's anger is just as bad as defining him with it.

i also don't think it's wholly accurate to say that ba is boiling jason down to just his anger. it might seem like that when only considering the dialogue and narration, but jason's behavior in the comic doesn't perfectly align with how the narrator describes him. while the narration describes him as "rageful" and could be an instance of generalization, jason's actions throughout the comic are more aligned with two other emotions/motivators: fear and despair. we never see jason get actually, properly angry; the closest we get is when he's seemingly annoyed by damian (which i believe could be performative) and when he becomes violent, accidentally hurting damian.

even in this instance, though, he is not driven to this violence by rage, but rather fear. so, while ba states in the narration that jason is driven by his anger, he contradicts himself by highlighting how jason's sadness and terror motivates his character. this could be interpreted as lousy writing on ba's part, but i'm not going to attribute the paradox to that inference. to me, it actually represents a critque of the "jason is the angry robin" generalization, because it calls to attention the discrepancies between how one is described versus reality, an issue that jason both faces in the comics (bruce using him as a cautionary tale when dying WASN'T HIS FAULT) and outside of the comics, as mentioned previously.

furthermore, this highlights the difference between what jason believes about bruce's perspective and bruce's actual perspective (according to damian). jason believes himself to be a "failure", but damian refutes this by describing his conversation with bruce concerning jason, a conversation that does not align with jason's belief. if you couldn't tell by now, perception versus reality is a BIG theme in this comic (and for jason's character in general!)

i was really fascinated by ba's take on jason, because it veered pretty far from a lot of contemporary comics, most of which do, unfortunately, play with the angry robin jason generalization. they've been doing a bit with his fear, too, which has either been pretty fun or the most awful thing ever (i'm looking at you zdarsky. gotham war was fucked up), but what makes ba's jason stand out to me is how he grapples with his grief.

this boy is so sad. ba's jason might actually be the saddest rendition of him i've seen in canon content. we've seen jason grapple a little bit with the despair rooted in his death and resurrection, mainly in lost days, where he cries 3 (?) times, fresh out of the pit and very traumatized.

even in this comic, though, he reacts to his grief with anger more prominently than sadness. that obviously doesn't mean the despair isn't there, though-- anger is just an easier outlet for it (which i could really get into the masculinity aspects of that, but then this would be wayyyyyy too long).

ba's jason, though? that motherfucker is so. sad.

christ he's depressing. AND THAT'S SUCH A FRESH PERSPECTIVE!!!!!!! THANK YOU JUNI BA!!!!!!

now i'm pretty sure some people would argue that this rendition in out of character because he's so sad. to me, though, he's still the same jason; he covers up his sadness with anger and pettiness, redirecting his own insecurities onto those around him to mask his true feelings.

ba quite literally illustrates this in the comic. whenever he is being his snide, normal self, he has his red hood mask on; but when he actually opens up to damian and expresses himself truthfully, the mask is off. ba is highlighting how the classic jason anger and bitterness is, in part, a performance and coping mechanism.

this post is already too long, so i'll go over the two other critques in a different post, which i will link below (eventually). if you guys have any thoughts you'd like to share or discuss, my dms and asks are completely open! if you made it this far, i hope you enjoyed my ranting. look out for another post soon! :))

part 2 / part 3

[disregardcanon]

this probably seems like a weird question from your end,but why do fanfic writers care so much about comments? aos already tracks hits and likes, sorry ""kudos"", so why are comments such a big deal to the point that people will stop writing?

okay, so i'm going to take this question very seriously and i promise it's not to make you feel bad. this is a comprehensive explanation of reasons that comments are important for me, both as a writer and as a reader

engagement vs numbers game

seeing trends

buy-in

community building

engagement vs numbers game

let's look quickly at two different fics of mine. this is the kudos count for a fic called Of First Kisses and Burnt Lips

it's old. it's been up on ao3 for almost 11 years now. 258 people liked it enough to leave a kudos, 12 people liked it enough for a bookmark, and it's been clicked on 3,859 times.

i have no clue what almost any of these people on ao3 THINK about it. beyond "huh. sure. i'll kudos that". compare this to its crosspost on ffn, where i got 5 reviews

3/5 mention it being cute. 3/5 give appreciation to me for taking the time to write it. 2/5 praise the writing itself from the attention to detail with grammar to the craft. 1/5 is an "um..." which is hard to decipher but appreciate and 1/5 is a silly reaction, but it's a reaction! look, someone felt a felling reading my thing! that made me giggle!

looking at the stats here from a purely numbers perspective, my fic DID better on ao3. it got a lot more kudos than it ever got faves or reviews on ffn. but those ffn comments are still what i think about when i remember this fic.

sure, a shear number like hits or kudos can be comforting and motivating. i'm definitely not telling you to NOT leave kudos! but the fics that i've come back to, recently, are the ones where i don't have a lot of kudos but i do have a few people who are invested in the stories and leaving comments to tell me

2. seeing trends

lets look at a few of the comments on my fic The Maid of Honor Made Them Do It

so just in these two comments, we see both commenters hone in on the same detail: my choice to include a special christian music playlist that this characters' friends made for her. a few other people in this thread mentioned that same detail, so i know this bit really worked well! it's great feedback that lets me know that a good chunk of readers agree with my characterization here.

these readers zoom in on specific details that they really liked! things that made them laugh, the absurdity of the concept, enjoying reading it, and that they could see it staged, which is a HUGE compliment for a work in a fandom for theater.

i've always had trouble with imaging where characters are in a space, how they're occupying it and moving, and how to use that for characterization purposes. however, i got more than one comment on this fic about how people could see it staged! that means that i'm improving in an area that i've always struggled with. that's huge. it makes me want to keep working on this thing! it makes me feel like what i'm doing here matters, because lots of people are picking up on similar things! they're invested enough to give me a comment! and it makes me want to keep writing for the hatchetfield fandom because some people are invested in my work here. that is BIG! seeing trends in the way that readers experience your story helps a lot with writer buy-in for a project and also for writers self-analysis.

as a commenter: this helps me JUST as much. when i really dig into what i enjoyed about a fic to tell the writer about it, that helps me analyze and articulate the strengths and things i might want to take away from the storytelling, and that makes my writing better too!

3. buy-in

this is a comment on a series that has less than 100 kudos across three fics, but has thoughtful, appreciative comments on each work. it's called Melting Pot

the commenter deleted their ao3 account. they may be one of the people who commented on the next fic, which i posted recently. they might NOT have been! honestly, it doesn't matter that much to me. this person gave me a gentle and nudge about a fic that matters to me and mattered to them at the time, and they were part of the push i needed to get back to it.

from a commenter perspective, i know that hearing a kind word can help someone keep up their motivation to write, even when i can't write in depth comments the way that i like to!

just recently i only had the time to comment "nice update" on a favorite fic of mine called Teeth That Turn. but they know that i come and i read and they know and talk to me by (user)name. because they know i care about this thing they care about! and it's way more fun to do something like this when i know i can chat with the author about theories and thoughts and ideas. and this isn't a "wow aren't i so cool other writers like me! tehehe" bragging thing, it's just evidence for the case of why comments matter?

if i didn't want this to be a two way buy-in, i'd ONLY read published fiction, you know? we're all playing in the sandbox on the playground and i like what they made. they like that i like what they made :) we're scheduling a play date to fight with sticks after school my mom said it's okay!

4. community building

now i know that i just mentioned above here why i like being a commenter and how it helps authors, as well as why i like HAVING commenters as an author. i'm still arguing those things as a lead up to this section, where i have two other points to make about community building here too.

1. you can comment on OTHER comments! if you go through and read to see what other people are saying, you can agree with them. you can add some commentary! sometimes you can make a joke! and i've only ever had fun responses from something like that. authors tend to love that their fics are getting such a response that people are talking to each other about it! like look!!!!!! my thing got you to talk to someone else about it holy shit?!??!

2. commenting on fics in your fandom builds you a good reputation and makes other authors you comment on more likely to read YOUR fic. i'm not going to post any screenshots on this one because it would be embarrassing for everyone involved, but there have been authors that i really admired who gave my stuff a try after i commented on theirs. and they've told me that's why they tried it! like obviously it's not just networking or whatever, but it's really nice to have someone give your stuff a try because you've been enthusiastic and thoughtful about theirs.

and you make friends this way! fandom friends! who want to talk about your blorbos! you get to go on little play dates in cyberspace with cool people who like what you like. you don't ever HAVE to be a writer, of course. if you don't want to throw your hat into the ring or make art or edits or gif sets or anything, that's cool. no one ever has to participate in fandom outside of their comfort zone! but if you want to, you know that you'll feel more welcomed if you have some people in your corner for it, and making friends in a space, screaming about how much you love the characters you love, and remembering that fic authors especially are just fans too will help you feel like you "deserve" to exist in the space. maybe you don't write, but you go here too. you've got a space in the fandom and your comments don't have to be, like, perfect literary essays for authors to appreciate them and get a motivation boost from them still existing and us being able to go back to them and go!!! look!!! i don't suck!!! this person liked what i did so i'm okay! :)

[lenaellsi]

i've mentioned this before and it's a Hot Take maybe but. i don't think it's fair at all to characterize crowley's "you and me, what do you say?" speech from s2 as being equivalent to "fuck the earth run away with me to the stars right now" a la season 1

i guess i can see why it might come off that way, with gabriel and beelzebub having just left and crowley drawing the comparison to them, but a lot of people have sort of extrapolated from that this dichotomy where suddenly aziraphale is the one who cares about saving the world and crowley only cares about himself and aziraphale. and while i think crowley certainly prioritizes their mutual safety and is more likely to get spooked when faced with threats from heaven (i wonder why) crowley also loves earth?? he talks about it all the time.

the last time there was an apocalypse, crowley was the one who proposed saving the world, and he had to talk aziraphale into it. and like...he was planning breakfast at the ritz, wasn't he? he didn't want to leave. obviously "you can't leave this bookshop" meant "you can't leave me," but it also LITTLE bit meant the bookshop, and earth.

the circumstances of s1 were very different than the end of s2. crowley only wanted to run in s1 when 1) the end was about 4 hours away, 2) from his POV he and aziraphale had no idea where the antichrist was, so they wouldn't be able to stop anything even if they did stay to die with the humans, 3) aziraphale was about to Talk To Heaven the same way crowley tried to before the Fall, 4) demons were actively pursuing him for purposes of torture and annihilation. and in the end, he STILL stayed.

idk. if we're going to give aziraphale the benefit of the doubt for the Many Things he said in that convo, then i think we can afford to give crowley the benefit of the doubt that "we need to get away from them" and "go off together" might mean something more along the lines of "please don't go back to heaven, stay with me, it can be the two of us against them all." THAT was what crowley's emotional arc this season was leading to, with the flashbacks and his big revelation in ep 5, the same way aziraphale's was leading to leaving. every single one of the flashbacks had crowley choosing to help someone else at great personal risk--why would that lead to the conclusion that he actually wants to leave without trying to help? (of course, he did want to abandon gabriel. but I don't think that was even a little bit irrational after aziraphale's failed execution. walking away from the heavenly host who has done nothing but hurt both of them is not the same as walking away from earth. it's still a problem--ignoring heaven and hell will not, ultimately, fix anything--but again, it's not the same as abandoning humanity on a whim.)

TL;DR I don't think it's a fair reading to say that crowley's proposed solution to The Heaven And Hell Problem is "fuck humanity, let's give up." i think he was proposing working together against heaven and hell with the option of an exit strategy if everything went wrong, which is what he ALWAYS tries to do. (see: arrangement + holy water.) his need for an escape route and his tendency to prepare for the worst is something that is definitely hindering him in, for example, his relationship with aziraphale, but it also makes sense. because, you know. the last time he tried doing anything about heaven he got his wings lit on fire. so.

[marvel-starwarsfangirl]

"The Bad Batch" Series Review

Now that this show is over and I've had some time to think about it, I'll give my overall thoughts, its strengths, weaknesses, and how it compares to other two main popular animated shows. In general, TBB is a solid show with fun characters, beautiful animation/music, and moments of truly peak Star Wars. Is it perfect? Definitely not, but I love it all the same. It's probably a solid 8/10 for me. In many ways, TBB is the type of show I absolutely love. It's dark, character driven, and touches on mature themes. I love seeing how different characters came to terms with Order 66 and the birth of the Empire. At a time when hope seemed at its bleakest, seeing characters try and find it again is very compelling.

Tbh, I think one of the reasons why I love this show so much is because it really hits home for me. A lot of the themes and ideas that are explored by the characters are also things I've been exploring at the same time. TBB has been a comfort show for me as the world becomes even scarier and I grow as a person. It was the show I needed right now. Also, the Batch remind me of my own friend group. So, I might be a bit biased here.

In comparison to the other shows, I think I love TBB about the same as much as the others. Some days, I'll prefer TBB, other days, I might prefer Rebels or CW. Each show has something I truly love and something that frustrates me. For example, Rebels has a lot of emotional moments I enjoy, but Zeb was really slept on after S2. CW had an amazing scale and scope, but some arcs were just awful. You know which one I'm talking about. TBB is the same. It really depends on the vibe though. At the end of the day though, I truly love all 3 shows and all the joy (and tears) they give me.

Alright, let's get into the nitty gritty.

Weakness:

I'll start off with the flaws just to get them out of the way. I think TBB's biggest flaws are regarding balancing the character dynamics and arcs. I understand that Omega is more or less the main character since she really changes the Batch's life, but they needed to do more. I wanted to learn more about the Batch. However, sometimes it felt like characters could only grow when Omega was with them. Granted, this wasn't the case 100% of the time. Crosshair is the most notable example of this and I loved Tech's interactions with Romar and Phee. Unfortunately, it does affect the characters if they only get characterization with one character. Echo is the biggest victim of this imo. They had a goldmine to explore how he felt in the aftermath of Skako Minor, but they didn't. Crosshair wound up being the Batcher who would've understood him most, except they only exchange two lines of dialogue together in S3. That's it. Imagine how impactful it would've been for Cross if he talked to him. Echo truly understands the horrors of being turned into a lifeless machine. It was an opportunity that was practically gift wrapped for the writers. Sadly, it did not come to pass. Overall, this show just needed more Echo.

Btw, TBB wasn't the only show with this problem. As mentioned above, Zeb didn't get much to do after S2 and I'm disappointed in that. Even Rex and Kallus also got sidelined after S3. CW's format was more forgiving with this, but certain characters like Savage became more irrelevant once more popular characters showed up. Additionally, Echo not learning about Fives was a massive missed opportunity.

Branching off of that, having Omega as the centerpiece also means that the emotional moments tend to happen with her. Now, that's not a bad thing, except it only seems to happen with her. In S1, it really felt like no one cared that Crosshair was gone. This is their brother who they've known forever. Why is Crosshair the only one who seems to be really emotional about the whole thing? Since the Batch have only ever had each other, I would've expected them to be more upset/bothered when one of their own suddenly does a 180 in personality. And again, it's not like it's not there, it is, but it really needs more. I'll be honest, I really didn't like S1 Hunter at all. The man tunnel visioned on Omega.

I'm more forgiving about the rough start since both CW and Rebels were also kinda rough. However, I think the lack of clear focus did hurt the show a bit. Rebels and CW had a greater scope: fighting in a war/revolution. TBB doesn't have this since everything just got uprooted. Had the show been a bit more focused, I think it really would've helped a lot. S2 and 3 both established what the overall focus was pretty quickly. But with S1, it seemed to jump from the inhibitor chips to whatever Omega's purpose was to Project War Mantle and I was like: so, what was the Batch's goal other than survival?

There are other things that bugged me as well. Tech's death should've been handled better. I get that the Batch are soldiers so they aren't expected to cry in each others arms. Except the closure for Tech's death wasn't enough. What wound up happening was half the fandom questioning if he was really dead and searching for hints that he was alive. I covered this in my S3 review, but to summarize: the writers needed more time and more deep character moments. TBB thrived on those deep, mature conversations.

I know I just went off, but I truly love this show with all my heart. I know it's capable of so much more as shows in its strengths. It just frustrates me when it falls short.

Strengths:

Crosshair. Looking back at his overall journey, Crosshair is easily the most compelling character. I'm linking my study of him because his arc is just that good.

https://www.tumblr.com/marvel-starwarsfangirl/750696139213471744/crosshairs-character-in-tbb-a-study?source=share

What's so impressive to me about Cross is that he doesn't need to be in a lot of episodes in order to tell his story in a satisfactory way. Everything he's in is so well written that I can easily tell how he's feeling, why he feels that way, and why he makes the choices he does. In S2, not once did I have to wonder why he decided to betray the Empire or befriend Mayday despite that arc being only 2 episodes. The subtext really said it all perfectly. TBB does such a good job with his character, but I won't go on any further because we'd be here forever. Anyways, I love Crosshair and he has the best redemption arc in Star Wars. You can't change my mind.

TBB also touches on mature themes and I love that they are explored in a thoughtful way. Tech's conversation with Omega is really beautiful. It speaks to a lot of people and I love that the writers chose to take a thoughtful route instead of just having Tech say something nerdy and calling it at that. The same thing with Crosshair's PTSD. It was a genuine issue that affected him and not just when the plot needed it. I also appreciated that he was given time to actually try healing. Letting the characters sit down and have deep moments is what really connects the audiences to them because we see what makes them vulnerable. Light-hearted action is fun and all, but there is so much more to these characters than "blaster go pew." I really resonated with Crosshair's story and I know many people did the same with Tech's. I also loved how the show showed Omega adapting to the change around her; it can be very difficult sometimes and I appreciated that it wasn't still sunshine and rainbows after. Echo had a role within the Batch and his absence definitely shook the dynamics.

The animation and music are just perfection. It speaks for itself, but it's perfect imo. (yes, I'm aware of the errors, but it doesn't impact the actual quality).

The Empire was really freaking scary. TBB did a great job showing how the Empire started encroaching on the entire galaxy and began phasing out the clones. Occupations started, Rampart began his chain code system, and any form of dissent was immediately silenced. There was no question as to how ruthless they were. And there were genuine consequences to the actions of characters. Rampart was thrown under the bus for something he was ordered to do. The Empire doesn't protect anyone except Palpatine. "The Outpost" is so brutal and raw, but it perfectly shows how the Empire can drain a person until they break. Both Rampart and Hemlock are two fantastic villains that capture the true horrors of humanity. Rampart is a cold and greedy man. We all know people like him and he will stop at nothing to get what he wants. Not even humble juice in prison could make him reevaluate his views. Hemlock is a monster that only cares for his experiments. He was such a different villain compared to the Sith and greedy imperials we tend to see and I appreciated that. Even Crosshair was a good example of how misguided beliefs can turn people against one another. Like with Rampart, we all know people like Crosshair. It grounds TBB that much more.

I also loved the main focus on family in this show. It's a value that I hold dearly because of my beliefs and how I was raised. At the end of the day, the Batch's greatest strength comes from the bonds they have with each other. In times so dark, it's the people they love the most that will help them get through their struggles. I honestly love that. Whether it's friends, siblings, or parents, those bonds are so important. People aren't meant to tackle the world alone. TBB does a great job showing how hard it is when you're stuck in a dark place and how impactful it can be to have people who love and support you. Overall, I really loved it.

At the end of the day, I just really love the Batch. They mean a lot to me, especially Crosshair and Omega. Omega herself is such a sweet bean and her light truly is beautiful. I've loved watching her journey over the last several years. She's a wonderful character and I love her dearly. I love Crosshair (he's really hot, ok). I love Tech's charm and quips. I love Echo's strong drive for justice. I love Wrecker's big heart. I love Hunter's... fatherly instincts.

Ok, I know that was long, but I am so grateful for this show. I love TBB with all my heart and there's so much more to say. For now though, I'll just say that TBB has truly made an impact on my life. It gave me something to enjoy when times got rough and it gave me Crosshair. I will always be thankful for him.

[darkstarofchaos]

More spoilers for EarthSpark.

Okay. Let's talk about the Chaos Terrans.

The Good

Spitfire was the only one of the two I'd seen before watching the new episodes, so I was really worried that all of the Chaos Terrains would just be Dark Versions of the existing cast. It was a relief to meet Aftermath pretty much immediately and realize not all of them are recolors.

Nice of them to explain why the Chaos Terrans were different from the regular ones.

Honestly, the bodyswapping episode might be my favorite of the batch. Which is a bit like choosing the best of the worst, but I honestly kind of like the trope, and I appreciate that it wasn't played for comedy at all. I also really appreciate that they kept the VAs matched with the bodies instead of the characters, because one of my least favorite things about bodyswap stories is when characters keep their own voices. The VAs also did a really good job of playing each other's characters, even if the dialogue itself was painful at times.

Aftermath immediately adopting Spitfire as his sister was cute.

I liked Spitfire initially. She was a bit young to be so apathetic (girl, you've been alive for five minutes, where's your joie de vivre?), but compared to Aftermath just wanting to destroy stuff, it was a relief that not all of the Chaos Terrans were going to be like that.

The Bad

The moment Twitch got chosen to go on a mission, I knew Spitfire was going to be jealous and that was going to define her character from then on. And then she started going on about being superior to Twitch, and yup. Just a standard Dark Version with a superiority complex. Again, you have been alive for five minutes, you shouldn't even have a frame of reference to understand superlatives yet.

On that note, love how the Chaos Terrans just pop into existence and know things instantly. And can scan an altmode and transform within seconds of coming online, while the regular Terrans took days, weeks, or months to even figure out what they wanted to be. Glad we're chucking the worldbuilding in the trash along with the characterization.

Seriously, though, what is it about the Chaos Terrans that makes them just understand everything the moment they come alive? I can accept it from shows like G1 where new bots were built and programmed, but the Terrans are birthed spontaneously and have no knowledge whatsoever. I could kind of overlook how quickly the triplets went from zero to sixty because the plot needed them to catch on fast, but these kids just start at sixty. I hate it when characters with literally two seconds' worth of experience are just instantly able to hold conversations about things they've never even heard of.

Why, exactly, did Spitfire have to scan the drone? Even if she was too heavy for Twitch to carry, Twitch could have just caught her and slowed their fall enough to land safely. They had plenty of time. This entire "I'm you but better" thing was completely avoidable (unless Spitfire chose to scan the drone afterward, but at least then Twitch wouldn't have brought the misery on herself).

How did the cast manage to go a year collecting shards before a Chaos Terran happened? If high velocity and water are all it takes, how did none of the shards land in bodies of water immediately after the Emberstone was originally shattered? How did most of them not end up in the ocean? These things should have done like Lilo and Stitch and spawned aliens everywhere.

The Ugly

Wow. We're really doing the Evil From Birth thing, aren't we. Really doing the "they can't be redeemed because they were born bad" thing, huh. Congratulations, that might be the single most irresponsible message you can put in children's media. Nothing says "some people are born different and that's not okay" like making a pair of literal children irredeemable because of the circumstances of their birth.

I hate the fact that I knew Aftermath was going to die almost as soon as he was born. I mean, the shard was in his spark, there was no way anyone was fixing the Emberstone without removing it somehow. Same with Spitfire. Yeah, let's not only make them evil from birth, let's kill them because of the thing that made them different. Let's doom them from birth to have their organs harvested. Forget the mutated creatures, psychological violations, and all the other horrors going on in EarthSpark, this might be the darkest thing that's happened in this series. Y'know, that and the pair of them being slaughtered onscreen.

What was the point in them even existing. What lasting impact did they leave on the series, apart from being Starscream's moral event horizon. Unless the writing gets way better in the next batch of episodes, no one is going to miss them. No one came away meaningfully changed from having known them. And of course, the Emberstone is dust now, so their deaths didn't even matter ten minutes later. They died for nothing, and I would be surprised if they even come up again outside of condemning Starscream for his actions.

I didn't even like the Chaos Terrans as characters, and I feel so bad for them.

[sorryitisandy]

I think one of the poorer decisions they made with Morgana was melding him into the games uh "narrarator text"? I know this seems like another "hurr hurr you should go to bed!!" post, but buried behind that is genuinely a criticism into how they kind of did both Morgana (and joker a little) dirty.

Persona 4 and Persona 3 manage railroad you to the same extent in practice. There are days when you'll try and do something and Mr. Yu Narukami will think "no I am very tired" or "I should really check the midnight channel". It's still the game railroading, but it's attributed to the inner thoughts of our protagonists.

Morgana does not just, as a character, represent this game railroading you. This cat becomes the speakerphone for Joker's inner thoughts. Those moments in Persona 3 and Persona 4, the generally quiet main characters might show some personality with their inner thoughts. Joker had a cat who will orate that shit for him.

Which is why I feel that a lot of people felt Joker was a bit drabber compared to our other two modern male protagonists. (Kotone, our Queen, is very different so she isn't included here). They are all quiet lads but those little moments to themselves characterize their subtle differences. Hard to do that with a cat doing your thinking for you most of the game.

I think the biggest example is that in the Persona 5 Anime, despite being an anime I do not care for, Joker shows a lot more personality because Morgana isn't co-opting his inner voice. It also doesn't help that in my opinion, Morgana's arc is kind of weak and also takes away from Haru's entrance into the game.

Compare to Teddie, who by contrast feels like he is a character that exists beyond our main character. My man keeps a steady job at Junes, my man lives with and terrorizes Yosuke Hanamura, my man is not chained to our protagonist all game.

A lot of people don't like the mascot characters, possibly for reasons different than this one. And fair enough, I'm not here to argue every point. But I do think this one about Morgana is a major contributing one.

[lightlycareless]

Imagine: naoya and y/n have been happily married for years, and y/n has Lesley Gore's "You don't own me" as ringtone because it makes naoya so embarrassed, he would be like "love, I have already apologized 🥺"

PS: love your work, you alone are making justice to naoya's character. Your characterization of him is canon in my mind.

Hello!!!

Awww this is 🥺 man I feel so bad for him haha. But it's true, once everything is healed and nice, this man will still feel that he could never make up for his mistakes 😭 you'd be there to reassure him, though :) ❤️

Anyways, I've decided to apply some creative... differences to this. Mainly because I wanted to get really angsty with it mwahahahahahahah (also, it's not noted here, but there are some things that will remind her of those days, so she will avoid anything that might make her remember that. The two are in love, but... it's a difficult path. but trauma always is.)

Also, thank you so much for your lovely words!! I do try my best :') I'm so glad that you liked my characterization!! This man is capable of more... under the right circumstances 🤭

warnings: a bit of angst. naoya is deeply regretful. you're supportive. mentions of abuse (not really, but something bad is implied)

happy reading!

“—this is why I don’t like going out with you. Nothing ever seems to be of your liking!”

“If you have such a bad time with me, then why don’t you leave?!”

“I might as well!”

Naoya was never one to overhear gossip (coming from strangers, that is.). Thought it to be incredibly boring, dull, mundane, especially from civilians. What could they even experience? Their boring 9-5 job? Yeah, no thanks.

Yet, something about this conversation didn’t elude his attention like it used to, and before he knew it, when he was once focused on your voice, he was now nothing but attentive to the hurtful words of the couple nearby.

They weren’t directed at him, obviously, nor did they refer to anything he could take personally…

But the weight of his past makes it impossible for him to look beyond his own guilt, instinctively attaching their words to his own actions. Like he was the one they were discussing.

Naoya knows he was a… less than desirable man at the beginning of this marriage. He doesn’t claim otherwise, he can’t, since there are still many things to make amends for…

Things that he knows he’ll never be able to; for the atrocities he committed to you… they’re unspeakable. Even with the promise he made to spend of the rest of his life making it up to you, one he doesn’t intend to let go.

But… will he ever amount to it? Can he do so?

…

He’d rather die trying, than never at all.

“Another one?” You ask when he suggests going to another store. The two had come on a date at a shopping mall, intending to pick up some things needed for the apartment, alongside enjoying each other’s company; Naoya’s work had been quite demanding as of lately, and he intended to get his dosage of you, enough to cover a whole month. “But I thought you wanted to head back already…?”

“Yes, but then I thought we’d make the best of our visit here before leaving instead. Who knows when we’ll be back?”

“Oh, well… if that’s what you want…” you frown, a bit unsettled by his sudden change, which was only to worsen.

“No! I mean—we can do that too if you want to.” Naoya interjects.

“You’re not making much sense…”

“What I mean to say is that we can do whatever you want.” He scurries to explain. “Just say the word and I’ll do it.”

“I... don’t have anything in mind, really. Going home sounded good.”

“Are you sure? We can go somewhere else too. You know I have no limitations.”

“I think I’m done for the day—”

“Home it is. Would you like the estate, the apartment, or your parents’ house?”

“My parents house?? But that’s—that’s on the other side of the country!” you gasp; and while you’re always appreciative of Naoya’s willingness to go above and beyond, this was actually a bit… excessive—and that’s saying a lot coming from him!

“And?”

“What do you mean and? We can’t just hop on a plane and leave!”

“Of course we can.” He corrected. “We can leave right now if you want.”

“Again with the—Where did this come from?? Is everything alright, Naoya? What’s gotten into you??”

“Nothing! Is it wrong to want to please you, too?” Naoya frets.

“Too?” you repeat. “What do you mean by that?”

“It’s—It’s nothing. Just tell me what you—”

“No, it is important. It has to be if it’s affecting you like this!” you cry. “Tell me, Naoya. Please. I thought we agreed we could tell each other everything!”

“It’s nothing you don’t know already.”

“Like what?” you frown. “What do I already know?? You’re not making any sense!”

“That I don’t deserve you!” he condemns. “That I’ve done terrible things to you that I can never erase, no matter how much I try—and that perhaps you’d be infinitely happier with someone else; someone… that isn’t me.”

Even with the large, noisy sounds of the lively mall, silence manages to quickly engulf the two soon after, drowning you in the pain Naoya’s unexpected words gave you, piercing your heart and the hope you’ve placed for the future of this relationship.

One created with the notion that everything bad had been left in the past, ready to move on… only to realize, it wasn’t that easy to do so. Suddenly coming back, in the most unwanted, painful way you could’ve imagined—seemingly unprompted, but equally damaging to Naoya’s sentiments.

“That’s… that’s not true.” You eventually murmur, looking at him, while Naoya’s eyes remain glued to the floor. “None of what you’re saying is true.”

Then why do I keep feeling this way?

“… you don’t… believe that… do you?” You continue, managing to get a glimpse of his face, which reflected nothing but sadness and disbelief towards your words.

“It seems like all I do is hurt you.” Naoya laments. “No matter how much I try, I’ll never be able to escape—"

“Don’t say that—that’s not who you are.” You interject, stepping closer to him. “We’ve come a long way from where we began, you’re not that same man from before.”

“But I keep making the same mistakes, I keep hurting you.”

“It’s not easy to leave behind what you thought normal for all your life—or to accept them as mistakes…” you take his hand. “So, when you do fall back into your old ways, but bounce back right up… It shows you’re trying. It shows you’re regretful and want to do better.”

“I don’t want to hurt you anymore.”

“I know.” He lifts your gaze to yours; you place your other hand just above his cheek, giving him a soft smile. “And… I know you don’t do it intentionally. I’ve seen your heart, the pain you went through and how it affected you. But I also saw what you’re capable of, the love you’ve harbored, how you longed to share it, and… how lucky I am to be the one to earn it.”

“…I’m the lucky one.” Naoya leans into your touch. “To have found a wife so compassionate…”

“We’ve both done things we’re… not proud of. But that doesn’t mean we’re eternally bound to them. As long as we’re regretful and strive to do better… it’s all that matters.”

“But when is enough?” Naoya murmurs. “When will I stop feeling like this?”

“I don’t know. There are some things we can’t stop, we simply… learn how to live with them.” You admit. “I wish it was possible.”

He frowns, looking away.

“But I do know one thing, though.”

“…What is it?”

“That I love you. With your faults and virtues—and everything in between. Is what makes you, you, Naoya.” You giggle, he gives you a tight smile. “And I’ll spend my whole life telling you that until you believe it yourself!”

He chuckles; seems that both have made lifelong promises that neither intends to forget anytime soon.

“I love you too.” Naoya professed. “Thank you for everything. You’ve given me so much, probably even more than what I deserved—that I’ll spend my whole life making it up to you.”

“You don’t have to, Naoya. You only deserve more.” You reassure him. “But really, you don’t need to make it up to me! As long as you remember the love we have for each other, and that I’ve long forgiven you, is enough for me.”

At your words, the tears Naoya was trying his best to hold back finally slide down his cheeks, which you quickly wipe away with your thumbs, before giving him a smile and pulling him closer for a peck on the lips.

“Everything is going to be fine.” You promised, he looks back at you. You kiss him again, taking him into your arms and hugging him. “If you don’t mind me asking, however… what happened that made you feel this way? Did I do something?”

Naoya sighs, resting his chin on the top of your head.

“No, never. It was just something stupid, actually. Some people arguing, that’s all.”

“Oh.” You blink, quickly understanding why he’d feel insecure about your relationship; the familiarities were too close for comfort. “That’s… unfortunate.”

“It reminded me of how we used to be… how I’d treat you.”

“That is long gone. We’ve worked past that and now, we’re in a much better place.” You snuggle against him. “Both figuratively and literally.”

“Do you still want to go home?”

“Yeah, all this shopping made me tired. Unless there’s something else you wanted to see?”

“No, I was mostly suggesting things for you. I’ve been feeling tired for a while too, now.”

“We can arrange something else for another day, then. For now, I just want to head back home, lay on the futon, cuddle underneath the covers, and maybe watch a movie… how does that sound?” you grin. “I can even prepare some popcorn, if you’d like!”

He chuckles.

“It sounds wonderful.”

Just like his new life with you. Something he never thought he’d receive, nor deserved, at least in the beginning of his marriage.

Until you proved to him otherwise, showing him that the ways of his clan, those forcefully imposed on him, didn’t determine who he was, who he could become.

That he had much more power over his life, the ultimate decision on what to do remained on him and no one else.

It was to be a difficult path, one promising bumpy roads, which will probably never end if he were to be realistic…

But it’s just as you said. As long as both know, deep inside, that they’re doing their best to overcome these obstacles, as well as remembering that they’re always there for the other, alongside their ever-growing love… nothing else mattered.

It was you and Naoya against the world.

And he wouldn’t want it any other way.

🥺 I believe Naoya will always feel undeserving, even when they have a kid together and whatnot. He comes from a very difficult family, so be prepared to face these kinds of situations when in a relationship with him 😭😭😭😭❤️❤️❤️

omg i can imagine it already, when he's super old, reflecting on his life he had alongside you, his kids, and probably grandchildren too... only then will he finally admit he's happy with the life he had. jfc i'm crying goodbye.

Anyways, I know I deviated a bit from your imagine, but I still hope it was to your liking! the angst between the two is real, but so good too....

As always, thank you so much for sending in this! Take care, and hope to see you soon!!

[tossawary]

As I post about rereading SVSSS for lore and characterization, and about sometimes ignoring canonical details for the sake of whatever story I want to tell / explore in fanfiction for fun, I want to make it clear that I don't make these changes because I think it makes a "better story" or that I can write a "better story". I don't even like using the term "fix-it" for my canon divergence AUs that avert some in-universe tragedy, even if it is the "correct" fandom term in some cases, because I don't think that SVSSS is a story that needs to be "fixed".

(Honestly, a lot of my minor alterations to canon's details are because I can't remember what exactly canon is and can't always be bothered to hunt for one sentence (which I may or may not remember existing at all) across multiple volumes, especially when I don't always think strict faithfulness to canon is that crucial to the main concept of what I'm doing. I wrote PINTWILF and several other fics before the official English translations were fully released, when checking minor details was an even greater pain in the ass. Sometimes, I'm cooking without the recipe in front of me because I just want to eat.)

Like, I have criticisms of SVSSS, definitely. When I first started writing SVSSS fic, I was more frank about this (fond but less fond of the characters and world than I am now), and I've talked about things I wished the story expanded on more. I think it has flaws. I know those flaws are a dealbreaker for many people. But it's not my story. I can't tell MXTX's story better, because I believe that every author's story belongs to them and only they know what they're trying to achieve, even when I may personally think that the story might have been stronger if it had done something differently or I'm ignoring some minor detail specifically because I don't really like it.

It's awkward, sometimes, occasionally being told by someone that they enjoyed my fic more than the original story. It's very flattering (I can't pretend I don't have an ego) and I don't think anyone means any harm by this, people enjoy stories or don't for many different reasons (enjoyment is not necessarily an indication of quality and I think engaging with fandom can often be more fun than just reading a story on its own by yourself), but it is a little awkward, especially when SVSSS is not an English / western story. I have an advantage appealing to western readers. Reading a translation of the original story, I know there are details of SVSSS going over my heard, references I'm missing, nuances I don't recognize, even as I endeavor to keep learning. I personally enjoy some of my fics more than SVSSS itself because I associate them with good experiences and a lot of them appeal to me personally in some way or another (all of my favorite tropes! we all have favorite tropes!), but they are built on the back of someone else's original work on the other side of the world, and I want to be respectful of that.

I don't want to compete or fix. I'm not trying to compete or fix, I think I would fuck it up if anyone seriously set that task on me, and I don't think that's a good way to view anything. I want to explore and appreciate. I'll type up a lengthy post at some point as to why I'm generally not interested in concrit on my fics (honestly, mostly it's because I'm not interested in being told that a reader hates the present tense and wishes I would rewrite the entire story, which has happened to me before), but I hope that doesn't come off as disinterest in the original story or its cultural context, or as me thinking even a little bit that any of my stories are flawless and/or better than the original.

I want to make a "why would you put two bad bitches (compliment) against each other like this?" joke here, but I also want to be clear: I think MXTX is by far the badder bitch (compliment) in this situation.

(Turning off reblogs, btw, because this post skews more on the personal side.)

[folklauerate]

I’ll say something else while I’m here-one of my biggest issues with Bridgerton s2 was the lack of cohesiveness. Jesus Christ no one is upset with characters making unlikable decisions and if you want a wedding for the sake of drama, Shondaland, have a fucking wedding, but make it earned! And on top of that, the wedding episode had the fucking audacity to be boring as shit! Just all trodding on and operating off of the assumption the viewer would be aghast and would sit through nearly an hour of boring yawn snooze because there were “stakes” and it seemed like the main pair might not get together. Like for fuck’s sake have as much drama as you like but at least make it well written! Instead the wedding episode is a dirge and not because it’s a reflection of some character’s mental state or any seemingly deep reason, no; it’s like they decided there would be a wedding and shrugged when it came to getting the character’s there. It doesn’t count as good writing if you’ve spent the past months/years trying to wrap your head around or write fic around the reasons why x decision by y characters make sense to fill in gaps that shouldn’t be there in the first place and that’s all this fandom has done.

People’s issue with side plots taking up too much time isn’t really that they take up too much time-it’s that none of them follow a set of overarching themes of the season and feed into them or a main storyline in a significant way, giving the illusion to the viewer that they’re completely separate from the romance at the core and therefore taking away from it, as opposed to everything being harmonious.

On top of that, the characterizations are so fucking varied and there’s a large tonal shift between s1 and s2 in terms of the way the Bridgersibs interact with one another. Siblings can fight and be rude and whatever to one another but for them to turn into completely different people out of nowhere is so ??

And on the topic of characterizations-WHERE WAS KATE’S??? Anthony gets 28363938 motivations for why he is the way he is and then is honestly left floundering with all of them, until you’re honestly a bit ?? as to why he can’t marry for love, and then you get Kate who is just… There. Why can’t she marry for love? Why is she hellbent against marrying? Why is she prioritizing her family’s finances and Mary/Edwina above herself? What conversations did she have with her father before he died to make her this way or was she always like this? What were their lives like in India? I could keep going! At least in the book you get some half hearted “I’m too ugly and old to get a match” reason but in the show no one is going to fucking believe Simone Ashley is too ugly or old to get whatever lord she wants 😭✋ and THEN???? To top it all off-Kate and Anthony don’t have a single meaningful discussion around an entire eight episodes!!!!! Not one!!!!!!!!! What fucking growth happens between them fucking and the coma and then their fucking dance to have them propose? If the actors themselves had to invent all these so called secret conversations their characters had in between everything to make things make sense, I really don’t think that’s a hallmark of good writing. They rush that happy ending in there at the end and it feels like they forgot they had to end the fucking show with these two characters together and they just said “fuck it let them kiss” and that’s what we got. WHAT CONVERSATION OF SUBSTANCE DID THEY HAVE. And what fucking argument can you make that it’s okay that it didn’t happen on screen??) NONE!!! It’s TV! It’s a VISUAL FORMAT??? Oh my god.

I told myself I wouldn’t rant about this, just redirect people to walle’s thoughts on this, which is (in her own words) how she sat shiva for the fucking wreck of what Bridgerton s2 is. Walle if you don’t know wrote a thousand cuts and s2 was the nail in the coffin for her. It was so so so bad. It went against such basic principles of storytelling. The writing was so abhorrent. It was insane. And to defend it feels more insane it feels like you’ve been taken hostage by this damn show and you’re writing thinkpieces on tumblr and twitter to make it make sense!

What grates me is that it really could’ve been good. The juice was there. The actors are amazing. The production team is clearly so so dedicated and hard working. IT WAS ALL THERE. Honestly the way the show was marketed in the trailer feels completely different from how it came out and I have to think there was some fuckshit going on behind the scenes given the large tonal shift during/after ep 4 and CVD’s hasty and odd departure.

[kata4a]

@jadagul @necarion @arsinyk @quantumofawesome

Over Thanksgiving @jadagul was explaining Maiden handtalk (from the Wheel of Time novels) to me, which as I understand it is a signed language used by the female warrior class of the setting, letting them communicate in secret (and in particular without being understood by men).

Obviously this immediately made me think of Irish Sign Language.

ISL is a language unique for having highly distinct gendered variants (due to the segregation of schools for deaf children). Naturally the children, after graduating, would eventually want to interact with each other, and naturally, it was the women who were expected to learn the men's language.

This of course, meant that female ISL speakers knew a private language which they could use to communicate in secret from men.

That's at least what I remembered, but I wanted to confirm that I had my facts straight, so I did a little bit of research when I got back to Boston. Pretty much every source I could find agrees that Irish Sign Language has two distinct gendered variants (e.g.: https://www.irishdeafsociety.ie/irish-sign-language/). But it was somewhat more difficult to find more information characterizing those differences.

At least it was until I found the faculty page for Barbara LeMaster, whose research specialty is apparently exactly this. A lot of the most useful information was from her 2006 paper, Language Contraction, Revitalization, and Irish Women

Apparently, the gendered differences in ISL are not just from segregated schooling in general, but in fact can be traced to two specific schools during a specific period of time: St. Mary's School for Girls from 1846 to 1946 and St. Joseph's School for Boys from 1855 to 1957.

(Why do the gendered differences seem to disappear in the middle of the twentieth century? Because the schools, and especially the girl's school, stopped teaching sign language and started emphasizing oralism; and as the language was used less and less the variations within it started to collapse. Apparently ISL as it is taught now is largely a standardization of the language that was spoken at St. Joseph's, although the details are of course a bit more complex than that.)

And LeMaster does confirm that the "women learned male signs for public sign use, reserving female signs for private use among women." (p. 214) She goes on to say:

Men of this generation typically use the male form with everyone. And as might be expected, the men often claim that the differences between their and the women’s signs are not great and did not impair communication between them (Foran 1996[1979]; Foran, cited in Leeson and Grehan 2004). However, the women, having done the accommodation work, recognize the differences between their signs and the men’s signs, noting that in the beginning they had to use their common finger-spelling system to communicate with the men through spelling words in English (Coogan, 2003; Ceci Walsh, interview by the author, 2004; LeMaster 1990). Most women use the male signs more often but have retained their female forms for use with other women in certain contexts.

Unfortunately, as far as I can tell, rather than being a cool secret gossip language, the social position of the women's sign language is a lot more "girls feel bad for being girly":

For example, in a videotaped interview, one woman talks about being ridiculed by men for her female signs. She says that she has forgotten a lot of female signs and actually “prefers” male signs over female signs. She says of male signs (translated from ISL), “They’re nicer.” Curiously, however, this same woman, who claims to have abandoned her female signs, interacts with other women who are monodialectal in female ISL. And during the sign interview on videotape, at the very time she says that she no longer uses female signs, she employs the female sign for use. In a section of the videotaped interview immediately following this segment, she uses the male sign for use, so it is clear that she knows both forms, and her use of the female sign in this instance was an unconscious code switch.

[mamahersh]

Mamahersh’s Post-MAG-200 Fanfic Recommendation Mega Thread

@a-mag-a-day

In celebration of us finishing The Magnus Archives (even if I admittedly fell off around S2 and have been mostly lurking since then), I have compiled all of my fave post series fics for your enjoyment! I will be grouping them in some big, general categories, which I’ll list above the read more here. Depending on the size of this post, it might start looking a bit like that “Do you like the sky?” post But I can assure you that I have read all of these and can give them my stamp of approval!

If you finished the series and were wishing for your best boys to finally be happy, then boy howdy do I have some fanfiction for you!

Time Travel

Somewhere Else

AUs

Uncategorized JonMartin Fluff

By these categories, we should hopefully cover all the recommendations I have, and I hope you all find some new fics! (or enjoy rereading fics you haven’t enjoyed in awhile)

TIME TRAVEL

where there’s a will, we make a way by bubonickitten

"So, what does happen if an Eye learns to See within itself?

What happens is this: the Archive Beholds the Watcher – and the Watcher blinks first."

________________________

Jon goes back to before the world ended and tries to forge a different path.

Probably my fave time travel fic in this fandom hands down; it is also currently the longest whilst still unfinished. While I try not to recommend unfinished fics that I am uncertain of their return to activity, this is a big exception and personally I love everything about it! It’s got Jon dealing with trauma through the lens of his speaking only in Statements, Martin being saved from his downward spiral into the Lonely way earlier in S4, Georgie actually sticking around, Basira having a better grasp of the situation and being more understanding about it, and everyone generally sticking close to character while managing to buck parts of the narrative. I cannot recommend this fic enough, and I very likely already did back near the start of S5.

Something’s Different About You Lately by thesnadger

Jonathan Sims has been head archivist for just a few months, but he has memories of holding the position for years. He remembers monsters, and darkness, and the end of the world. Somehow, he'll have to keep everyone safe from what's coming. Meanwhile, his assistants can't understand why their prickly jerk of a boss has gone sappy all of a sudden.

So TMA time travel fics that focus on Jon going back tend to come in two varieties. There’s the “Jon’s mind goes back and replaces himself/inhabits his past self’s body” and then there’s the “Jon physically goes back so there’s two Jons”. The first two on this list are of the first variety, and if I remember right this was one of the first I ever read. However, I recommend this one specifically because this has an amazing ending. Like, it might just be me, but many of the endings in these feel relatively unsatisfying because there’s magically a third option where Jon comes out unscathed while saving his S1 archives crew from the Horrors. For whatever reason, it was incredibly satisfying having a fic that didn’t shy away from the options presented in S4 and S5 and I love how they characterize everyone in this one as well.

100 Seconds to Midnight by starspangledbread

Jon and Martin find themselves back in 2011 after attempting to release the fears from their reality. The world is the same one they left behind, but now something has come back with them. They have a chance to destroy the fears once and for all, but it proves harder than expected. Who knew that the best laid plans could be thwarted by nosy co-workers, office romance, the inevitable learning curve of being a time traveler turned grifter, and the refusal to believe in subtlety?

Did someone say Extinction!Jon? This also is a part of a series, though the true sequel to this one is currently unfinished (though it should eventually be completed and only has one chapter to go). An excellent romp, I definitely recommend if you’re looking for something kinda dark, some comedy, a little OOC, and Martin being able to embrace his crime side in the name of saving the world.

Yesterday is Here by CirrusGrey

"Who the hell are you?" Jon could feel his hands shaking. The man laughed, taking a step forward and raising a hand to point at him. "I'm you, from the future!" he said, then swayed, eyes going unfocused, and collapsed to the floor in a dead faint. -------- Post-season-four Jon and Martin time travel back to the season one Archives.

Written by my fave (and most prolific) JMart author, we have a perfect example of the other kind of time travel fix it fic in the form of Jon physically travelling to the past to try and save the world. As expected by someone I am calling my fave JMart author, we’re going to be getting double dose on the JMart. I highly recommend if you’re looking for something that starts a little bittersweet, but then ends in copious amounts of fluff.

Reverb (Series) by Wolftraps

Undoing the apocalypse would have been enough for Jon, if all his people survived. Without them, Jon's only recourse is making it so it never happened in the first place. He's going to do better this time.

Summary from the first fic in the Reverb series, I highly recommend the first two fics in this series for different reasons. “The Reverb in These Holy Halls” is a great time travel fic that takes some really interesting turns by the end and unlike most fics actually has Jon try to keep Tim safe by keeping him out of the Archives pre-S1. However “Gossip” I recommend if you enjoy those fics formatted to look like official communication of some kind. It’s got people outside the Archives trying to figure out what’s wrong with them during the events of the first fic, and while it would be very confusing to read without the first fic, I’d almost say it’s worth it if you aren’t feeling the tags on the first one. Really fun and entertaining, you can’t go wrong with either one.

The Triumph of Galatea (for Acis is transformed) by TheOestofOCs

Statement of Hazel Rutter.

Jon couldn’t stop reading.

The Fears, however, are a bit more powerful than Jonah gave them credit for. Jon opens the door, but the world can’t hold what’s on the other side.

Time falls through, instead. Past becomes present, and the future is undone.

Statement begins.

Another fic I definitely recommended back at episode 160, but is well worth the second recommendation and/or re-read. Time Travel, but what if Jon could control as well as go into the dreams of the assistants/other Eye aligned people instead of just his victims’ dreams? Very good, even if unfinished, though the author seems likely to finish someday. Check out their other work as well, it’s all very good and has my fave Circus themed fic written to date.

a map of what matters most by gruhukens

“Is that a body,” Tim blurts before he can stop himself, rising to his feet. Martin looks, if possible, even more scared.

“He’s alive!” he hisses, almost defensively. “It’s not - it’s not Gertrude again, I didn’t kill him, he just – I don’t know what happened to him, I just found him in the stacks like this.”

“And you dragged him up here?” Tim says, and then registers several things at once – the build, the hair texture; the little round scars peppering a pair of thin hands and an awfully familiar face. “Wait, is that Jon?”

----

Jon stumbles back into an earlier Archive, looking for a way to fix the world. (Or, mom says it's my turn for the obligatory time travel au)

Directly inspired by CirrusGrey’s fic that I recommended earlier, this is another: Jon travels physically into the past fic. This one though is far more bittersweet than “Yesterday is Here”, but still an excellent read and does a great job at fleshing out the relationships between all the characters.

Saving the Universe: For Dummies by GhostChoir

Finding a man bleeding out in the alleyway was not what Elias wanted to do today. And he certainly didn’t mean to befriend him. But things never did go how he expected.

****** A Post-MAG200 Jon meets a 1970s Elias, an Elias from before he was corrupted by Jonah. Together, the two of them learn to cope with grief, drink more tea than any two people should be able to consume, and commiserate over shitty bosses. Oh, and just for the hell of it, they stop an apocalypse along the way.

Now for a change of pace: What if Jon time travels to the time of early Gertrude and Elias pre-Jonafying? A very good fic is what! While it’s been awhile since I read this, I do remember it’s quite good and deserves a chance. Note: this is NOT Jonathan/Elias, so my apologies if you were looking for that, but it is two very lonely men getting to just have a reliable friend in times of trouble.

A Little Game of Cat and Mouse by Paptato

“Jonah Magnus.” The cloudy silhouette snarled as it’s hand clamped tightly around Jonah's ascot. That was indeed his name, but Jonah couldn’t begin to fathom what he did to have it spat out with such hatred.

But nonetheless, Jonah was a gentleman and he would kindly address the angry figure as politely as possible, “Yes, and you are?”

“What?” The form spluttered as it slowly came into focus. Ah, yes. That probably wasn’t the proper response to being held at gunpoint by a random stranger. Must have been the blow to his head.

(Or in which Jonathan Sims goes back in time and tries to pull a Terminator, but fails and Jonah Magnus finds a new mystery to solve.)

This is that Jonah Magnus/Jonathan Sims enemies to lovers fic your friends warn you about in a good way. It’s not done, but I think it’s still being updated very slowly. Even if all I ever read is the currently released 11 chapters, I will consider it my one exception to my dislike of Jonah/Jon. As you can probably guess by the description, it’s a time travel fix it where Jon gets shunted back in time to when Jonah was still very human and still trying to figure out the Fears. The Web keeps Jon from explaining his circumstances or anything to do with Jonah’s future in particular, but this is a good thing and they both get to learn how to be more human in a world that previously was very antagonistic to those goals. It’s got a heavy dose of comedy, plenty of romantic tension, and lots of both surprising and unsurprising cameos. If you enjoy Dracula Daily, you’ll probably enjoy this imho.

Déjà Vu by CirrusGrey

Sasha remembers being unmade. Tim remembers being Unknown. Jon and Martin remember being unwound. All of them think they're the only one. -------- The S1 crew wakes up in the past with memories up till the moment they died.

So, here’s another one that’s got quite the spin on it. As you can see from the description, this one is where S1 crew all get their minds sent back in time to the time right around Jon’s first statement if I remember right. Another CirrusGrey fic, so it heavily leans on JonMartin, but otherwise it’s a wonderful exploration of the four S1 characters and ends on a very hopeful note!

oh my darling, just a moment of your time by IceEckos12

The Institute is visited by a pair of time travelers, and Jon has an important question for Tim.

Have you ever had a oneshot that just kinda guts you unexpectedly? While this might not do this for everyone, this is an amazing oneshot that gets right the point. I love it a lot, because of all of the fics where future and past meet each other, it very rarely if ever is addressed that past Jon was a douche. Or well it is but past Jon doesn’t necessarily have a character moment from it. Here he does, and despite the briefness of the fic, the author does an amazing job of giving Jon and Tim a moment while making an almost critique of the TMA time travel genre. Highly, highly recommend, and it won’t overstay it’s welcome if it doesn’t end up being your thing.

The Severing of Webs by chlodobird

After Jon kills the world, he travels back in time. Once there, he gets ready to change the future, to save his Assistants, and to watch as everyone learns to hate him again.

Unfortunately, the tapes wrap around him like a fly caught in a Web—he can't move. He's trapped reliving the original timeline, stuck acting out his past actions like an actor rehearsing his lines.

Sasha will die. Tim will die. Martin—

(Jon screams inside his mind, and someone hears him. Fate is not as immutable as he fears.)

This one is a brand new one! While basically all of the others on the list have been out/updating for over a year at this point; this lengthy oneshot just released this month. tbh, very excellent, which is why it has made the list. Also, quite the twist on the usual premise, where being sent back into his head is actually a bad thing this time. Ends with a giant pile of fluff, but who would I be if all my time travel recommendations were not also fix-its?

-

Somewhere Else

it will be this, always by bluejayblueskies

Jon coughed again, and blood stained his lips and blood stained Martin’s hands where they pressed against Jon’s back and blood stained the floor beneath them and help, they needed help.

Martin doesn’t remember shouting. He barely remembers the faces that had surrounded them, wide-eyed and terrified, all utterly unfamiliar.

.

Jon and Martin wake up somewhere else. Jon begins a slow path toward physical recovery, and several important, long-put-off conversations are had as they begin to navigate a new world that they hadn’t thought they’d be alive to see.

So, I’m sure you all have gathered that I have qualms with how much disparity there is between canon and fanon Jmart. This fic is painful, but is the most in character depiction of post 200 JMart fallout I have ever read. The ending is very cathartic, and takes a “realistic” approach to what happens to Jon and Martin as they begin to navigate their relationship after they both had betrayed each other so thoroughly in the leadup and culmination of MAG 200. If you don’t want them immediately making up, this is the fic for you. They get there, but by all that is good do they take their sweet time getting there.

Out There, Somewhere by Artyphex

"I'm sorry, you were found alone."

Jon survived the apocalypse and now will go to the end of this new, unfamiliar world to find Martin again.

So I think I’m just getting all the angsty ones out of the way first lol. Another slow burn, this fic is Jon’s recovery in the new reality while he also searches for what happened to Martin. Since I don’t post the tags, I will say this ones does feature “Eventual Happy Ending”, and I do promise that both Jon and Martin made it to the new reality and lived. But Jon and Martin both get to pine and cope for a while before that happy ending tag comes into play. It’s incredibly well done and explores their characters really well. Personally, I kinda enjoyed the Reddit saga because people mistaking Jon’s pleas for Martin as an ARG is very typical internet and 100% I would have bought into that at age 13.

Of course I need a therapist. I need ten therapists, working round the clock building me a bionic coping mechanism. We have the technology. by MartinKBlackwoodESQ

A story set somewhere else.

I’mma be real with you all, if I believed that characters could write and publish their own fanfiction, I would be halfway convinced the name is accurate. All joking aside however, this is a “crack treated seriously” fic but with characterization so on point I can consistently hear the voice actors when I read this. Admittedly, it’s made easier by it being written in transcript formatting, but if you’re looking for a hilarious time where TMA is suddenly is turned into a buddy cop adventure where Jon and Martin go to a universe where the Fears hadn’t been till their arrival, and they have doubles that already exist there who are living fairly normal lives till the TMA Jon and Martin crash land into their reality... Well this fic is one I cannot recommend highly enough. It also has a sequel, and it is also well worth the read, even if it appears to be on a bit of a break in it’s updates.

Worlds like phyllo pastry by neworld

After episode 200 Jon finds himself alone in a world very much like the one he left but fractionally different. It's so similar he finds versions of his former friends existing happily in the world. Unfortunately they have never met him in this universe and have no idea who he is.

This one’s unfinished, but personally it’s well worth the read as is. Not sure how I feel about the most recent chapter, but the story up till that point is a really fun spin on “Jon and Martin get shunted to a new reality” where Jon learns how to feed in a way that doesn’t cause problems facilitated by the new reality, and re-meets all the people who he lost till this point and has a very silly antagonistic relationship with his alternate self. While fic might be more of a guilty pleasure, it still is written in such a way that I would rank it high enough for this disorganized list.

Death Is The Easy Way Out by traveller19

After having killed Jonah Magnus and ended the Change, Jon and Martin should finally be able to rest. Rest, however, proves impossible when Jon falls ill. What's more, he begins having vivid dreams of their dead friends - Tim, trapped in the destroyed Archives, and Sasha, trapped outside of them. As Jon's condition quickly worsens and the line between dream and reality begins to blur, love is all he and Martin have to hold on to, because hope is a dangerous thing.

Did someone say sickfic??? But for real, this fic has an amazing balance between an A plot and a B plot, and keeps both at the right level of tension throughout. While this is a sickfic heavy one, it also features Tim and Sasha as ghosts trying desperately not to be. There’s also a lovely sequel and plenty of fluff by the end, but this is a rough ride. ALSO, if you or a loved one had covid / any respiratory illness that caused them to be hospitalized with pneumonia and it could be trigging to read incredibly on the nose descriptions of that experience, this fic is not for you. Or very cathartic. :/

Castaways by CirrusGrey

Welcome to the Castaway Foundation, a nonprofit organization dedicated to providing a safe and secure landing to those lost souls banished from their home worlds by the influence of Fear.

If you wanted saccharine JMart in a new reality where they get therapy and meet old friends from different realities, this series of (mostly) one shots is for you! As you’ve probably come to expect when I suggest CirrusGrey, the writing is fantastic, the ship dynamics are exemplary, and the character are on point. There is so much to say about this series, but mostly, if you want Jon and Martin healing and then settling together and becoming the stereotypical married couple, then this is it. It’s not done, but it is wrapping up, and I hope you all if you haven’t seen this yet enjoy it as much as I do. And for those long time readers who have been reading it longer than I’ve been in the fandom, here’s your friendly reminder that it exists.

Do Before I Die by SupposedToBeWriting

Somewhere Else, Jon can't seem to shake the strange apathy that now plagues his life. Everything reminds Martin of the end of the world. For a change of pace, he and Martin rent a campervan and go on a road trip. Their mission? To fulfill the 'bucket list' Martin made when he was eighteen and lonely. Jon's looking forward to the beach.

Jon and Martin go on a Road Trip accross Britain. It’s just a wholesome and hurt/comfort as it describes. An excellent romp, and the character studies are wonderful. The Planetarium still sticks with me.

ours is a distant shore (series) by pantsoflobster

“If they ever found out about us, we could make things really complicated for them," Jon said. Martin gave a thoughtful hum and then a loaded pause before he said, “Or simpler.” “What?” “We could, you know…” Martin then made mischievous eyes at him in lieu of expanding. “What?” Jon said, thoroughly lost. “Wouldn’t it be a bit fun to sort of... nudge them in the right direction?”

Months after they arrive Somewhere Else, Jon sees himself in the shop.

Summary is from the first fic in the series, this is a fun little romp for those who hated Martin’s defeatism over his and Jon’s relationship in MAG199 and want to see what would happen if instead he accidentally kick started an alternate version and his and Jon’s relationship Somewhere Else. It’s all very silly, tho the last fic does lean more into the hurt/comfort tag than the previous two. Over all though, if you’re looking for a little crack, a lot of fluff, and Jon and Martin being silly this is a good time.

Written in the Stars Will Have to Do by GentlemanCrow

“Yeah well, god knows why, but he thinks you hung the moon, so you might try treating him at the very least like a human being once in a while.”

It was such a small thing. Small words for a small feeling cloaked in a chintzy veneer of idiomatic dismissal. A trembling little bird cupped in his scarred and battered hands and smothered. Or so he thought. Sometimes trembling little birds turn out to be phoenixes, and those who looked to someone else to hang the comfort of a wise, silvery moon in the sky already have the hammer and the picture wire at the ready.

As far as Jon was concerned, the moon only rose on their Somewhere Else because Martin deigned to pull the strings every night, not him.

This is another one of those JMart Somewhere Else fics masquerading as a Safehouse fic that made me want to cry. It’s just, so wonderful, and once again we have themes of healing, but this time through getting a hobby and sharing it with your significant other. The writing is lovely and really gives off the stuffy academic musings I would expect being in Jon’s head (which we are for the duration of this fic) but adds a layer that I didn’t realized I needed till I read it.

On Errantry by ZaliaChimera

Somewhere Else, Jon and Martin discover that their new home has a very special sort of guardian, and Jon seeks judgement from an unexpected source.

They do say that cats purring can heal...

A cute one shot that deals with Jon’s lingering guilt from S5; this is a wonderful tale from Somewhere Else featuring a giant Cat, Martin being supportive, and Jon trying to reconcile his second chance. Very sweet and fluffy, guaranteed!

Lost, Unfound, But Not Forgotten by Elynn

They didn’t find bodies. Or anything pointing to where they may have gone. In the center of the rubble, what Georgie assumed to have once been the top of the tower, was a puddle of dried, crusted blood, and the outline of bodies in the dust and scorch marks. And she knew that wherever the Fears had gone, Jon and Martin had gone with them. The last victims, snuffed and dragged away with them. --- In the weeks after the Eye-pocolypse, Georgie Barker begins the painful process of mourning her best friend.

So, I know I’m very focused on Jon, but I have one fic of Georgie here that’s 10/10. Post 200, Georgie and Melanie eventually goes to clean out Daisy’s cabin of Jon and Martin’s things for Basira (or something like that) and Georgie finds a journal of Jon’s that he kept whilst there. It’s just as bittersweet as you’d imagine, but it’s fantastically cathartic to read and in our MAG 200 feels, this is a good one for closure.

Not Quite Somewhere Else by hawkfurze

Or you can find it on Tumblr HERE

A special entry to finish out this section, I have a long running comic from Tumblr user @hawkfurze who made a TMA x Infinity Train crossover. While I had not watched the show previously (only seen the trailer/pilot from back before it got picked up by CN), the comic is still easy to understand and explains the Infinity Train parts in such a way as to not need any prior knowledge. I highly recommend this comic for anyone who wants a visual treat delving into the relationship and psyches of Jon and Martin as they try to escape into the next reality.

-

AUs

Two Graves by SupposedToBeWriting

Jon sends the fears far from Earth and flees London, leaving the others to assume the worst. He settles in a small village and opts to live there quietly until he dies, a self-imposed penance. This plan is foiled when the first former Avatar shows up - and Jon realizes that every domain-keeper in the apocalypse still has some faint connection to him.

After a year of being a shoulder to cry on for confused and distraught former Avatars, Jon leads a moderately happy life. He has a flourishing garden, a cat, and some company. All of that comes crashing around his ears (or his head) when a familiar face shows up to his cabin, demanding answers.

This fic is in my top 5 fics of TMA fandom. No contest. It has some of the best healing from MAG 200 for Jon and Martin and tbh the world I’ve seen. It’s got that incredible hurt/comfort and the ending makes me cry tears of joy every time I read it. If you read any JMart fic on this list, please read this one if you can only read one. While I was tempted to put this in a different category, this seemed like the best place to put it.

What Comes After by Mornrandir

More than a year after the apocalypse, the world is starting to move on. Georgie, Melanie, and Basira have learned to move on and get back to living their lives. Then Martin reappears- without Jon- and they have to learn to begin again.

A series based around the initial above description, each entry in the series follows the healing of first Martin, then Jon, then both of them together. While I am a Jon-centric woman, if you are of a more Martin-centric leaning, this first fic in the series should scratch that itch. The final entry is very sweet, and the second definitely has a unique reason as to why Jon shows up so late to the after-Fears party.

The Watcher’s Cows by lenioia

He still remembers the first cup of tea Martin brought him. That’s where it began, not with the dog incident. A sweet and strong blend, reasons for appearance unknown, how could it taste so good, also unknown. Jon stares at what will be the last cup between them. His miserable parting gift. Where it’ll end.

Alt Mag 200, or in a slightly kinder universe which differs by exactly one cup of tea, Martin is the one who switches plan last minute, and Jon’s last half-backed scheme, for once, works.

An AU splitting off MAG 199/200, where Jon’s plan actually happens, but instead of it being quite so bleak he finds a new path with the help of Martin. I know the original ending of the series is probably the most hopeful one realistically, but we all enjoy our fixits here, so this is a really sappy “by the power of love” Jon and Martin save the universe and still get to live in it AU. Highly highly recommend, and it finished within the last 8 months, so it’s “on the newer side” as it were. If you haven’t read it, give it a shot, and if you’ve read it and it’s been awhile now’s a good time to read it again.

The Eyespot Chronicles (series) by SupposedToBeWriting

To Martin Blackwood's surprise, he wakes up in the ruins of the Magnus Institute. He thought he would be dead. The world is back to normal, the Entities are gone, and everyone realizes that it's finally over. The only sticking point is that Jon isn't exactly the Jon that went into the apocalypse. Never one to give up, Martin is determined to make a life for himself and his boyfriend. Even if he is a giant moth.

Summary taken from the first in the series, this trilogy of fics covers Jon and Martin’s attempts at healing in a world that remembers what happened. The first fic focuses entirely on Martin’s struggles, the second on Jon’s, and the 3rd (as you might guess) focuses on them both. The series is excellent, and if you’ve got the fortitude for canon-typical emotional constipation after having just experienced MAG-200 it’s well worth the read.

Another Guest for Mr. Spider by Dribbledscribbles

Jon isn't eating his statements like he should.

Mr. Spider doesn't like it.

Written in transcript format, this AU considers the idea of what if the Web was more hands on it it’s approach to getting Jon to Become more monstrous; or at least not starve himself out. Incredible read, you need an AO3 account though. But I have never been that spooked by a Statement or encounter before I read this fic. If you DO NOT like spiders on you or in your mouth and you don’t like reading about it either, potentially hold off on this fic, or at least skip from where Mr. Spider says “Open your mouth. Do not move.” to when he says “Wash it down with this. Now.” But yeah if you didn’t get enough spider trauma from canon, this fic gives it in spades! (And if you want Mr. Spider getting his comeuppance, you get that too ;) )

Illicio by ThatOneGirlBehindYou

As the new Archivist debates between life and death, the Eye ponders on what to offer him in order to avoid an encore of the unfortunate situation with his predecessor.

-----

Gerard Keay opens his eyes at what feels like fuck-ass in the morning, inside a room with far too little space and far too much dust.

A long form AU of what if Gerry Keay was brought back by the Eye to convince Jon to stay on team Monster if you will. Goes all the way through MAG-200, has some great twists and turns, and manages to turn into an “Everyone Lives AU” as well. While it is currently updating, it’s updating every week on Saturday till it finishes, and she only has 2 chapters left. If you’ve managed to never read this, now is certainly the time for it! It is Jon/Gerry/Martin, so if that’s not your exact cup of tea I’d still say give it a shot.

we should ride this wave to shore by ClarionGlass

“archives research & statement envestigation” Timothy Stoker renamed the group “drinks drinks drinks” Timothy Stoker changed Sasha James’s nickname to saucy sash Timothy Stoker changed Martin Blackwood’s nickname to martini kart Timothy Stoker changed his nickname to stonked stonked: so how bout it lads saucy sash: oh god. A TMA group chat fic where the worst problems they have to deal with start with "h" and end with "angovers"

Right, I don’t tend to read chat fics, I’m going to be honest with you all. I have two exceptions and this is one of them. It goes interesting places, the characters are not completely OOC, if it they are at least it’s consistent OOC and not in a grating way. But in all seriousness, I recommend this because of how it ties in with MAG 160 and 200; as well as how the sequel deals with canon S5. The sequel isn’t finished and is slow to update, but I am still recommending at the very least the first one. It’s a good romp and I highly recommend.

Ask an Exec: How to Navigate Cultish Colleagues, Soul-Stealing Bosses, and the End of the World at Work by shinyopals

I've recently been unexpectedly promoted to lead a department in my organisation, wrote the anonymous emailer.

As there was no one working here when I arrived, my manager, who is head of the organisation, had promised me the choice of my own assistants. However, without warning, he simply presented me with an additional assistant. This new assistant’s first act on his first day was to let a dog into the office. It took several hours to catch and clean up after this dog and it has only been downhill from there. I admit I'm not entirely sure what to do with this assistant now I'm stuck with him. I'm hoping you have some advice?

Kind regards, New Manager

Abigail Bailey runs a successful management advice blog. One frequent contributor is from a workplace with some... issues.

While this isn’t quite an AU and is basically canon compliant, I’m putting it here because it’s a “what if Jon was an avid seeker of advice on a management advice blog?” AU. It’s beautifully formatted, and features very in character interactions. If you are a sucker for the TMA trope: how do normal people react to the weirdness at the Institute, then this is a great fic for you. I know it’s probably one of the most popular things to have hit the Jonathan Sims tag on AO3 in recent months, but this is just me reminding you all it exists and well worth the re-read.

JMart Fluff

Author CirrusGrey

Literally anything by them. I think I probably recommend them every time I talk about JMart, but I think on AO3 they are both the most prolific and one of the best writers for the tag. Pick almost any fic they’ve written for TMA and it’s probably JMart. There’s too many fics of their’s to recommend, so I’ll just link you straight to their profile and you can go swimming from there lol.

Jon’s Moving Castle by IceEckos12

Martin Blackwood may not have a perfect life, but he does have a good one. That is, until a series of magical encounters leave him with an unfortunate curse. Out of other options, he goes to the wizard who lives in the moving castle for aid.

Life never goes how he intends it to, though.

Basically Howl’s Moving Castle, but with a TMA spin. You don’t need to have seen the movie to understand what’s going on, and honestly while it sticks fairly close to the movie, it doesn’t stick so close that it feels constrained by it in places where it wouldn’t make sense in the AU they’ve set up. It’s a very sweet JMart fic with a satisfying conclusion.

The 101 Kidnappings of Jonathan Sims (and Other Inconveniences) by beetlejoos

Martin Blackwood never applies for a job at the Magnus Institute. The universe seems determined that he meets Jonathan Sims anyway. But is it Fate, or something more sinister, that keeps bringing the two of them together?

Right, this mostly crack treated seriously. It’s got hurt/comfort, but it’s fairly light hearted throughout. As one could guess by the title and description, Jon is repeatedly kidnapped and brought to wherever Martin is living/working at the time. While it’s not done yet, and not on a schedule, the chapters that are out thus far are well worth the read. That and there’s some cute fan art for it that’s linked to in the end notes. But I recommend this because it’s got that vibe of S1 Jon meets S1 Martin outside of the Institute and romance (eventually) happens. Very fun read if you haven’t read it yet.

i think we’re alone now + alone-verse (series) by milliganopen

Just a couple of guys breaking into a basement. What could go wrong?

Getting trapped in your apartment with your boss, that's what.

Season 1 re-imagined if Jon and Martin had been trapped by Jane Prentiss together.

Initially I recommended this back when we had hit MAG039/022 because it was a great AU to Martin’s Statement where Jon also gets trapped in Martin’s apartment during Martin’s no good very bad 2 weeks of worm siege. HOWEVER, the author has since continued this series and is slowly working their way through canon one season/fic at a time. They’re currently on S3, and I am definitely keeping an eye on it for whenever the next update happens. If you haven’t had the time to check it out, it’s got some very good JMart moments, and their relationship manages to move faster than a glacier.

Fate, or Something by HermaeusMora

"You can't be serious." Jonathan Sims raises his eyes at last to properly look at Georgie, expecting her to laugh and make some quip about finally getting him to put the damn book down, at least.

"Well, I am," she shoots back.

He sets his book aside and turns fully towards her, betrayal clear on his face. "A blind date, really?"

Jon makes the frankly terrible decision to go on a blind date with one Martin Blackwood. Fate ensues. AU where Jon and Georgie are still friends, Georgie likes finding dates for her friends, Martin doesn't work at the institute, and everyone is just a bit happier while canon spooky stuff goes on in the background. Takes place juuust barely pre-canon in the beginning but catches up quickly. Inspired as usual by the wonderful conversations with my friend RavenXavier/somuchbetterthanthat.

A fun AU that challenges the idea that Jon and Martin are incompatible a la MAG199. Excellently done and well worth the time to check it out.

Diary by luftballoons99

Not for the first time since they ran away together, a camera reel of all the things they don't know about one another whirs behind Martin's eyes, and he can't help but look at all the sprawling magnetic tape and wonder if they’re going to wind up a romance or a tragedy.

or: Office parties, garage bands, and the joy of being known.

A bit of a bittersweet mostly fluff oneshot focused on Jon and Martin having a night in at the Safehouse and talking about good things from their pasts. (Warning, the sequel is rated E(xplicit) for a reason, so I am only recommending Diary. Both are stand alone however.)

Weaving My Heartstrings by arms_full_of_hyacinths

At least he was someone. Someone who could deal with the spiders. That was probably the source of the nerves unspooling like magnetic tape to fill Jon’s stomach with buzzing static butterflies.

Yes, Martin was much bigger than a spider. He was probably the kind of person who cupped them in his hands and talked to them as he walked them out into the garden, which shouldn’t be giving Jon a burst of warm feeling at all, since his preferred method of spider disposal was simply to squash them on sight.

Martin likes Jon almost as much as Jon hates spiders. When a statement from an institute employee sends them spiraling into the center of a complicated web, they'll need to rely on each other if they want to make it out alive.

Bit of an odd suggestion to close us out, but this one is a fun almost episodic plot about an original Statement and the shenanigans Jon and Martin get into trying to research it. It’s very good, features some very on point S1 Jon and Martin along with a bit of a fast forward on their relationship throughout.

And with that, I’ve probably overstayed my welcome lol. I hope you found something new to read! If not, I at least hope that you had fun rereading some old faves. This has taken me a day or two to compile and format, so I hope you all enjoy in whatever capacity that ends up being! Happy end of A Mag A Day, and it was a joy walking alongside you all. Congrats to A MAG A Day blog owners on all your hard work for the last ~210 days and with this post I wish you all a very fond farewell.

[molinaskies]

Sonic Broke. What's Next? (IDW)

For those who might know, quite some time ago I wrote about Sonic’s next emotional arc in the IDW comics, where he won’t be so immediately trusting of new faces after what happened to Mr. Tinker. I analyzed how this new dynamic is characterized through his interactions with Belle and was justified by the events of the metal virus arc and, more specifically, the way in which everyone piles onto Sonic for his decision to keep Mr. Tinker alive.

Espio’s done it. Shadow’s done it. Zavok’s done it. Metal Sonic’s done it. Starline’s done it. Eggman’s done it. Sonic’s done it. So many people have put Sonic down for this one decision; this one decision has backfired in so many ways, but Sonic, ultimately, never lost faith, never lost hope, never lost his optimism for a better world where everyone has even a little bit of good in them. This optimism is one of Sonic’s key defining characteristics that shines through every single continuity of this franchise and every single iteration of this character.

But this is it. This. Is. It. Chekhov’s gun has fired, and Sonic has fucking broke.

This collapse hits Sonic in two waves, the first one being his first confrontation with Surge.

Surge says everything the others have said regarding Sonic’s “moral code,” but her specific language illustrates the key difference between her and everyone else—and why it hits Sonic so hard. Everyone else in Sonic’s life is adjacent to Eggman’s terrorism, but Surge is a victim of it. And what makes matters worse is that she’s only brought in this mess through a chain of command.

If Sonic ended Eggman, Starline wouldn’t have been able to bring Eggman back, nor experience the apprenticeship that turned him against Eggman and sent him on the path of creating enforcer cyborgs—which means that Kit and Surge would not exist in the state they do now, and they would be able to live happy lives. Even if after ending Eggman, Starline would have still surfaced on a track of “Eggman Avengement,” the same argument could be made, because Sonic would have directly spared Starline, too, and he knows it. If only for a second, something clicks.

The collapse finishes in one fell swoop in his third confrontation with Surge, where she spells it out for him further, and where a technical fault on Eggman’s Device, of all things, saves his life by almost surging hers.

Sonic has now, for the first clear and objective time, seen the true consequences of his decision, and for the first clear and objective time, he cannot fix it.

This isn’t the same as Metal Sonic, who, as a (sentient) robot, serves a purpose outside of replicating Sonic (he’s a protector, an attack robot, and a companion to Dr. Eggman). Surge once had a life of her own, one she no longer remembers because, through a sick and twisted train of events, Sonic has deprived her of those memories, that freedom. Surge isn’t a robot. Surge isn’t an android. Surge is a real, tangible person that Sonic’s decision has thoroughly fucked up, and Surge has just framed him—not his choices, HIM—as the key reason she’ll never be free. She will either kill him or die trying, and either way, Sonic cannot win.

In the first second he can breathe, let alone process everything that just happened, Sonic… can’t. He has nothing to say—not in front of Tails, at least, but maybe nothing, at all. Until this point, Sonic has wondered if he, specifically, was to blame for Eggman’s actions because he was the one to let Mr. Tinker go. However, this is the first time where Sonic seems to question whether he should have let Mr. Tinker go, at all.

When Eggman emerges from the rubble, Sonic isn’t smug. He’s not amused. He’s not even bemused. Sonic is gutted and disgusted by the fact that Eggman’s still alive. He might even feel guilty that he’s still alive.

Eggman doesn’t know sympathy, doesn’t know remorse—not in Sonic’s eyes, not anymore, and it shows, because when Eggman has the audacity to ask for another truce—

—Sonic could fucking kill him for it.

Sonic’s always hated Eggman, but he’s also always had faith in his ability to be good. However, what Sonic has learned from all this—what Sonic finally believes down to his core—is that Dr. Eggman is lower than the scum of the earth. Sonic finally understands why Eggman helped stop the arc, why Eggman worked with him to fight the Deadly Six, and why Eggman helped eradicate the metal virus. Sonic finally understands that he mistook Eggman’s ever-cunning, manipulative mind for a shred of benevolence.

Now, what does this mean?

Now that we’ve witnessed the breaking point, I think it will take a fair bit of effort to pull Sonic back from the brink of rage. He’s not going to give up on Surge—not at all—because if he did, he might truly fucking lose it, but there is no way that Sonic will be entirely unchanged by this. In the future, when he’s placed in another complicated situation and given a difficult choice to make—especially if it has to do with Eggman—we might not see even a shred of lenience.

I thoroughly believe that the primary narrative purpose of the IDW comics, as they currently stand, is to investigate Sonic’s tenant optimism and push it far beyond its limits. This story’s purpose is to interrogate and observe Sonic’s declining psychological state until it shatters. This story’s purpose is to stand by one of this franchise’s biggest arguments: Sonic’s big, big emotions cause problems, and his inability to cope with those emotions makes problems worse.

When Sonic’s happy, he’s ecstatic, when he’s confident, he’s cocky, when he’s sad, he’s depressed, and when he’s angry, he’s livid. And all of these emotions, without balance, can come crashing down around him.

We’re seeing this fact so prevalent in the movies, Sonic Frontiers and especially Sonic Prime (which takes the direction that the movies do and turns it up to eleven). However, in the same ways they weaken him, Sonic’s emotions give him strength. Without his optimism, Sonic would have fallen, long ago. Without his optimism, Surge will never have a chance to see a better future for herself. It’s all counterbalanced by how big his heart is and how much he evidently wants to be better and do right by others.

And if there’s anything he’d die trying to do, it’s that.

[kathanglangit]

The First Blade: Balaraw - Winged Dagger

I realize I haven't been explicit about it on here yet (mostly because I'm not the best at keeping all my social media profiles up to date), but I am involved in the development of a Tabletop Roleplaying Game It's called Gubat Banwa- a TTRPG based around tactical grid combat, contemplative war drama, and high-flying martial arts, all of which taking place in an unapologetically Southeast Asian-inspired fantasy setting, developed by @makapatag with art direction by @villain-returns. Initially I developed the script that is used in the gamebook and diegetically in the setting- called Kasuratan- but I'll talk about that elsewhere.

With the Kickstarter launch imminent, I thought I'd do a bunch of Twitter X threads on a bunch of weapons I've drawn for the game counting down the final week before the launch. Then I thought: "Why aren't I posting these on tumblr also, at least I wouldn't lose my mind over character counts over here"- so here we are. These were supposed to be posted as Swordtember drawings, but then the KS launch got moved to October. Most of these blades are of Philippine make, since that is where my knowledge-base is and what I'm comfortable enough to share knowledge about. I thought it'd be nice to share a bit of blade knowledge from some of the cultures that inspired the setting. Without further ado, let us begin with the BALARAW.

Also known as a "winged dagger", it is characterized by its unique shape, consisting of a short leaf-shaped blade driven with the tang out into a hilt with two distinct protrusions, creating three prongs on the back with the tang included.

(Photos from an exhibit at The Met)

They may be held at the hilt like a regular knife, or they may be held in a manner not too dissimilar from how our neighbors in Southeast Asia hold keris. One may imagine it like a "push dagger" for lack of other reference points. It might be likened to the katar as well, in some sense.

(Sketches by the Gubat Banwa Art Director himself) Nowadays, the blade is frequently attributed to the People of the Upstream- the Mandaya group of peoples- though they would have seen much wider use in their day, likely also spanning across what is now the Visayas region of the Philippines.

(Modern rendition by Panday Keiven Tolentino of Itak Mindoro, Photo by Ramon H. Bathan) Something I've noticed from looking at Philippine blades all the time is that symmetrical, double-edged blades like these are rare, here. Blades that lend themselves more to stabbing than anything else aren't very prevalent either, and blades that do not- at first glance- appear to be made with tool use/foliage clearing/farmwork in mind don't make up the majority of specimens. The balaraw is unique in several different respects, and any self-respecting warrior Kadungganan of Gubat Banwa's Sword Isles would do well to mind its bite. The weapon makes an appearance in Gubat Banwa in the hands of the Beast Hunter- one of the many Disciplines ("character classes") whose techniques your character can learn in-game.

The Gubat Banwa Kickstarter launches in 7 days! Check it out here:

We'd appreciate any and all help in getting the word out. Support an independent TTRPG made by a team from the global south, looking to make waves through a fantasy setting where the Southeast Asian inspirations takes center stage!

[writerthreads]

How to write a gripping fight scene

By Writerthreads on Instagram

Context

Provide the readers with preliminary details about the basics:

When is the fight? Where is the fight? Who are the characters involved in it?

Before you write the scene, it would be helpful to pre-plan the events and know the basic "itinerary" of the fight. This could be how it was initiated, which characters fight each other and how, and the way the fight ends.

Identify the backstory

The key to how to write a fight scene or battle scene is Goal, Motivation and Conflict (GMC). 

Ask yourself:

Why is this fight or battle taking place? (This supplies motivations, what each fighter or army has to gain or lose)

What each party wants (the goals). Goals may differ for the same conflict. One soldier may want to prove themselves worthy of promotion, for example. Another may just want to survive to see family or a lover back home. In a battle scene, what does the unit want, versus the individual?

What are the potential conflicts in the scene? For example, an argument might break out within ranks, or a sadistic leader might find themselves without aid at the peak of battle because their troops secretly despise them. A single, larger conflict could have smaller, breakaway conflicts that add further, lesser tensions to an already dramatic scene.

(From NowNovel)

Use characterisation in action

A fight scene can seem long and boring. To spice things up, you can provide readers with a bit more insight to the character as they fight.

Why does the character make the choices that they make in the fight?

How does each choice reinforce their characterization?

How does each choice impact their internal and/ or external goals?

Is this conflict getting the character closer or further away from their goals? How?

What are the stakes for each character? What do they stand to win? What will they lose?

What type of fighter is the character? What are their physical or mental abilities? (Remember that not every protagonist will be a trained assassin, so they’re prone to make sloppy mistakes during a fight.)

Use the fight scene to reveal necessary information about the characters. Be sure to give the reader a glimpse into the character’s soul and not just into their fighting skills.

(From NYBookEditors)

Use all the senses

To make the scene truly gripping, you have to make it visceral. Hit the readers with all the senses other than just sight. Sounds and textiles are particularly helpful and make the scene much more memorable.

So, next time you want to write one person's sword hitting another, you can describe the clang of the two steel pieces hitting each other, the smell of fresh blood in the air, and how heavy the sword welder's arm feels after parrying for ages.

Know the limits of each weapon and magic (if applicable)

Before you start writing, do some research about the "code of conduct" fighters in your time period had and how the weapons work. If you're very dedicated, you could try some classes in martial arts or fencing to get a rough idea of what the specific fight scene should feel like.

The ending

Let the readers know what the results of the fight are. Did one side clearly win? Were the results unclear (not in the sense of bad writing but of a draw-like scenario), or was it a Pyrrhic victory that incurred so much loss that it wasn't worth it?

One pet peeve of mine is a fight that ends when a Super Boss Weapon is revealed and ends the fight immediately. It's a quick way to finish the scene with no hassle, but in my opinion, it seems lazy and makes me wonder why the Super Boss Weapon wasn't used in the beginning. Unless it's justified, eg. the Super Boss Weapon had to be charged up, I get very mad when it happens. (But this opinion is very personal and you can obviously ignore it!)

Conclusion and disclaimer

Hopefully these tips will help you pen the perfect fight scene! I have minimal experience in fight scenes and all the fighting I do in real life is fencing (badly).

And as always, our tips are just tips and not rules -- you obviously don't need to follow them since they're just a guide to make your writing better! Good luck in writing your fight scene! :)

Sources: NowNovel, NYBookEditors

[lizzybeth1986]

Maxwell and Penelope: When You Like Your Side Character So Much, You Gift Her a Shiny New LI

Series - TRR's Alternative LIs: The Romances that Didn't Happen

Previous - Liam and Olivia: When You Prefer the Side Character to the Main

A/N: There won't be a lot of exploration on Maxwell x Penelope, as there is very little the pair gets in canon. I will be largely looking at their individual characterizations and the changes and retcons made there. There will be a lot of exploration on Penelope x Ezekiel.

CW: Mentions of Penelope's actions as part of Constantine's nefarious plot against the MC in TRR1 & 2, mentions of Penelope's social anxiety.

(Screenshots from the Skylia YouTube Channel, Drake playthrough)

Compared to the other three alternative romances, Maxwell x Penelope turned out to be a bit of a one-chapter wonder. It was extremely short-lived, and the only indication that it had ever happened was one conversation between Penelope and the MC in TRR2 Ch 6, after which there is no reference to it, ever again.

In my mind there are two major factors behind this pairing being left behind, which I will get into later in this essay. However, what I find even more interesting is what the narrative and the writing team did with Penelope after they set aside that subplot. What did TRR3 give her in lieu of this alternative romance, and why, and what does it tell us about the narrative that she alone got that?

But before we can get into that, we need to look (separately) at how Maxwell and Penelope were written in TRR1, and how it culminated in the characterizations they got by TRR2.

The Evolution of (White) Side Characters

One thing that fascinates me about TRR1 is the trajectory of some of the characters, when you observe them on rereads. We often go into those rereads with a strong impression of their character type (or stereotype), before we learn to our surprise that the initial writing doesn't always match the image we carried in our heads.

In the case of some side characters, we may find traces and hints of a totally different characterization, before the team zeroed in on a trope or characteristic that may have hit the right chord with the audience. When done right, this could result in a more rounded character. But in the wrong hands, the writer may keep falling back to that one trope that made the character click, and turn them into caricatures instead.

Maxwell and Penelope are representative of different tiers of side characters, at least in TRR1 - which means that what we may expect in terms of treatment will vary as well. Even before TRR2, Maxwell was more LI-tier adjacent; until he got his LI-upgrade in TRR2, he was a frequent presence in the story and the MC's life, enough that his fans started a "Make Maxwell an LI" campaign. Penelope (along with Kiara) was a far less important character with infrequent appearances.

So of course their trajectories wouldn't be the same. It's interesting, nonetheless, to see how the writing changed over the course of the series, what parallels or complementary traits made the team consider Penelope as an alternative for Maxwell by TRR2, and why they ultimately let go of the pair after one chapter.

As we go through these stories, I think I'd like my readers to keep one thing in mind throughout - Penelope is an anomaly as a character. There are very specific things she is given that at least one other character in the same position doesn't get. Why?

I might not be able to give the answer in this specific essay, but I do think it's a question we need to keep asking ourselves as we go through her story.

Maxwell and Penelope - TRR1

A truly interesting thing about Maxwell was that he was initially not even conceptualized as a prominent character in the books! In their promotional interview for TRR2, Kara mentioned this about the creation of his character:

Excerpt from The Royal Romance: Book 2 interview.

Maxwell was initially conceptualized as a fun foil for Bertrand, the MC's tentative guide for the social season - who the writers considered too stiff and boring to stand alone as a character. Owing to his proximity to both Liam (close friend) and the MC (sponsor), it made sense that Maxwell was a part of the group scenes from the jump.

Going by the interviews, clearly Maxwell's 'fun nature' was his main USP for the writers. TRR1 does try to balance this aspect of his personality with scenes where he shows perceptiveness (such as pointing out opportunities to ally with Kiara or Penelope), but as time goes on he is viewed more and more as the 'funny guy' of the group. He also has a side-story connected with his older brother, who isn't very impressed with his work during the social season (tbh, for good reason!). This side story allows us to view him with sympathy and perhaps overlook all his failures as a sponsor (and there are many examples of this throughout TRR1. Most of the opportunities to connect with the main LIs emerge from all the times Maxwell failed to adequately guide her - teaching her the Cordonian Waltz, explaining the significance of the Regatta Race, finding the right tents, telling the MC to get swimwear for a beach party!).

Of course, because TRR2 (where the Beaumonts are her staunch allies from the jump, even before the LIs return and pledge their support shortly after) and the "Make Maxwell an LI" campaign created such a strong impression on the fandom, people remember him most as the "person who was always there for the MC".

Though he doesn't become an LI in TRR1, we do get our first ever hint of the possibility midway through the book:

(Screenshots from the HIMEME YouTube Channel)

Most of the people I know joined the TRR fandom either in the middle of Book 1, or after Books 2 or 3 - therefore, much of what I'm about to say next is down to conjecture. It is possible that either some stans did pop up in the initial chapters, resulting in the hint in Ch 8, OR that the writers tentatively teased this pairing with the dialogue at the Lythikos Ball, and were gratified enough by the response to continue teasing it. By TRR1 Chs 10 and 11, there was already plenty fanfic on Maxwell x MC. The writers were clearly encouraged enough by the response to toss a few more hints (the MC asking Maxwell about taking his shirt off at the beach, the implications of the MC telling Maxwell she is falling for someone else). Before the fandom knew it, Maxwell had already become the beneficiary of two diamond scenes focused on him in TRR1 (a flashback scene that introduced Savannah, and having fun sliding down banisters in the finale).

Penelope's trajectory in Book 1 didn't experience as meteoric a rise in popularity, but there were changes made throughout the series until she did become somewhat popular. Her trajectory could be categorised in three parts:

1. A minor noble who was very poised and proper (snobbish, if you weren't fitting in well enough)

2. Adorable ditz

3. The lady with social anxiety (TRR2)

From their entrance in TRR1 Ch 3, both Penelope and Kiara were written as extremely minor characters compared to the three frontrunners (and one female LI) of the social season. They accept early on that they don't have much of a chance in the competition, and are the first contenders (barring Hana) that the MC can get on her side. They represent the opinions and mindsets of the royal court.

Because of this, Penelope and Kiara initially appeared almost indistinguishable from each other. The only thing that seems to set them apart is perhaps the introduction Olivia gives at the Masquerade, pointing to Penelope's lineage and Kiara's linguistic skills and diplomatic pedigree. She was the titled one, Kiara was the "smart" one.

(Penelope's scenes from my failplay, in order:

1 & 2: Ch 3, while speaking about Olivia's connection to the Prince, and if you ask her and Kiara why they allow Olivia to call them 'harpies'

3 & 4: Ch 4, Penelope's response to the MC saying, "Penelope, hands off my man"

5 & 6: Ch 6, if you don't fall in line behind the Queen and bump against her instead

7: Ch 6, when Olivia is shocked that Liam chose the MC

8: Ch 8, reaction to Olivia kissing Liam)

Penelope's early scenes in TRR1 didn't showcase the traits she is now so well-known for. She wasn't the "adorable ditz" until the Applewood chapters; in fact her scenes in the first half often showed her as poised and very proper. At the Masquerade she calmly points out to the MC that there is no reason to be offended, when Olivia bluntly declares that no one else has a chance with Liam. She expects decorum from the MC when she cuts in during her dance with Liam, and even comments on the inappropriateness of some of Olivia's behaviours and cautions her when she gets a chance. If your MC makes mistakes in public in certain scenes, Penelope doesn't hesitate to laugh at her.

Her allyship scene in Ch 10 hinges on the MC's ability to convince Penelope of the advantages of supporting her, and rescuing the lady from a crab bite. She is extremely rude in certain options, and ends their conversation with the sentence "I'm not nice" if she isn't convinced the MC is worth supporting. In fact, she is allowed to call the MC a commoner wench in a certain dialogue option!

(Screenshots from my failplay. The top half shows a response to one of the MC's dialogues (she is merely sad if you choose the second one). The second is the end of the conversation when the MC asks for her support)

In a failplay especially, she can be very, very mean-spirited, which is truly ironic given her later characterization as someone who is herself uncomfortable in court and makes more than her fair share of silly mistakes. Fortunately for most of the players, the more "positive" version of the scene sounds a bit more like she's scared and uncomfortable and not equipped to handle the rigors of court. Which makes the "adorable ditz" direction that PB takes, post Regatta, a bit more believable.

Once Penelope is no longer a contender, both she and Kiara recede to the background. You don't see much of her in Applewood and Ramsford, but the little you do see primes us to view her as "sweet and silly" with a bit of a poodle obsession. Two very good examples of this is the "cheating scene" at the pie competition (TRR1 Ch12) and the aftermath of the Beaumont Bash (Ch 16). At the pie competition, Olivia and the MC can team up to distract Penelope so they trick the rival team into adding salt in their pie instead of sugar, by getting her to talk more about her poodle obsession. At the end of the Beaumont Bash, she is shown exchanging drunken chatter with a horse. The book also makes her preoccupation with poodles way more obvious, where before it was brought up only once at the Masquerade Ball.

Discrepancies between portrayals in the first book vs the latter ones is par the course for TRR. Every character has those in some way or form. Maxwell's story in TRR1 and 2 at least could make sense with enough headcanons to fill in the gaps (for why he was inefficient in his support of the MC, for why his relationship with Drake was so fraught) and his characterization is a little bit more consistent. But Penelope's, on closer observation, is a complete mess and her story doesn't make any sense when put together.

Maxwell and Penelope - TRR2

Compared to the other three pairings, Maxwell x Penelope doesn't go beyond a single chapter.

(Screenshots from Skylia's YouTube channel)

This solitary hint pops up in TRR2 Ch 6, right after the Big Clue about Penelope's social anxiety. We're given the usual options one gets for alternative LIs - a "matchmaking" one, a gently discouraging one and an insulting one, the last two of which could be read as jealousy from the MC's end. In fact, the MC's third dialogue option in this scene is so mean spirited that Hana is required to soften the blow!

There's something interesting about the matchmaking response for this scene, and I think it says plenty about the writers and the lasting impression of these characters they wanted us to have.

"You're both a bit silly...but in a way that works." It's a reading of Maxwell and Penelope that leans very strongly into their potential as comic relief, that views the two characters as alike. Both "cute", both "silly", both there to give the characters (and readers) the occasional laugh.

Is this completely accurate to their characterizations in TRR1? Probably not. But it's clearly what the writers imagined would work well for those characters.

Interestingly, TRR2 is also where the team seems to experiment more with these two characters, and finds the characterizations they think would land with the audience. Maxwell's changes are related more to the belated buildup the narrative was giving him to be an LI, and most of Penelope's was related to her role in the plot against the MC. Maxwell is given more heroic traits (eg. the Savannah storyline and his involvement in the investigation) to beef up his story a bit, and plenty of hints are scattered specifically to tease a romantic route with the MC for more than half the book. The narrative also leans far more into his position as comic relief than TRR1 does, making it his most identifiable trait.

There are tiny nods to his "perceptiveness" (Liam mentions it twice in TRR2), but he does a lot of things that you wouldn't see a TRR1 Maxwell do, like tossing a bruschetta at a foreign dignitary or playing with food to get the forgiveness of his friend (btw the Drake Maxwell friendship reads very differently from the first book; they're remarkably chilly in their vibes towards each other initially. Of course, one could headcanon what caused a rift, but that's still us doing the work instead of the writers!!).

Because so much time has to be spent bringing Maxwell's romantic route up to speed with the rest, the progress of the relationship is different from the other three and his romantic scenes cost less (until TRR3 Ch 10, his first 30 diamond scene). Much of this is par for the course for an LI who has entered the game late. In addition, the narrative also tries in TRR2 and 3 to balance his role as the MC's sponsor with his new role as LI, and it doesn't always land (eg. his excitement for Liam's proposal to the MC two chapters after becoming an LI, or his weirdly impersonal reaction in the TRR3 Ch 11 Armory diamond scene in his playthrough, in response to Madeleine mocking Liam for the MC favouring Maxwell). In part this is a result of laziness from PB's end, and in part it's because navigating Maxwell's new role itself may have been a tricky business.

Penelope's TRR2 trajectory, in contrast, is the textbook definition for "throw spaghetti against the wall and see what sticks". Hints of her involvement in the plot don't even show up until Ch 6, just one chapter prior to the reveal. The reasoning given for Penelope's actions in TRR1 - social anxiety - also directly contradicts what is shown of her during the timeline when she was supposed to have been involved in the plot. TRR1 Ch 14 and the Coronation at the finale shows her acting calm, collected and enjoying herself. A lot of Penelope's actions in TRR1 and 2 - esp at the Coronation and in Fydelia - cast an extremely poor light on her when you take into account that she knew the MC was innocent, and that she'd played a part in framing her. From the way the reveal of her condition was done, and the way we're expected to brush her wrongdoing aside immediately, it's clear that Penelope's "social anxiety" was more about tossing in a last-minute Hail Mary to excuse her actions, rather than any real interest in exploring the subject.

Given the sloppy execution of this reveal, it is entirely possible that Madeleine could have been the "lady" in initial drafts (the strongest evidence of this is TRR2 Ch 1's "constitutional clause", which is never referenced again once Madeleine is no longer a suspect), and they made a switch in the nth hour.

It is also possible that writers in the team liked Penelope enough that they wanted readers to still like her after she'd betrayed their MCs. She hasn't been referenced or mentioned in any team interviews, but the writing speaks for itself. No matter what she's done, the narrative insists the MC center her, sympathize with her, and coddle her. I will speak more at length on how in the TRR3 section.

Why did Maxwell x Penelope Not Take Off?

(The first three screenshots are from the Abhirio YouTube Channel, and the rest are from the Radiance Guardians YouTube Channel)

Unlike in the case of the other pairings, not a lot was said in the fandom about this pair either way, even among Maxwell stans. You did have the occasional "hands off my man!" post from a Maxwell shipper, but not to a great extent. At this point many of them were still unsure whether a Maxwell route would be finalized, and even kept Liam as a standby in case all that teasing from the team came to nothing.

Again, most of the theories for why this pairing had just one scene are mere conjecture, since there isn't much evidence overall. But looking at the placement of this scene and what happens before and after it, I can think of two possible reasons why it was nipped in the bud:

1. Maxwell being a late-in-the-game LI could have made balancing an actual romance route and interactions with an alternative love interest tricky in the long run. As it is, his writing was subject to gaffes and mistakes in TRR3 even without this added storyline. It's possible they decided to just ensure that they got Maxwell to the point where he could have his own 30-diamond love scene (which happened in TRR3 Ch 9 btw (half a book after Drake and Hana got their first 30-diamond scenes), and not focus on anything else.

2. This teaser scene came up in Ch 6. Ch 7 is when Penelope is revealed to have tricked Tariq into coming to the MC's room, and paid the photographer to take intimate photos of her. Now to be fair, the narrative does insist she be sympathized with rather than judged. But I do think a subplot like that would automatically make her an unpopular candidate for any LI, much less one who hasn't even been clearly established as an LI yet! Having Maxwell fall for a woman who did the MC dirty wouldn't reflect very well on him, social anxiety or no. In fact, in Ch 8, Maxwell's reaction to the news is the strongest - he calls Penelope "a few dogs short of a pack", "downright diabolical" and even suspects she was lying about having poodles.

3. It is just as likely that Maxwell x Penelope was never a serious consideration for the writers in the first place. Possibly, Penelope's scene here was simply another hint in a rising pile that teased a Maxwell romance route. Players often do get an added pleasure from watching their MCs mouth a catty dialogue or two to a romantic rival, so this scene may have been more for the benefit of a Maxwell stan who wanted to "fight for her man" rather than an actual possibility if he wasn't getting picked.

Whatever their reasons, Maxwell and Penelope's chances as a couple ended pretty much in the same chapter that it began. It didn't create much of an impact, and no one really seemed to notice this pairing, or the lack of it. It basically started and finished with a whimper.

TRR3 and Beyond - Penelope and Ezekiel (ft. A Flanderized Maxwell)

Penelope is an anomaly among the side characters (and even among certain mains!) in both series'. She is the only person seriously involved in the plot against the MC, who needs massive coddling to even answer our questions about her betrayal (if not, Hana has to take over for you). She is the only lady-of-the-court who can refuse to attend your wedding. She is the only lady-of-the-court who can choose to travel with the entourage to another duchy, despite not being part of the Unity Tour. She is the only one among the three former ladies-in-waiting who can openly complain about Madeleine's bullying, and expect protection against her from the group. Until TRH2, Penelope was the only side character for whom massive divergences in the narrative would be made as well, to accommodate her comfort and mental health (More on that in this essay).

She is also the only alternative LI to be "rewarded" with a brand new character, crafted specially for her.

Until TRR3 Ch 7, the fandom didn't even know Kiara had an older brother. Even though the person we know best in Castelserraillan is Kiara, we actually spend less than a minute with her, and far more time with Ezekiel Theron. There is an entire diamond scene that's about pampering and complimenting him, making him comfortable around us, getting him to open to us - even though his sister was the one injured at Homecoming Ball. And of course, the entire reason for Penelope to even be present at Kiara's estate is so that she and Zeke can be paired up by default! Even at the Food and Art Festival, Kiara's only real default dialogue apart from winning over her mother (or not), is about moving Penelope and Ezekiel's romance along.

Both Penelope and Ezekiel join the Unity Tour only by option, so the narrative puts in a great deal of effort to get the romance going (by having Penelope only stop at Kiara's estate by default) and allowing the two to still have a fledgling courtship going on if they weren't together at the Unity Tour (Penelope still gets to meet people who inspire her into dog fashion and she and Zeke still show their interest in each other, propelling the parents to discuss their match).

The only thing we know about Ezekiel, and pretty much the only thing that really matters, is that he loves animals. In a court that views Penelope's love for dogs as an oddity, Ezekiel is a character tailormade to romance her. He rarely features in scenes that don't show her (the only exception is the menagerie scene in Ch 14), he rarely has dialogue outside of his scenes with her, he doesn't even have a personality beyond what would best suit Penelope. This character exists only to romance Penelope, which is depressing esp when you consider that she is a white woman, and he is a black man - and she is clearly the only one who even matters in this relationship!

There wasn't any real reason to give Penelope a partner. "Penzekiel" doesn't really do much for the story in general, and not a lot would change if you dropped them. But the narrative deems it essential to give her a "reward", which is ironic considering what she put the MC through and how much we had to coddle her for her to even consider cooperating, either in the investigation or during the Unity Tour. Presumably this "reward" is for her "niceness" and "sweetness", which only works because the narrative completely erases her misdeeds in the social season after TRR2. She never has to remember what she did, nor does anyone in the core group remind her.

With regards to Maxwell, by TRR3 he is a full-fledged LI who gets a wedding with his MC, in certain playthroughs. Much of his playthrough focuses on trying to catch up with the other 3 LIs - you can sleep with them if they're your fiancé/ée, but you have to wait until Ch 10 to sleep with Maxwell. The narrative mentions him taking up "responsibilities" for House Beaumont in lieu of Bertrand, but without any real scenes that show us what he is doing, nor any tangible results (we will not talk about Maxwell's book here!).

He doesn't have any alternative romances. In fact even his romantic playthrough is kinda bare - his only individual scene is the Armoury scene which isn't even about him, and there were glitches that were very noticable particularly in his and Hana's playthroughs. There are no references at all to the alternative romance Maxwell was given in TRR2; it's almost as if that option had never existed.

Penelope being a romantic option for Maxwell doesn't stop the two from having friendly exchanges in TRR3 though. Maxwell was not only allowed - but expected - to treat Penelope with sympathy and respect.

(First set of screenshots is mine, the second is from Skylia's YouTube Channel)

Not only Maxwell, even Drake - who hates most nobles - is shown being extremely protective of Penelope in both TRR3 (promising Penelope to protect her against Madeleine) and TRH3 (showing anger at Guy's blackmail of Penelope and her family). The narrative is very clear that we are expected to make Penelope feel safe, even if she has never made us feel anything but unsafe.

This relationship - and the level of coddling that Penelope has always received from TRR2 onwards - continues into TRH, where she and her beau Ezekiel are shown together, there are occasional updates on their relationship when either one appears in a chapter, and where they eventually marry and start a family. An interesting pattern begins to emerge once we get into TRH.

(Screenshots from Skylia and HIMEME's YouTube Channel)

As the only courtly lady in a relationship in TRH, Penelope gets a nicer, cleaner, more luxurious and more drama-free parallel to the MC's romantic journey. Like the MC, she finds a suitor who falls for her and wants to be with her. Like the LI, he eventually stages a grand proposal for her (TRH2 Ch 18), after they have spent a significant amount of time together. Like the MC, she has a widely publicized wedding (though tbh Penelope's was better customised to her tastes, and as the MC we put even more work into her wedding than we ever did our own!! (we were both her bridesmaid and her officiant, our daughter is the flower girl, we give her the perfect bachelorette, we rescue her from her asshole ex-husband, we help her select lingerie!!!)). And when the MC announces her second pregnancy, Penelope announces to us her first. Penelope's storyline has all the romantic trappings that the MC had with her LI, but without the tension, the conspiracies, the attacks and kidnappings, or the constant fear that someone is out to get her and her family.

Penelope is basically treated like MC-lite. Quite the upgrade for a mere side character who actually did us dirty at one point.

Does Maxwell - her potential LI for all of one chapter - suffer as a result of this upgrade? Apart from the Flanderization, I would say no, he actually didn't.

He doesn't get the lavish Drake treatment, true, but he is centered in the issues that bother him. The MC, by default, has always been expected to defend him to Bertrand from TRR1 onwards, and often argues that Maxwell tried as hard as he could to help her, even when he didn't. Her sympathy towards him whenever Bertrand justifiably berates him for his negligence is by default too. And while he improves in TRR2 and (somewhat) 3, in TRH3 the entire group is thrown into this position again. Even though Maxwell exaggerates events in his friends' lives to an insulting degree in his book and the subsequent movie adaptation, the group often brushes their discomfort aside and supports him instead. And even though his lies in said book about Bertrand (TRH2 Ch 11) indirectly cause the latter to give up his lands to their father (resulting in Bartie Sr's attempt to usurp the throne), the MC spends all of the next book comforting him, involving him in her investigations, and patting his hand sympathetically while he moans about the father who killed the former queen of the country, all while ignoring the son of the woman Bartie Sr. killed, and raging against the elder brother who is secretly supporting them (even after the reveal, the group judges Bertrand heavily and even suspects him of being part of Via Imperii in TRF). Very little is said - either by Maxwell himself or by anyone else - about his role in facilitating this awful takeover.

All in all, Maxwell may have not gotten an alternative LI at the end of the day, and his overall LI path was pretty messy - but there was some thought and consideration put into his writing. The focus on Penelope and her new romance never actually harmed Maxwell.

Fandom

As I've mentioned before, Maxwell wasn't an LI in the beginning, but rose to LI status in Book 2. While the writers did make claims once in their TRF finale livestream that they had planned to make him an LI all along, I find that a bit hard to believe. From the way the hints were dropped it's way more possible that this was a development that came up once enough people in the fandom found him attractive enough to be LI material.

As the Make Maxwell an LI campaign grew in popularity, the fandom often held a rosy view of him, calling him "the only valid white guy", celebrating his queerness (as they should! It was hinted that he was pansexual in TRR2 Ch 18), showered him with sympathy and called Bertrand names for berating him. None of the nitpicking that certain other LIs would get for not supporting her properly, ever touched Maxwell. Nor did the fandom - who did criticize him quite a bit for his trashy book, and protested his Flanderization - ever view him with anything besides sympathy when he struggled to believe his father was evil, after he'd encouraged his brother to make said father the head of Beaumont House. This was the same fandom that didn't hesitate to find the most nonsensical excuses to trash Liam.

The Maxwell-Penelope scene was a fun way for some Maxwell stans to allow their MCs to act a bit possessive of him, and they were very critical of Penelope's betrayal later. But the overall response to Penelope's storyline was overwhelmingly positive. Many related to what she said about suffering from social anxiety, and especially to the lines about her emotional support poodles (ironically in another book, Sloane Washington got scant sympathy or respect despite clear indicators that she suffered from social anxiety too), and were quick to forgive.

(I must confess I was among this portion of the fandom too, but with the belief that she would address it more strongly herself in TRR3)

Fandom didn't mind buying into the canon myths that Penelope was a "sweet, naive" girl, and part of this is understandable because not many got to see what she was like in the failplay. So it was easier to presume that she would still take a little responsibility and wholeheartedly regret her actions, without seeing the failplay scenes where she is shown expecting to be treated like royalty by the woman she screwed over. Penelope and Ezekiel were viewed by most as a cute pair, with some (justifiably) liking this interracial match initially. Many readers who were fond of Penelope even criticized Kiara for being "mean" to her or "joining in Madeleine's bullying of her", when Kiara's behaviour was clearly more protective than harmful.

There was a slight rise in a general negative attitude towards Penelope in TRH3, when she could prioritise her wedding over the looming terror of the MC's child being taken away from her, and only speak up when the MC encouraged her at the altar. But very often people who made these criticisms clubbed her and Kiara together, as if they were a single unit...as if their actions and choices throughout the series were the same. As if Kiara got the same concessions and pampering that Penelope did. In reality, the choices the two women made - and the narrative treatment the two women got - couldn't be any more different.

Individually, Maxwell's and Penelope's stories show us what happens when the writers of a story lean too much towards fandom adulation, and allow it to dictate the way their stories will go. In both cases PB found a beat that the readers liked and stuck with it, never expanding beyond that one trait and causing the two to be caricatures of themselves. In Penelope's case especially, once her anxiety story resonated, the narrative used that to encourage readers to pamper her ad nauseum, and justified her lack of genuine care for anyone but herself through constant reminders of her mental health condition.

I will repeat the question I'd asked at the beginning of this essay - What did TRR3 give her in lieu of this alternative romance, and why, and what does it tell us about the narrative that she alone got that? That's a question I hope you'll keep asking in the next two essays.

Next - Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims