#especially when it comes to narrative and writing and developing
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why'd you get so mad at that sophie/keefe sibling anon?
hope that doesn't seem rude
I didn’t mean to come off as mad or anything, sorry if the tone didn’t translate right! BUT! I did get a little frustrated, because this is something that people who ship non-canon ships rlly need to figure out.
And hello to you anon, and also to whatever anon send the original ask! Because considering the amount of anti-Sokeefe friends I have in this fandom, you totally might be one of my friends! Want to be clear—this isn’t because I have a problem with you not liking Sokeefe, the problem is with saying she saw him as a sibling in canon when she did NOT see him as a sibling in canon, because that has icky implications.
Since I don’t want to misrepresent anyone’s opinions, here’s the exact message:
Sophie never seemed romantically interested in Keefe, sorry
it was more like a little sister comforting her brother
That’s the part that bothered me, because that implies that in canon, the thoughts sophie has about Keefe seem more like a sister about a brother.
It’s one thing to read Percy Jackson and say, “wow, I just don’t really like a Percabeth ship :/” and that’s totally valid, like, ship whatever you want! Ship Annabeth with Piper if you’d like, or Percy with Jason or whatever!
But it’s another thing to say “Percy always saw Annabeth as a sister!!” 1) that’s a weird thing to say because they’re canonically together and so comparing them to siblings is really icky, and 2) if you actually read the books it’s very clear that he develops romantic feelings for her. Even if it’s not super prevalent in the first few books cause they start out as twelve.
So people who say Sophie never seemed to like Keefe until book 9 sound to me like if someone said Percy never liked Annabeth or considered her romantically until the kiss in battle of the labyrinth. Just because it wasn’t a focus of the narrative doesn’t mean it wasn’t there from the beginning—and it CLEARLY was!
It just sort of feels like a really icky reaction to not liking a ship to say they always acted like siblings when clearly that isn’t canon.
If you don’t like Sokeefe, maybe you can say you would have preferred it if Sophie saw Keefe as a brother. Maybe you can write fanfic where they’re just friends and have more of a sibling type relationship. But that isn’t canon and that’s FINE, you don’t have to be on board with everything in canon, but for the love of God not liking a ship doesn’t mean they were never interested in each other 😭
Especially cause the ask didn’t even say she saw him as a friend, it said she saw him as a sibling??? Hello??? That’s SUCH a weird thing to say about two people who are now canonically dating???
Like it wouldn’t really have bothered me if the anon said “I would have enjoyed kotlc more if Keefe was a brother to Sophie instead of a love interest.” Like, I definitely disagree, but I don’t care that much cause everyone can have their own opinions and enjoy whatever they like about the media or write whatever fanfic bc they don’t think canon did it right! You’re MORE than welcome to believe that Sophie and Keefe would have been a better dynamic IF they were siblings.
But don’t say that IN CANON Sophie treated Keefe like she was his sister, because considering the many specifically romantic thoughts she has regarding him, that is a really weird thing to say because it implies that people think that way about their siblings? And comment internally on how attractive they are? Like maybe even if the anon had used the word “friend” I wouldn’t have been as frustrated, though it’s definitely the case that if we’re looking at canon, Sophie has feelings for Keefe. They’ve kissed. They’re together. That’s canon. If canon isn’t your thing, read fanfic, but don’t outright deny what’s in canon in a way that has weird implications.
It’s almost like saying sophie never had a crush on fitz. It’s slightly different because she acknowledged that one more overtly beyond just commenting on how good he looked or how he made her feel, but it would still really frustrate me if someone said Sophie and Fitz had more of a sibling relationship in canon when clearly they had romantic feelings for each other. So like it has nothing to do even with the fact that I ship Sokeefe, I would get frustrated if it was about Sophitz too because you just can’t say that someone who has very clear romantic thoughts about someone always saw them as a sibling in canon
That has really weird implications??
Anyway. I know im not being super tactful but I do hope that anon sees this so they can understand what the problem was with the ask, which wasn’t that it was anti-Sokeefe. I’m super okay with someone not liking Sokeefe. Literally a bunch of my best friends in this fandom are anti-Sokeefe. One of them might even be the one who sent this ask, in which case, hey friend!! my advice to you is, if you want a sibling dynamic, go write some fanfic! But… don’t imply that “and she had to say, the beachy look really worked for him” is a normal thing to say about your brother, because it seriously is not.
Hope we can all continue to be friends! Again it’s not the anti-Sokeefe that bothers me, it’s the deliberate misrepresentation of canon in a way that has icky implications!!
Whoaaa that was long sorry
TLDR: Sophie has romantic thoughts about Keefe in canon, so saying that in canon they seemed like siblings is weird because that implies people normally have romantic thoughts about their siblings.
Have a great day :)
#I hope we can all still be friends ofc#also anon if you’re reading this don’t take this the wrong way#it was just the wording of the ask#perhaps send a clarifying ask if you understand why the wording was definitely not right?#idk if you were really thinking about it but I definitely saw the ask and was like#you have to be kidding me#kotlc#keeper of the lost cities#keefe sencen#sophie foster#Sokeefe
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The Decay of Complex Characters and Character Development in Helluva Boss (Stolas and Octavia’s Relationship: Part 2 of 2)
Part 1 here
I felt I had to make separate part just for “Seeing Stars” because my other post was getting way too long, and I wanted to really focus on the treatment of Stolas and Octavia’s by the writers.
Please know that this is JUST my opinion and not a personal attack on HB’s writers or creators. I’m talking and venting a bit about my personal frustrations with the series regarding what I perceive as being MAJOR plot holes and inconsistencies in the show’s writing.
As of right now—and I do want to acknowledge this could change, but as of right now—it largely seems like any character development Stolas may have gone through after “Loo Loo Land” has been completely tossed out the window.
I personally believe that the writers of Helluva Boss think that they are writing Stolas to be more complex, but he has yet to have to actually be held accountable for his actions, and for breaking his promises to Octavia.
And the way the writers present him has really come to bother me. So I wanted to talk more about it, and about how Stolas cannot become a well-written, complex, and engaging character until the writers let him actually be imperfect and complex.
To talk about this more in depth, I gotta go over the second episode that features Octavia, Season 2, Episode 2 of Helluva Boss—“Seeing Stars”
(TLDR at the end)
To start, “Seeing Stars” is narratively very similar to “Loo Loo Land”. By “very similar” I mean that it’s almost the exact same plot, but frustratingly more clunky. Here is an extremely short summary:
The main crux of the conflict in “Seeing Stars” is that Stolas forgot about a promise he made to Octavia to go see a meteor shower, and ends up neglecting her.
Specifically, he forgets because he is too busy yelling at Stella over the phone due to their contentious divorce. Octavia feels let down by her father again, and runs away to the human realm to see the meteor shower on her own.
Stolas and I.M.P. panic and go after her. Eventually Loona finds her and gives her a speech that essentially boils down to: “everyone’s got hardships and problems but Dads ESPECIALLY have problems. Your Dad is trying really hard right now. So that should count for something right?”
And that comforts Octavia in the moment. Octavia and Stolas reunite, he asks her why she ran away, and she tells him she was trying to see the meteor shower he promised to take her to. Stolas is horrified that he’d forgotten, starts to apologize, but Octavia cuts him off and tells him “it’s okay”, forgiving him.
I rewatched “Seeing Stars” before making this post to make sure I hadn’t misremembered any crucial plot points.
I thought I remembered that, at the very end of the episode, Stolas apologized to Octavia for breaking his promise and then she told him it was okay.
It turns out I had misremembered things, because the writers literally kept Stolas from saying sorry.
This leads to the main criticism I have of Stolas as a character, especially from a writing standpoint. The narrative does not allow for Stolas to ever truly be in the wrong, or for anyone, including Stolas, to fully acknowledge that he is in the wrong.
And I know that it’s easy to go “BUT LOOK! Octavia says “I know, Dad”! She KNOWS that Stolas is sorry.
That’s fair, but for me personally, I think an EARNEST and verbal apology is needed here to show that Stolas has grown.
I’m very lucky in that I have a good relationship with my parents, but that doesn’t mean we never fought or they never said or did things that hurt me.
I distinctly remember a time when my Mom was apologizing to me for something she did, I said “it’s okay” and she immediately replied “No, it’s not okay. I shouldn’t have done that. I’m sorry, and I hope you can forgive me”.
That really changed my perspective on conflict. I think a lot of people, including myself until then, consider “it’s okay” to be a form of saying “I forgive you”. And I’m not trying to police like…basic language and substitute words. But I DO strongly believe in taking responsibility for when you hurt someone.
In all honesty, I think this scene actually could have worked for Stolas’ character development if he had actually acknowledged that, “No, it’s not. It’s not okay that I broke my promise to you. I’m sorry, and I hope you can forgive me, but if you can’t right now, I understand.”
THAT, to me, shows character development. That would’ve shown that Stolas is, at the very least, trying to make an actual effort to change for the sake of Octavia.
Instead, though, SHE apologizes Stolas for running away to try and see the meteor shower that HE promised to take her to. And the writers refuse to even let Stolas say he’s sorry.
Let Stolas say he’s sorry, writers! Let Stolas be in the wrong!!! I promise it won’t make people hate his character!
I mean, jfc, just look at the fandom around Hazbin’s Valentino. That guy could not be more evil if he tried and a lot of fans can’t seem to get enough of him.
My other issue with the treatment of Octavia in this episode, SPECIFICALLY the speech that Loona gives Octavia near the end.
Because. Oof. There’s a lot to unpack. Firstly:
Maybe it’s just me, but I find the way the writers have Loona frame this situation as being really really weird. To be clear, I don’t think it starts off too badly. Everyone DOES have issues, and that can affect the way they act and treat others and make mistakes.
That said, dads are not inherently more messed up or dealing with more difficulties than anyone else.
Dads have issues the same as any other person, but they don’t get special privileges or passes because they’re dads. They’re responsible for themselves like every other person with issues and difficulties, and they’re still responsible for themselves and their mistakes.
It’s especially frustrating because the writers are using Stolas’ “issues” as a crutch to excuse their bad behavior. This happens a lot with writers trying to excuse or justify their character’s actions. The “issues” can be anything from a difficult childhood, relationship troubles or divorce, a traumatic experience, etc. but these things should never be used as a way to excuse a character’s every mistake and flaw.
Effective writing will use a character’s history to explain the reasons a character acts or behaves a certain way, not excuse that behavior. This leads to characters that the audience can become more invested in, and can form different opinions or interpretations about.
A really great example of this is Bojack Horseman, whose terrible upbringing and abuse definitely garner audience sympathy, but the writers never use this to as a justification for the Bojack’s behaviors. Bojack continually makes really terrible choices that hurt the people he cares about the most, and while we as the audience still sympathize with him to an extent, we still get frustrated with Bojack, and be disappointed by him.
The audience finally gets some catharsis from this frustration when Bojack is called out by his best friend Todd for this, after he finally breaks any remaining trust in their friendship with the following quote:
“You can’t keep doing this! You can’t keep doing shitty things, and then feel bad about yourself like that makes it okay! You need to be better! [Bojack apologizes and then continues to make excuses] …BoJack, stop. You are all the things that are wrong with you. It's not the alcohol, or the drugs, or any of the shitty things that happened in your career, or when you were a kid—It's you. Alright? It's you. Fuck, man. What else is there to say?”
In my opinion, Helluva Boss’ writers seem to be determined to write the exact opposite of this sentiment.
The writers frame Loona’s speech to Octavia as a heartwarming moment—a moment where Loona helps Octavia realize that Stolas cares about her and is trying his best, so Octavia should cut him some slack.
This is, quite frankly, a BAFFLING scene because Loona’s behavior for the ENTIRE EPISODE is her assaulting and yelling at her dad. Like, she has given Blitzø absolutely NO slack before this moment, and then doesn’t give him any in the scene DIRECTLY after this, where she assaults him again while he’s in the middle of apologizing to her.
Not only is it odd to have Loona tell Octavia all of this and then not act on it herself, but the whole scene really reads as the writers trying to sweep Octavia’s very valid and real feelings of hurt over her father’s neglect under the rug.
And look. Trying to be better can be important. Trying to change and be better IS worthy of being acknowledged. But at a certain point, as Todd points out to Bojack, you have to actually be better.
In part 1, I talked about how the end of “Looloo Land” had set things up for Stolas to start being more conscientious of Octavia’s feelings and needs. He took the first step of making amends with her, of listening to her and her concerns and fears.
“Seeing Stars” was an episode that could have shown him being better. But instead. Well.
In her speech to Octavia Loona says this:
And to be fair, Loona didn’t know what hijinks Stolas and Blitzø were getting up to in the city. She probably did think Stolas was looking for her.
…Except…he kind of wasn’t…
During the search for Octavia, Blitzø gets mistaken for a famous Hollywood actor, and he and Stolas are essentially kidnapped to be in a sitcom. When this first happens, Stolas is anxious, clearly upset that there search has been further impeded:
He’s scared that Octavia could be in danger, or hurt. Stolas seemingly wants to find her as soon as possible.
Well. Once they get to the Hollywood sitcom shoot, the following scenes happen:
STOLAS WHAT THE FUCK ARE YOU DOING???? YOU JUST SAID THAT YOU DIDNT HAVE TIME FOR THIS ??? BLITZØ DIDNT EVEN WANT TO PERFORM, AND YOU MADE HIM! WHY?!?! YOU DONT OWE THESE PEOPLE ANYTHING? THE TV PRODUCER EVEN LEFT THE ROOM BEFORE THE SHOW STARTED, NO ONE WAS KEEPING YOU THERE!!!
WHY ARE YOU INVESTED IN THIS AND WORRIED ABOUT THE AUDIENCE NOT LAUGHING?!?! STOLAS YOU LITERALLY JUST SAID YOUR DAUGHTER COULD BE IN DANGER IN THE VAN, WHY ARE YOU SUDDENLY SO CONCERNED WITH MAKING BLITZØ ACT IN THIS SITCOM???? STOLAS YOU DONT KNOW WHERE YOUR FUCKING DAUGHTER IS?!?!?
I just…I’m sorry, I just think this episode is so so clunky and so poorly written. I think it may be one of the episodes with the least consistent character writing.
The scene continues, Stolas gets distracted by how attractive he finds Blitzø, and Blitzø acts in the sitcom for so long that even Stolas looks bored and out of it.
At this point in the story, he doesn’t know where his daughter is, if she’s hurt, or in danger, or even why she ran away in the first place. But instead of that taking the absolute top priority for him, he takes time to watch Blitzø make bad jokes in a wig for the whole afternoon.
Stolas isn’t even the one to get them out of the Hollywood studio, Blitzø is. Blitzø has a panic attack about the thought of Loona being taken from him during the sitcom shoot, and that’s what sparks them escaping.
The two escape the studio and meet up with Octavia and Loona, and the episode ends with Octavia apologizing for running away, and Stolas not having to apologize to her for his mistakes because Octavia already knows he’s sorry.
In Part 1, I talked about how at the end of “Loo Loo Land”, the writers set up the building blocks for Stolas’s character development in regards to his relationship with Octavia. S1 E2 of Helluva Boss ends with Stolas listening to his daughter, realizing his actions hurt her, and acting like he’s going to start putting her first.
“Seeing Stars” undoes all of that development. Which wasn’t even that much character development in the first place. Just the kicking off point for Stolas’ growth as a character.
Reviewing this episode made me realize that Stolas’ character development may have actually regressed. He doesn’t keep his promise to Octavia, he starts flirting with Blitzø when he should be looking for her, and wastes valuable time fucking around with Blitzø on a sitcom set.
And listen, I KNOW that Blitzø got Loona to look for Octavia right after he and Stolas got kidnapped by the tv producers. But after they get out of the Van, WHY does Stolas just continue to go along with it? He was so concerned and scared for Via before, wouldn’t he want to get back to looking for her as soon as possible?? And have as many people as possible working on finding her???
Blitzø doesn’t even want to go on the sitcom and for some reason Stolas makes him! The tv producer had left the room at that point too, and Stolas is a DEMON PRINCE, no one was keeping them there!
Stolas gives the reason for Blitzø needing to perform to be “so they can get back to looking for Via” but they can just do that without having to be in the sitcom?
I think the writers might have written dramatic irony into the story without meaning to? Loona tells Octavia that “[Stolas is] down there. Looking for you”, but we as the audience know that’s not true. Stolas wasn’t looking for his daughter. He was watching Blitzø star in a bad sitcom for 5 hours.
This becomes extra frustrating and gut-wrenching for me when I think about Octavia right before Loona’s speech about how “dads are special and have it extra extra bad and try extra extra hard and that’s super important, even if they fuck up and hurt you”
This scene is absolutely heartbreaking to me. This is a 17 year old girl who has been repeatedly let down by one of the people she looked up to and relied upon the most, who rightfully feels abandoned and like she no longer has a home.
Specifically the line “Why does he hate [my mum] more than he loves me?” hits extra hard.
I don’t know what it’s like to have divorced parents, but I can imagine that anyone who has may have had this exact thought. Octavia needs support more now than ever, and keeps getting let down by the adults around her, and it just breaks my heart to see this young vulnerable girl not really have anyone who acknowledges that what Stolas did was hurtful. That it wasn’t okay, and that she’s allowed to be upset about it.
The reason she exists in the story isn’t to be her own person and to have character development of her own. She exists just to be Stolas’ daughter, and to forgive him for his wrongdoings and make him seem like a “good” person because even though he has issues, he still loves her! That makes him a good dad!
And I don’t know how Octavia is broadly accepted in the HB fandom, but I’ve heard that she may not be liked very well, and I don’t understand how anyone could see this scene and think she’s annoying or terrible.
Honestly, I would NOT be as frustrated and disappointed by the writing in this episode, if the writers and the fandom at large didn’t treat this episode like it had a heartwarming and satisfying resolution. If the writers treated Stolas as a complex person who is able to make mistakes, and who still really needs to own up to his actions and take responsibility for his broken promises, I would probably like him a lot more as a complex and nuanced character.
But the way the writers frame Stolas as being in the right, or being the victim, or being fully justified in all his actions isn’t just bad writing. It’s boring. Stolas is a boring character because the writers do not allow him to be in the wrong, to be morally ambiguous or dark, or to be called out or held accountable for his mistakes.
The writers MAY somehow undo the damage they already did in “Seeing Stars”, but given the way that the writers, show creators, and fandom go out of their way to excuse any morally grey, questionable, or harmful decisions Stolas makes, I’m not going to hold my breath.
TLDR:
-Despite Octavia being hurt by Stolas again, the writers refuse to put him in any situation where he’s held accountable for his mistakes
-The writers use Stolas’ “issues” to excuse away his bad behavior. And specify that Octavia should cut Stolas some slack because he’s a dad and being a dad is extra hard I guess?
-the framing of the episode acts like Stolas did everything in his power to look for Octavia when he clearly didn’t (he was goofing off with Blitzø)
-Stolas is ultimately uninteresting and not engaging as a character because the writers go out of their way to excuse his behavior and mistakes even when he’s in the wrong.
-Stolas cannot be a complex character if he is always absolved of the consequences of his actions and is not allowed by the writers to be better (in my opinion)
Also sidebar—WHY DID HE NOT CALL OCTAVIA ON HER PHONE!?!
In the VERY first episode of HB Stolas is LITERALLY INTRODUCED TO US by calling Blitzø on his phone and watching Blitzø in the human world from hell, without the use of his Grimoire!! HE HAS THE POWER TO DO THAT!!!
I was like, maybe Octavia didn’t have her phone for a SECOND before remembering that LOONA FINDS OCTAVIA BY LOOKING AT THE PICTURES SHES POSTING TO SOCIAL MEDIA WITH HER PHONE.
Like Stolas do you not know ur own daughters phone number. AND YOURE GIVING BLITZØ A HARD TIME ABOUT NOT KNOWING MOXXIE’S?? Also when Blitzø is in danger you can pinpoint his exact location, travel to the human world without the grimoire terrify and reveal your existence to MULTIPLE humans with absolute disregard for being discovered, but when your OWN DAUGHTER is missing and you have NO idea why or if she’s in danger, suddenly you have time to run around LA for a day getting into shenanigans???? She’s your DAUGHTER. No wonder she doesn’t think you care about her because I sure as hell don’t after that episode. Lord.
#helluva boss critical#helluva boss criticism#helluva boss critique#stolas critical#funhouse convo#media criticism#media critique#media conversation#octavia goetia#Octavia I’m so sorry sweetie I’m so sorry those ugly ass bitches would ever do that to you!!!
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Man some of y'all make really fucked up stories, especially with hunter 😬
#i cant get over how many think this is a good take..#and honestly it feels like many don't understand abuse at all and fetishize the f out of it#i know many cope in writing angst#AND#im not talking about that#i think its good to expand and explore#especially when it comes to narrative and writing and developing#however#yikes#like i feel kinda offended by this ONE thing#because holy shit does this not fly at all#evetext#everytime i see it on my feed i ger so uncomfortable#i cant deal#but i can only do so much when it comes to blocking
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So I've seen a few too many people on twitter talking about The Kiss Scene from the new Scott Pilgrim anime. People saying it's fetishistic and indulgent, people calling it male gazey, etc. And while the kiss itself is certainly a bit exaggerated, I felt like writing a bit about why I disagree, and why context is important, like it always is. But it basically turned into an extended analysis on the metatextual treatment of Roxie Richter. So bear with me. It's a long post.
What really matters about this scene is not the kiss itself, but what precedes it. Not even just the fight scene just before it, but what precedes the whole anime series, really. And that's the Scott Pilgrim comic book, and the live action movie. Because in both, Roxie is a punchline.
She's a joke. Her character starts and ends with "one of the exes is actually a girl, I bet you didn't expect that." Jokes are made about Ramona's latent bisexuality, the movie especially treating it as funny and absurd, and her validity as a romantic interest is entirely written off by Ramona as being "just a phase." There's a fight scene, she's defeated by a man giving her an orgasm which implicitly calls her sexuality into question (come on), and the movie just moves on. It sucks. It really, really sucks.
The comic fares a little better. It never veers into outright homophobia like the movie does, and while the line about Ramona having gone through a phase remains, Roxie actually gets one over on Scott when Ramona briefly gets back with Roxie. But Roxie is still only barely a character. Like all the other evil exes, she's just a stepping stone towards the male protagonist's development. She barely even gets any screentime before she's defeated by Scott's "power of love." But Roxie stands out, since she's the only villain who is queer, or at least had been confirmed queer at that point (hi Todd). In a series that champions multiple gay men in the supporting cast, the single undeniable lesbian in the story is a villain. She's labeled as evil, made fun of, pushed aside in favor of the men, and then discarded. Her screentime was never about her, or her feelings for Ramona. It was about the straight, male protagonist needing to overcome her. And that was Roxie Richter. An unfortunate victim of the 2010s.
Fast forward to current year, and the new anime series is announced. Everybody sits down to watch the new series expecting another retelling of the same story, and.... hang on, that straight male protagonist I mentioned just died in the first episode. And now it's humanizing the villains from the original story. And there's Roxie, introduced alongside the other evil exes in the second episode, and she's being played entirely straight, without a punchline in sight. No jokes are made about her gender, no questions are made of her validity as one of Ramona's romantic interests. The narrative considers her important. In one episode, she already gets more respect than she did in either of the previous iterations of Scott Pilgrim. And this isn't even her focus episode yet... which happens to be the very next one.
The anime series goes to great lengths to flesh out the original story's villains and to have Ramona reconcile with them. And I don't think it's a coincidence that Roxie gets to go first. While Matthew Patel gets his development in episode 2, Roxie is the first to directly confront Ramona, now our main protagonist. This is notable too because it's the only time the exes are encountered out of order. Roxie is supposed to be number 4, but she's first in line, and later on you realize that she's the only one who's out of sequence. She's the one who sets the precedent for the villains being redeemed. She's the most important character for Ramona to reconcile with.
What follows is probably the most extensive, elaborate 1 on 1 fight scene in the whole show. Roxie fights like a wounded animal, her motions are desperate and pained. Ramona can only barely fight back against her onslaught. Different set-pieces fly by at breakneck speed as Roxie relentlessly lays her feelings at Ramona's feet through her attacks and her distraught shouts. And unlike the comic or the movie, Ramona acknowledges them, and sincerely apologizes. And the two end up just laying there, exhausted, reminiscing about when they were together.
Only after this, after all of this, does the kiss scene happen. Roxie has been vindicated, she has reconciled with the person who hurt her, the narrative has deemed that her anger is justified and has redeemed her character. And she gets her victory lap by making the nearest other hot girl question her heterosexuality, sharing a sloppy kiss with her as the music triumphantly crescendos.
It's... a little self-congratulatory, honestly. But it's good. It's redemption for a character who had been mistreated for over a decade. And she punctuates the moment by being very, very gay where everyone can see it, no men anywhere in sight. Because this is her moment. And then she leaves the plot, on her own accord this time, while humming the hampster dance. What a legend. How could anything be wrong with this.
#scott pilgrim#spto#scott pilgrim takes off#roxie richter#roxanne richter#scott pilgrim spoilers#spto spoilers
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I finished Volume 3 of SVSSS, which encompasses the main story, and currently have my bookmark sitting at the first chapter of the Airplane Extras in Volume 4. I took a bunch of quote pics but have yet to review them and add thoughts.
Every time I read SVSSS, I forget how... incredible... the inside of Shen Yuan's head is. He's fascinating.
Like, he's misogynistic (even while criticizing Airplane's own misogynistic writing), he's homophobic, AND he's transphobic. Not in a way where I think he thinks anyone deserves fewer rights than anyone else (I think he's generally a nice person, although, holy shit, I would not trust this man to craft policy of any kind) or would prevent anyone from living however they chose to live, a lot of his problematic bullshit stays inside his own head as he tries to understand the world around him using the stallion novel formulas he was given, but he's carrying around SO MUCH unexamined bias that supports his refusal to examine himself and his own desires.
Some of it reads (presumably intentionally) a LOT like the kind of conflicting, problematic bullshit a lot of queer people carry around inside their heads as they struggle to untangle themselves and their beliefs.
And while I do wish that Shen Yuan had been forced to confront and address his misogyny and transmisogyny even further than it does come up (in part because it is DEFINITELY affecting the way he thinks about gay men as well, including and especially Binghe), I do kind of... appreciate on some level that he thinks this way? From a character standpoint? Because I think it's probably realistic for a privileged young man spending a lot of time on the internet reading shit like PIDW to look at the world this way. And it's clear even through his own narration that his blindness in certain areas is causing him a lot of trouble. While I do have criticisms and personal wishes, I do appreciate the depiction of personal character development that is just... a cringeworthy mess of internalized bullshit the whole fucking time.
Also, it's SO funny to me that he reads as SO aro-ace-spectrum to me (probably gay, but generally detached from sexuality and possibly also partially from gender) AND he actually knows... the word asexual, I don't think he has a very broad understanding of asexuality... but he knows the word and yet doesn't personally identify that way. He mentally accuses both Luo Binghe (main story, before finding out Binghe is into him) and Liu Qingge (Succubus Extra) of being asexual for showing no interest in women, only to fail to reflect on how he ALSO demonstrably has no lasting personal interest in the women around them, which doesn't read as very genuine to me.
(EDIT: Again, I am not against a bisexual Shen Yuan interpretation either! I am willing to be persuaded by any author who wishes to tell a particular story. But Shen Yuan's attraction towards women often reads personally to me as very shallow and possibly insincere.)
"I willingly read PIDW, that proves I'm straight!" he sincerely thinks to himself, even though his favorite wife is the one without explicit sex scenes and he also admits to skipping over a lot of them.
"I'm able to tell when women are beautiful, that makes me straight!" thinks the guy who mentally censors nudity whenever demon women lose their clothes, and keeps telling us how "the average reader" of PIDW would react to these beautiful women instead of conveying his own attracted reactions. His actual reactions are generally centered on a woman's narrative significance. The only people he personally seems to find attractive are Luo Binghe and maybe Liu Qingge.
Though my interpretation was that he does probably experience sexual arousal and have a sex drive (see his username), which probably helps with his conviction of straightness, I'm not sure that there's any mention of Shen Yuan even masturbating at all in the entire main story of SVSSS? He never tried to hook up with anyone. Sex is apparently not a priority for him.
(EDIT: He does seem to enjoy sex with Binghe in the "Bing-mei vs. Bing-ge" Extra. He loves Binghe and likes the closeness and the physical pleasure. I appreciate the indication that they're working on moving on from the AWFUL intercourse pushed by Xin Mo's possession and possibly also the System's Scenario Pusher.)
And Shen Yuan seems to view women as being and behaving Fundamentally Differently from men and gay men as behaving Fundamentally Differently from straight men (as soon as he learns Binghe is into him, he thinks about how Binghe isn't behaving like the characters in his sister's gay, non-con, BDSM erotica novels), seeing everything through the lens of novel tropes, such that he seems to view sex and sexuality and gender as being deeply mixed with a person's personality. So he can't be a gay man, because he's too "Normal", in his mind at first, because he doesn't behave like his own mental image of "How Gay Men Behave" (or "How Women Behave / A PIDW Wife Behaves"), while also demonstrably not being anything like "the average reader" of PIDW and also apparently not caring too much about his own masculinity? Like, I do think he likes being the gentleman scholar of Qing Jing Peak, he does like appearing dignified and strong and cool, he doesn't like losing, he doesn't really like playing "damsel in distress" roles, and I do think he likes being gallant towards women, but he's not too concerned about seriously competing with figures like Luo Binghe or Liu Qingge? He's happy enough to back down and let someone else take the lead if necessary. He puts up with being put into the roles of female leads even if it embarrasses him and he rolls with the punches to his pride easily enough. He seems to have decided his Sexuality By Default, so it does make me have a lot of thoughts about whether or not he's potentially going with Gender By Default / Convenience as well.
Someone get this man some amateur and academic literature on gender and sexuality (and a lot of other stuff), stat, so he can ignore it, probably.
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Can you recommend fanfiction that you personally really like?
Yes! Love this ask. I’ve never made a Zutara fic rec list partially because I’ve read so many wonderful stories over time that I find the prospect daunting!
But there are absolutely certain stories that I have a personal soft spot for, that I return to again and again. And that’s my criteria for what’s included below. This is a sampling of fics that I find myself coming back to, in no particular order. I may come back and add more, because this list is so far from exhaustive. A mix of ratings (marked), so keep that in mind.
Wish I Was the Moon by Like a Dove (T), post-canon: There’s so much that I love about the way this one-shot explores Katara’s character and what she faces post-canon, how she frees herself, strikes out in the world and finds her way home. Her feelings for Zuko, and her inner-conflict around them, are rendered tangibly, both through scene and subtext. A really good example of how an author can show a character’s lack of/journey to self-knowledge without breaking voice.
Refraction by caroes3725 (E), post-canon: When I started reading Zutara fanfic (for me this was in 2020), this was the fic I was looking for—a deep, realistic-to-canon, in-character exploration of how Zutara could unfold after the events of ATLA in a way that gives Katara in particular the arc she deserves. Really well-done development of the Fire Nation court world, well-developed characters, shining dialogue. An amazingly well-worth-it slow burn.
Wildfire by rainstormdragon (E), post-canon: To me this story is kind of a steamy Zutara thesis. The characters are so spot on and alive, their flaws are on full display in a way that feels realistic, and their chemistry is powered by their compatibility—matched in passion and stubbornness, and also in what they want from life. And I think it really gets Aang, too, which is something that can be hard to find in ZK fic. Also really hot, but that's only part of what makes it really shine.
Partners in Learning by evergreenonthehorizon (T), Modern AU: One of the things I love in modern AUs is watching an author weave that invisible string between these characters. Sometimes, it’s by writing narrative arcs that parallel the series, and sometimes it’s by drawing out the personality traits that make the characters both lovable to readers and such a compelling match and watching that spark bloom into flame. This beautifully written story does that so, so well in a really compelling Modern AU setting. Zuko and Katara here are so wonderfully lovable, and it’s a joy to watch them fall for one another, too.
Journeys by Smediterranea (E), Modern AU: In real life, I want to see my friends in relationships with people who can recognize why they’re so particularly amazing. That potential, I think, part of the appeal of ZK as a ship, and that’s part of the special magic of this fic. Watching these two characters get to know one another—really see one another—and fall in love deliciously sweeps the reader up. Plus, really fun, in character cameos from the rest of the Gaang along the way.
Spark, set fire by marijayne (T), Modern AU: literary fanfic, and I mean that in the best way. This story is beautiful and bittersweet, the latter is not often something I seek out in fanfic (where I hide from life), but here it’s gorgeous and worth it. The world building here is really cool—allows the author to explore some of a set of cultural issues/interactions that both echo the ATLA world and ours. The characters are so tenderly drawn (dadko especially)—and the connection between them builds beautifully and tangibly—and the longing is…chef’s kiss.
Wrong when it's right by nire (T), Book 1 Canon Divergence: Before I read this, I couldn't imagine wanting to read a Book 1 Zutara. After, I wanted more. Bickering, bed-roll sharing, shared heat, tenderness and common ground. A delight from start to finish.
Anyway, thanks for asking and happy reading! <3 And if you want more recs, let me know.
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Are you one of the people expecting bkdk to be canon? I just learned that there are people that sincerely believe Hori would have Deku and Bkg have an explicit confession of love. That he's going to be the first popular mangaka to have a endgame gay ship. I am in so many mlm ships of shounen but I've never had the delusion that the author would make them canon despite the evidences otherwise. Like I thought it's fine to ship mlm as long as we stayed in our lane and never harassed the author.
After speaking together, we do believe based on the evidence in the series that BakuDeku being canon is not an even vaguely unreasonable conclusion to reach. We think the story is written in a way you can reach that conclusion easily, so much that even casual viewers who aren’t shippers are questioning the nature/potential conclusion of their relationship.
One of the most consistent and convincing lines of evidence for us has been Katsuki taking on roles/positions traditionally reserved for female heroines/love interests (if you’ve seen anyone call him “narratively androgynous,” this is what they’re referring to). In the context of Jump magazine, we have a number of shonen heroines and love interests to compare Katsuki to. The similarities are so striking that many notable people (including the VAs for the anime) have taken to calling him the heroine of the series.
However, we do think things like homophobia (whether it’s the writer or the audience/consumerbase at large– in this case we’re primarily referring to the audience), the safety of everyone involved, and timing are all unpredictable factors people have to take into consideration when writing/reading a story of this magnitude. Needless to say, if Horikoshi is indeed planning an endgame for bakudeku, he’d also have to take these factors into consideration.
Horikoshi has a record of being pretty in-tune with his fanbase. He definitely keeps some eye on bnha’s reception–for example, he mentioned a while back that both the people who love Katsuki and the people who hate him will have something to look forward to in this finale (we can now see what he meant lol). He’s very likely aware of the people who love bakudeku and the people who loathe it.
Taking into account that he tends to be very intentional with his writing choices, he’s written this story in a way that not only centered bakudeku’s relationship over others (notably Izuku + Ochako’s, the character he’d presumably end up with if things were going predictably?), but also went the extra mile to distinguish their relationship as unique, closer than all their other relationships, the “biggest pillar of the story” (x, x). He didn’t have to do all of this. This extra push is what’s giving bakudeku that undeniable chance at an endgame right now, because it’s come to a point where no one can ignore the implications of scenes like this:
On the flip side, we don’t think people’s hesitation is unreasonable. It’s scary! If bakudeku were to fall flat of all this buildup/our expectations, it wouldn’t be the first time the romantic implications between a pair of boys in a story like this was ignored. Hell it wouldn’t be the first time a popular pair in general, (gay or not) got ignored in favor of what the author just felt like doing, regardless of what any previous developments in the story or interviews or official artwork would have us believe. There’s enough written evidence that canon bakudeku wouldn’t be surprising, but there’s also (at the time of writing this response) still room for things to go another direction, for all of this to be recontextualized and passed as something else.
As per social norms/patterns of behavior, this would be disappointing as hell but not surprising. Especially for people who have been let down before, we completely understand the need/impulse to distance oneself from the idea/hope that bakudeku may become canon.
In all honesty, if it turns out bakudeku isn’t canon or left open-ended (say, an ending where they’re partners of some kind/the closest to one another without that explicit romantic confirmation), we would be frustrated/heartbroken. Not because we feel like Horikoshi shouldn’t do what he wants, he should. But because there’s been a clear effort to bring LGBTQ+ readers into the fold, and tell and portray our experiences in MHA. Horikoshi has done a beautiful, incredible job of writing various LGBTQ+ and marginalized experiences as a metaphor in his stories. Toga is a prime example. This is something that readers around the world have noticed, and it’s something MHA is special for (see this data x, and the further context/commentary on it given here x).
We think it’s intentional. This story and the relationships in it have invoked experiences close and personal to many of us. Things are in a state right now where we wouldn’t just feel baited, we feel like readers would have a right to feel unsatisfied.
That being said, feeling unsatisfied doesn’t equate to feeling empowered to harass or bother others. Especially not Horikoshi himself, and also including other readers who had differing expectations. This is really the case across the board. We should all be able to control our anticipation/expectations without becoming assholes.
It’s not just the shippers, by the way. People who work on the series or work closely with Horikoshi have rooted for bakudeku to go beyond. Izuku and Katsuki have already done what a good chunk of the readerbase thought impossible and became friends. People see their writing, their potential, and they want more. The voice actors (x, x sorry for the crunchy pic it's all i've got atm), academics (x), musicians (x, x) , editors (x) and more have all kind of rallied around Bakugou and Deku’s bond, with a particular sensitivity towards the deeply and uniquely intimate nature of it + how it evokes romance.
We’d like to see MHA exist free of the burdens previous popular shounen series have had placed on them. But that’s a conversation for the ending. As far as the fanbase goes, I think it’s super important people practice humility and caution when speaking to others. We have NO way of knowing what will happen. People who have been traumatized by situations like this in the past have a right to be anxious, people in general are allowed to withhold judgment until we have all the information we need. However, we don’t think having hope or confidence that this narrative might lead us to a canon bakudeku is unwarranted or delusional.
At the end of the day one thing is true, and this was something we had to fight to “prove” much longer than we had to prove Bakudeku had romantic potential - it’s that Kacchan and Izuku’s lives are going to be forever intertwined in this new era of their world that births from the finale.
They’re forever intertwined in a way that’s not replicable for any other character in the series, and that’s amazing all on its own. We’ll just have to wait and see how far they take it!
Thanks for reading if you got this far, and Happy Holidays!
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Have had a couple of days and a rewatch and some mulling to put together my thoughts:
The good:
the writing - I've talked at length about the use of metaphor, symbolism, allegory and the like to add meat and substance to the narrative
the continuity tied in to S1 and the foreshadowing coming full circle, plus running themes continuing
the music is flawless throughout - both the soundtrack with songs and the original score and the way old motifs are used to add parallels and depth to scenes
the acting across the board has been staggeringly good. Especially for Taika, Rhys and Con. I can see why so many reviews had been raving about it.
the bits of set-up for S3 that have been planted if/when they get it
new characters who are an absolute delight
Family Trauma the TV show - intense to watch but cathartic af
Badass ladies and the soft boys who love them
Auntie.
The bad:
too much story and not enough time to tell it
sacrificing a lot of crew-related stuff - I know this is primarily the Ed and Stede story, but we're told that Olu was always talking about Zheng, but we never even got a single line of it. Buttons' disappearance gets one sus line. We gloss over the probation and why Ed is back in his leathers literally the next day. Again, I know, time constraints, but it does feel weaker for it.
speedrunning so much that it's taken several rewatches to catch everything that's going on - yes, it can work as a narrative device, but not all the time
still not over Zheng falling for Ricky's gift. Do not trust the aristocratic white dude, especially not when you've been blackmailing him. And I know there's some logical sense to her being so used to being able to manipulate desperate people on the fringes with both carrot and stick, but it feels like severe underestimation on her part about how ruthless and cruel and petty Ricky could be. He's not like the pirates - he has the power and privilege and it feels like she ignored that.
whatever that Teal Oranges pivot was so Jim could have a girlfriend, especially since they didn't have time/space to actually develop the Olu/Zheng and Jim/Archie stuff. Archie was barely a scrape of characterisation because of time constraints.
The ... Forbs Boding
Izzy - it falls under the typical archetype of Loss of a Role Model especially given all Ed's dad issues, which I thought we were beyond, but then it also fits with the running motif of the show of change, death and rebirth.
We've had confirmation of the existence of a place between life and death plus a character who was beaten to death coming back from it and a seawitch turning up at the grave.
I can see why it was done as it has been foreshadowed since "the only retirement we get is death" but after all his growth in S2, having Ricky be the one to get the jump on him is... hm.
I feel like they had him and Ricky talking and Ricky causing his death for a reason. Feels like there's set-up for S3 planted and ready.
My Forbs, they are A-Boding. ffs, they Obi-Wanned him right after he did a speech about "our spirit will last beyond your whole fucking empire". Strike me down and I will become more powerful than you can possibly imagine vibes.
The way trauma is/isn't being dealt with - I feel like there's stuff there that is set up for S3 as well, because we've seen how Stede is still bottling all his stuff and hasn't dealt with any of it, while Ed has done some processing and started to make peace with himself over it. Stede still has his mental lockbox and while he tries to pretend it isn't there, it still informs so many of his decisions.
All the Star Wars vibes - I've always been convinced this was the Empire Strikes Back season and now, they have all the pieces in play for the Return of the Jedi arc: Stede and Ed are together and recovering but will have a role to play, Izzy is in carbonite with a seawitch control panel, their allies are out there getting pieces in place, and the Imperial figurehead villain who showed up in S2 is still out there and convinced he holds all the power. And I just realised that this means that if they use Hornigold, he's the equivalent of Boba Fett - Bounty Hunter for the Empire XD
On the whole, I am content with it and am already having thoughts about the potential for S3, but I find it incredibly frustrating knowing how much more it could have been with the budget/time they wanted and didn't get.
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i still vividly remember that THIS was the moment i fell in love with isagi as character
i will never not be insane about how brilliantly isagi's character was written. i've never been the type of person to like the protagonist (in animanga at least), and when i DO like the protagonist, it's usually bc there's a lot of distance put between them and the audience. the characters i and many people are drawn to usually attract a large fanbase bc the mystery surrounding their true thoughts and intentions add to their intrigue.
meanwhile, there are people who ARE usually drawn to shounen protagonists are used to the nice sunshine boi and/or guy who brute forces his way through their power levels, obstacles, and character development by never giving up!!! archetype.
in isagi's case, he's able to create so much intrigue BECAUSE the audience understands his thought processes so intimately, and he plays around with the traditional shounen protagonist archetypes in an interesting and inventive way. when it comes to isagi's character development and problem solving, blue lock is the perfect example of the classic writing advice "show don't tell". other series (shounen and sports shounen especially) have their protagonists overcome obstacles through sheer willpower alone, but blue lock goes the extra mile with isagi. the narrative goes into painful detail to show how isagi identifies problems, deconstructs them, solves them, and finally executes his plan. it's always such a huge dopamine rush to see him this way during games.
other series also love their geniuses, and it's no exaggeration to say that it's hard to write geniuses. the solution is to usually leave said geniuses' full internality a mystery to the audience which is a completely valid and smart move on the writer's part. however, part of what blows me away with isagi is the fact that he is a genius whose mind is put on full display for the viewer. he's an attainable genius. not only does he empower the audience through platitudes about never giving up, he takes them on a journey to show how not giving up is possible.
#this isn't supposed to be any sort of formal analysis i just wanted to yap#god i love him and his mind so fucking much#blue lock#bllk#isagi yoichi#yoichi isagi#bllk isagi#isagi#bllk isagi yoichi#bllk yoichi isagi
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A Step-by-Step Guide to Crafting a Compelling Storyline
I'll warn you, this is a long one. I kind of took 'comprehensive guide' a little too seriously.
You have a fantastic concept burning at the edges of your imagination, a collection of characters whispering their stories to you, and a world just waiting to be explored. But how do you weave all these elements into a story that grips readers and refuses to let go? The answer lies in effective plot planning.
A well-crafted plot isn't just a sequence of events; it's a carefully orchestrated symphony that takes readers on an unforgettable ride. Whether you're an experienced writer or someone trying to start their first book, here are my personal steps to crafting a compelling storyline with good plot planning.
Step 1: Idea Generation and Conceptualization
Every great story begins with a spark of inspiration. It's that moment when an idea ignites in your mind and beckons you to explore its potential. The journey from a fleeting thought to a fully-fledged concept is an exhilarating one, and it all starts with idea generation and conceptualization.
Techniques for Idea Generation
Mind Mapping
Grab a piece of paper or use a digital tool to create a mind map. Write your central idea in the middle and branch out with related concepts, characters, themes, and settings. Mind mapping can help you visualize the connections and possibilities within your idea.
Bullet journalling
Bullet journalling is my personal favourite way to generate ideas for your WIP. Get a piece of paper or open a Word/Docs document and create three different sections: world, characters, and plot. Now add facts to each of those sections that you've come up with so far.
You can even go a step ahead and create more detailed sections, for example, you could do this for your different characters or different places in your world. Usually, one bullet point leads to the next and once you have an idea of everything you've already established you'll naturally start adding more to it.
Blurting
Talk to someone about your WIP, or pretend that you're talking to someone and write down everything that comes to mind. You can even use AI tools like ChatGPT and ask it to hold a conversation with you about your WIP. Tell it to ask you questions along the way, this will get the wheels turning and even help fill plot holes.
Prompts and Challenges
Explore writing prompts or challenges to spark your creativity. Websites, books, or even random word generators can provide the nudge you need to generate fresh ideas.
Refining Your Concept
Once you have a collection of ideas, it's time to refine and shape them into a cohesive concept.
Identify Themes
What themes or messages do you want to convey through your story? Is it a tale of redemption, the power of friendship, or the consequences of ambition? Pinpointing your core themes will guide your storytelling and also give you a clear image of the end goal.
Find Your Angle
Consider what makes your idea unique. How can you approach a familiar concept from a fresh perspective? For example, if you're doing a classic murder mystery, what makes your book different from others? Take some time to look up titles similar to your WIP and find any repetitive themes/patterns.
Maybe most murder mysteries end with the partner being the killer, or maybe the fantasy books written in the same mythology as your WIP's all involve a war. Knowing what is currently a popular trend in the market can give you a clear idea of where you can be different from comparable titles. This is especially important for genres like horror and romance.
Develop a Premise
Your premise is the foundation of your story. It's the "what if?" question that drives your narrative. For instance, "What if an ordinary high school student discovers they have the ability to control time?" You need to have a solid premise before you even think about writing your story.
Step 2: Character Development and Motivation
Characters are the beating heart of your story, and crafting them with depth and authenticity is key to creating a narrative that truly captivates. Your characters often leave more of a lasting impact on your readers than the plot itself.
Think of it this way: a good plot will get you readers, but memorable characters will get you fans. Some of the largest communities in the book space all run on the readers' fondness for certain characters rather than the story itself. Yes, your story and the way you tell it is very important, but nobody wants to listen to the story of a boring person.
Bringing Characters to Life
Personal Histories
Delve into your characters' pasts. What experiences shaped them into who they are today? A traumatic childhood or a life-changing event can influence their motivations and behaviours. Maybe your antagonist has a soft spot for single parents because their mother was the only person who cared for them. Maybe the love interest seems like a sunshine character because they feel the need to always seem put-together and perfect.
Physical Traits
This might sound obvious enough, after all a character's appearance is the first thing people think of when visualising, however, many authors fail to have a clear image of their character's physical traits which can lead to inconsistent or boring descriptions. Sure, your protagonist can have bushy hair and brown eyes, but what else?
Think about their body type, height, fashion sense, the way they carry themselves, walk, and sound. Do they have a random mole at the back of their neck? Do they always smell like a certain perfume because their dead father gifted it to them? It's important for you to have a clear image of who you're writing.
Strengths and Flaws
Just like real people, characters have strengths and weaknesses. These traits affect their decisions and interactions. A courageous hero might also struggle with recklessness, adding complexity to their personality. It's easy to create 2D characters by using tropes or shallow descriptions 'an all-powerful villain' 'the chosen one who trained their whole life and is perfect', but 3D characters are what will actually catch your readers' attention.
There's a reason why people often love the grey characters, the anti-heroes or anti-villains. Those who have complex personalities that make them seem human. This makes us empathise with the characters, and as a writer, it also helps you think of your characters as real people with flaws and problems.
Motivations: The Why Behind the What
Goals and Desires
What do your characters want? Their goals drive the plot forward. A detective's desire to solve a mystery or a scientist's quest for a groundbreaking discovery sets the narrative in motion. Why is your protagonist doing what they are doing?
You could simply give yourself a generic answer like 'they want to save the people' or 'they're a good person' but this can lead to confusion in the long run. If as the writer you yourself can't understand your character's goals it will get very hard to showcase them to your readers. Try to pick apart each character and genuinely consider why they are the way they are.
Inner Conflicts
Characters often grapple with inner turmoil – the clash between their desires, values, and fears. This inner conflict adds layers of intrigue and reliability. Maybe your protagonist realises the antagonist's qualms with the government are actually valid and suffers from moral conflicts as they contemplate whether or not they are the 'good guy'. Inner conflict adds dimension to your characters which in turn makes it easier for your readers to empathise with them.
Step 3: Outlining the Key Plot Points
Now that you have a clear idea of what you want to write and who you want to write it with, it's time to consider the how. You have a story, but how do you want to tell it? Break down the key plot points that shape your narrative, creating a roadmap that guides your characters through their trials and triumphs.
The Building Blocks of Plot
The Inciting Incident
The spark that ignites your story. It's the moment when your protagonist's world is disrupted, setting them on a path of change. For example, in "The Hunger Games," Katniss Everdeen's sister being chosen for the Games is the inciting incident that propels her into the arena.
This can be a little harder to recognise in genres outside of SFF and horror. For a thriller novel, this moment could be the moment your protagonist uncovers a sketchy detail in their relative's death. In romance, it could be the moment your protagonist is introduced to the love interest.
Turning Points
These are pivotal moments that shift the course of your narrative. They introduce new challenges, reveal secrets, or force characters to make crucial decisions. Think of them as the gears that keep your story machine turning. It's important to have some sort of turning point in your story to keep things interesting.
Maybe the character your protagonist was suspecting throughout the first half of the book ends up having a solid alibi, or a seemingly innocent character suddenly seems sketchy.
The Climax
The peak of tension and conflict. It's the moment your characters face their biggest challenge and must make their ultimate choice. In "The Lord of the Rings," the climactic battle at Mount Doom decides the fate of Middle-earth. In a murder mystery, this can be the moment the real killer is unveiled, or in a rom-com, it could be when the love interest moves to a new city to follow the protagonist.
Falling Action and Resolution
As your story winds down, the falling action ties up loose ends and provides closure. Readers witness the aftermath of the climax, and the characters' arcs find resolution. This is the bit where you make sure you aren't leaving any plot holes behind. Remember that random character your protagonist suspected at the start of the book? What's their alibi, why did they suddenly get out of the picture?
Structuring Plot Points
Introduction of Stakes
Introduce what your characters stand to gain or lose early on. This creates a sense of urgency that propels them forward. What if your protagonist fails to complete their missions? What if the detective never unveils the killer's identity? What if your protagonist doesn't win over the love interest? Show your readers the worst possible outcome early on so they know why they should be rooting for your protagonist.
This doesn't necessarily have to be something big or scary. In Harry Potter, many of us wanted Harry to stay at Hogwarts because his life with the Dursleys was cruel and he deserved happiness. That was a small yet significant stake that made the readers empathetic and silently root for Harry.
Foreshadowing and Setup
Plant seeds of future events throughout your story. Foreshadowing builds anticipation and adds depth, making later plot developments more satisfying. I have written a lot of blogs that either cover or briefly mention foreshadowing so I'm going to keep this point a little short.
Foreshadowing helps your readers slowly piece everything together and have that 'I knew it!' or 'how did I not see this coming?' moment. It might also encourage them to turn back and reread your work to focus on the little hints you left throughout the book. Foreshadowing is especially important in murder mysteries.
Step 4: Subplots and Secondary Storylines
Subplots and secondary storylines are the secret ingredients that transform a good story into an unforgettable masterpiece. They add layers of intrigue, provide character development opportunities, and keep readers eagerly turning pages. If you're confused about what is a subplot and how to create one you can visit my previous blog that focuses on this topic.
The Role of Subplots
Enriching Character Arcs
Subplots allow secondary characters to shine. They can showcase different facets of your characters' personalities, revealing their strengths, weaknesses, growth, and relationships.
Theme Reinforcement
Subplots can explore and reinforce your story's themes from various angles. For instance, a romantic subplot can underscore the theme of love and sacrifice, in turn making your protagonist’s heroic death at the end of the novel seem more impactful. We all know Pepper’s reaction to Tony’s death in End Game made the moment more emotional.
While creating subplots and considering which one might be relevant to your book you should think of how this subplot would impact your end goal and whether it would help emotionally connect with your readers.
Parallel Journeys
Subplots can create parallel journeys that mirror or contrast with the main plot. This dynamic adds depth and resonance to your storytelling. Maybe the antagonist’s assistant has a similar backstory to your protagonist but while the protagonist was rescued by the government they were taken in by the antagonist. As the two geniuses face each other your protagonist can’t help but consider whether they would still be fighting for the ‘good’ side had their roles been switched.
Balancing The Main Plot and Subplots
Interconnectedness
Subplots shouldn't feel disconnected from the main plot. Instead, they should interact and influence each other, creating a harmonious narrative flow. Your subplot could help bring a satisfactory end to a certain arc of your story, or it could sow the roots for the important climactic moment of your book.
Pacing and Tension
Strategically introduce subplots to maintain pacing and tension. They can provide moments of relief or heightened drama, enhancing the overall reading experience.
Character Integration
Ensure that characters involved in subplots maintain relevance to the main plot. Their actions and decisions should contribute to the overarching story, even as they pursue their own paths. You should also think about whether or not your character is overshadowing the protagonist. In Harry Potter there were several characters such as Ginny, Luna and Neville with subplots and backstories of their own, however, they never overshadowed Harry’s tale.
Step 5: Crafting Scenes and Sequences
Welcome to the realm where the magic truly comes to life – crafting scenes that resonate, captivate, and propel your story forward. Scenes are the building blocks of your narrative, each one a window into your characters' world and emotions. They help infuse your story with tension, emotion, and unforgettable moments.
Again, this is a topic I’ve covered separately in another blog so I won’t go into too much detail here.
Scene Structure and Elements
Objective and Conflict
Every scene should have a purpose – a clear objective that drives the characters. Introduce conflict that challenges their goals and motivations, creating tension that keeps readers engaged.
Emotion and Stakes
Characters' emotions are the heartbeats of scenes. Amplify emotions by highlighting what's at stake for the characters. Whether it's a heated argument or a tender moment, emotions draw readers in.
Sequences: Crafting a Flow
Cause and Effect
Scenes connect through cause and effect. Each scene's outcome sets the stage for the next, creating a seamless flow that propels the narrative. A character's choice in one scene can reverberate and shape subsequent events.
Rising Action
Craft sequences with escalating tension. The stakes should intensify, drawing characters deeper into challenges and dilemmas. This creates a sense of anticipation that keeps readers eagerly turning pages.
Step 6: Mapping the Journey: Creating a Visual Plot Outline
Visualising your plot, characters, and world can be very hard sometimes. Let's be honest, words can only do so much and if you don't have a clear idea of what you want to show your readers you can end up going down a path of 'telling' them everything. This can take away from the point of your story and end up boring your readers. If you find it hard to visualise where you're going with your book, here are some tips that can help.
Visual Tools for Plot Planning
Timelines and Flowcharts
Create a timeline that outlines the sequence of major events, from inciting incidents to resolution. Flowcharts visually depict the interconnectedness of plot points, making it easy to track the evolution of your story. You can also cut out or add bits depending on how far along you are. This will also help you keep track of what scene/development should be introduced when and why.
Index Cards or Post-Its
Write down key scenes, plot developments, and character arcs on individual index cards or sticky notes. Arrange and rearrange them on a board or wall to visualize the narrative's flow. You can also do this if you're confused about the climax of your novel by adding different ideas to the post-its and putting them alongside the rest of the book's plot to see what things would look like from a reader's perspective.
Infusing Creativity
Playlists
Curate a playlist that captures the mood and emotions of your story. Music has the power to transport you to the heart of your narrative, helping you channel the right atmosphere while plotting. You can listen to this playlist every time you sit down to write WIP. With time, this will also help you overcome writer’s block since you can put on this playlist every time you struggle to get into the right writing mindset.
Moodboards/Pinterest Boards
Create a visual feast by collecting images, aesthetics, and visuals that embody your story's essence. Platforms like Pinterest allow you to craft moodboards that serve as visual touchstones. I would recommend creating a separate pinboard for every character so you can get a clear idea of their vibe and appearance. You can even refer to these every time you're writing about or from the perspective of a new character.
Step 7: Flexibility and Adaptability
As you embark on your writing journey, remember that stories have a life of their own. Embracing flexibility and adaptability is your compass through uncharted territories.
Allow characters to surprise you, let plots pivot, and themes emerge. Balancing structure with spontaneity ensures a dynamic narrative that resonates deeply. Listen to your characters, explore ethical complexities, and evolve alongside your story.
By staying open to the unexpected, you infuse your writing with authenticity and richness. Your plot outline is a guide, but your characters and themes have the power to shape the course. Embrace the unpredictable, and watch your story flourish beyond your imagination.
I hope this blog on A Step-by-Step Guide to Crafting a Compelling Storyline will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.
Looking For More Writing Tips And Tricks?
Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!
#hayatheauthor#haya's book blog#haya sameer#haya blogs#writers on tumblr#writer community#writer tools#writer blog#writer stuff#writer wednesday#writer tips#creative writing#writers of tumblr#writerscommunity#writeblr#writing community#writer spotlight#writer things#writing prompt#writing tools#writing stuff#writing#writing life#writing inspo#writing help#writing advice#writing inspiration#writing ideas#writing things#writing tip
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I do think it’s quite interesting how GRRM’s ideals of a good king are confronted and challenged in Jon’s storyline.
Jon is undoubtedly a good person. And he has the capability to be a good king. But being a good person in the world of ASOIAF is not always rewarded. And being a good king is easier said than done.
“They say the king gives justice and protects the weak.” She started to climb off the rock, awkwardly, but the ice had made it slippery and her foot went out from under her. Jon caught her before she could fall, and helped her safely down. The woman knelt on the icy ground. “M’lord, I beg you—”
“Don’t beg me anything. Go back to your hall, you shouldn’t be here. We were commanded not to speak to Craster’s women.”
“You don’t have to speak with me, m’lord. Just take me with you, when you go, that’s all I ask.”
All she asks, he thought. As if that were nothing.
“I’ll … I’ll be your wife, if you like. My father, he’s got nineteen now, one less won’t hurt him none.”
(Jon III, ACOK)
The situation with Gilly at Craster’s Keep is a perfect example of how difficult it is to give the king’s justice in certain situations. Jon wants to help Gilly, he even feels guilty and horrible for choosing not to, but he cannot so easily offer his help because he is a man of the Night’s Watch.
What’s interesting about this conversation is that Gilly addresses and appeals to Jon as she would a king. She places herself as the weak party and Jon as the king who is expected to protect the weak. She kneels to him, as one kneels to a king, and addresses him as “M’lord”; ironic because Jon is just a bastard, who is now a member of the Night’s Watch.
Much has been said about this exchange, and fandom often gives Jon a lot less empathy than he deserves. The truth is that he is in a very terrible situation, notwithstanding the character development that is to come regarding his perception of the wildlings.
But I’m looking back at GRRM’s quote about how being king gives one wealth and power and ability to do something, anything. This is something that Jon absolutely lacks in this situation. He may have been symbolically positioned as the rightful king by the narrative, but that doesn’t mean he has any actual power to enact change within the narrative itself. If Jon were nearly as callous about this whole situation as this fandom wants us to believe, he wouldn’t feel so guilty about refusing to help Gilly as he does later on.
P.S: I also want to note that Sam is often lauded for being the one to help the girl, “unlike Jon”…except, Sam only does so when the chaos that follows the mutiny and Craster’s death gives Gilly the opportunity to flee. Sam understood that he had no power to help Gilly early in ACOK and that’s why he sent her to Jon. But he also overestimated just how much Jon would be able to do at that moment. Jon may have been the Lord Commander’s steward, but that didn’t give him the ability to go against Mormont (especially when the LC himself was turning a blind eye to Craster’s vices).
It’s then interesting how this situation of a young girl trying to flee a precarious situation is repeated later on in ADWD and this time, Jon manages to help her. Except the difference is that Jon is the Lord Commander now, not just the LC’s steward. What he couldn’t do for Gilly in ACOK, he can do for Alys even though that too places him in a tough situation.
“Why not the king? Karhold declared for Stannis.”
“My uncle declared for Stannis, in hopes it might provoke the Lannisters to take poor Harry’s head. Should my brother die, Karhold should pass to me, but my uncles want my birthright for their own. Once Cregan gets a child by me they won’t need me anymore. He’s buried two wives already.” She rubbed away a tear angrily, the way Arya might have done it. “Will you help me?”
“Marriages and inheritance are matters for the king, my lady. I will write to Stannis on your behalf, but—”
Alys Karstark laughed, but it was the laughter of despair. “Write, but do not look for a reply. Stannis will be dead before he gets your message. My uncle will see to that.”
“What do you mean?”
“Arnolf is rushing to Winterfell, ’tis true, but only so he might put his dagger in your king’s back. He cast his lot with Roose Bolton long ago … for gold, the promise of a pardon, and poor Harry’s head. Lord Stannis is marching to a slaughter. So he cannot help me, and would not even if he could.” Alys knelt before him, clutching the black cloak. “You are my only hope, Lord Snow. In your father’s name, I beg you. Protect me.”
(Jon IX, ADWD)
We’re seeing a repeat of Gilly and Jon here. Alys is now the weak and helpless maid and Jon, who is still a brother of the Night’s Watch, is once again made to play the role of a king.
Obviously the narrative, as it was with Gilly’s situation in ACOK, is saying that Jon is the king because while Alys could’ve pinned her hopes on Stannis Baratheon (who is actually titled), she chose to flee north to Jon the bastard. And what’s interesting this time is that Jon actually helps Alys in whatever way he can. He uses his status as Lord Commander and his dealings with the Thenns to secure Alys’ marriage. He oversteps his bounds as Lord Commander, and the irony is that he starts to act more as a king would.
So it’s interesting to see how the character often marked as the true king by GRRM’s narrative handles the moral obligations that come with kingship. And GRRM is putting Jon through these tests when he doesn’t even have a crown of his own. GRRM often makes Jon prove his worth as a king despite thinking of himself only as a bastard. We see this best when Stannis comes to the Wall.
Surprisingly, Stannis smiled at that. “You’re bold enough to be a Stark. Yes, I should have come sooner. If not for my Hand, I might not have come at all. Lord Seaworth is a man of humble birth, but he reminded me of my duty, when all I could think of was my rights. I had the cart before the horse, Davos said. I was trying to win the throne to save the kingdom, when I should have been trying to save the kingdom to win the throne.” Stannis pointed north. “There is where I’ll find the foe that I was born to fight.”
(Jon XI, ASOS)
It is true that Jon and Stannis are in very different situations. Stannis is aware that he is the rightful king (as Robert’s heir), and he has also heard from Melisandre that he is the prophesied prince. Jon, on the other hand, is a bastard boy completely unaware of his royal birth or his magical destiny. Yet it’s so interesting that it’s Jon the bastard who was actually doing his duty as the king (without even knowing it) whereas Stannis had to be reminded of it. So despite his failings every now and then, Jon does live up to the author’s ideal of a great king.
#in my king jon feels again dksjsnsnsdj#this started as an introspective look at the morally difficult choices Jon has to make across the series and how that relates to kingship#and then took a turn into jonsnowdefensesquad nonsense in the middle smh#2 am thoughts#jon snow#asoiaf#valyrianscrolls#forgot to add but that last stannis bit is why I think jon will be king at the end of the story and not in twow like most jon stans#grrm legit puts my boy through the ringer#he will have to prove his worth (and make lots of morally ambiguous choices)#he needs to save the kingdom FIRST then be its king
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I think what gets me the most annoyed about LO currently is how I just don't care about Rachel's attempts to make the story seem more high-stakes than it really is. Apollo has no real power, Kronos was defeated by bees so why should I care about him now, everyone is instantly on Persades' side, Persephone will get any excuse to not hold her accountable for her mistakes, and Ouranos is simply too late-stage and underdeveloped for me to take them seriously. If this is Rachel's attempts to bring people back or keep them around, she's vastly unaware of what her readers actually want and want she's capable of writing. None of this is compelling, it's just frustrating.
You didn't mention it but even the fact that we as readers know now that Apollo can't use Persephone's powers without her actually being in love with him... it's such a narrative buzzkill?? So now we're spending all this time on some "Apollo twist villain" plotline that we know won't lead to him winning because we already know it won't work. IDK if this was Rachel attempting some sort of dramatic irony thing - when audience members are aware of something the characters aren't, ex. the complete misunderstanding that was Juliet's "death" that resulted in Romeo actually dying - then she completely misunderstood how dramatic irony actually works, you can't inform the audience of something the characters don't know if it's something that removes any and all tension. There are no stakes now. We know Apollo can't use Persephone's powers. So we're either gonna get Apollo realizing he can't do it and have that just be his downfall (predictable) OR we're gonna get some sudden retconned plot point that technically Apollo can use her powers because of the assault (big yikes). Or some other third thing that Rachel will inevitably pull out of thin air to write herself out of a corner.
Overall it speaks to her lack of actual storytelling skills - she's alright at coming up with neat standalone ideas, but she's not good at weaving them into a story, and she's especially not good at actually coming up with organic re-interpretations of things that inspire her; rather she often just rips whatever she likes from things she's watched and throws them into LO without any understanding of why those things were actually well written, she puts them in because "well I liked the scene where the Beast got bathed by his house servants so I'm gonna put the same thing in LO!"
It's very much like - dare I say it and possibly invoke many more asks in my inbox - a certain indie production you may have heard of called RWBY. Constantly yoinking elements out of other shows and movies to put into the show, while not understanding why those elements worked so they come across as flat first steps rather than fully developed ideas.
#lore olympus critical#lo critical#anti lore olympus#ask me anything#anon ama#ama#anon ask me anything
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so you want to build a character 102
written by popular demand of nicole @seasteading’s cat meowing into the mic
so you’ve got a story idea, and now you need to populate it with characters—where do you begin? or perhaps you have the vaguest idea of a character in your mind, but you need a little help figuring out their story. characters are absolutely vital in the story you want to tell, because they’re your readers’ eyes into the world. they experience the story as your characters do. you might even hope that your readers will get attached to them and send you a million all-caps messages crying about the fate of said characters.
whatever your goals are, here are a few things to keep in mind as you begin.
TRIED AND TRUE RECIPE FOR MAKING THE PERFECT CHARACTER (run them through the mary sue litmus test)
don’t write characters, write character arcs. characters are not static. throughout the story, there will be conflict that should—and will—change your character. the character arc can either compliment the main plot or be that plot. many conflicts are resolved by characters overcoming their own personal or mental battles, or developing in a way that makes a solution possible. the person your character begins as at the beginning of the story will not be the same as the person they are at the end.
think of lord of the rings and how frodo ends up at the end of the story as compared to the very beginning. the struggles he went through ended up changing who he was, and he realized that there was no way he could return to how he was before his journey.
point a to point b. this is one method that i use to write character arcs. i first figure out who my character is and what their situation is like at the beginning of the story. then, i come up with how i want them to end up at the very end. once you have these two points, you can work on how it is possible for them to develop from point a (the beginning) to point b (the end).
along the way, there will be a lot of intermediate points. you can flesh these out as you come to them, and even discover more things about your characters. point b can eventually become point z, or point 1000. how did we go from letters to numbers? who knows! but the journey of character development doesn’t happen immediately. it is a gradual shift.
conflict. pay attention to how your character responds to conflict. conflict can be used as a catalyst for change for your character. when coming up with conflicts, it is important to keep in mind your character’s values and limits. in order for the conflict to feel worthwhile, these two things need to be challenged. it is an ideal situation for development, and even a little angst, if you want that.
character relationships. how does your character view the rest of the cast? if you’re working on the previous point, how might they come into conflict with them? relationships between characters allows the readers to understand more about nearly everything in the story—the plot, the world around them, and in turn, the characters themselves. the way they treat each other can reveal a lot about their own backstories. think about all the ways that they can play off each other, and how this may change as the story progresses, especially when the characters each branch off and develop.
character-driven narratives. if your story is character driven, it becomes even more important that your character motivations are solid and progress in a believable manner. they are the ones enacting change around them—specifically, they will be the ones moving the plot along. think about the ramifications of your character’s actions: how it affects those around them and how it affects the larger picture. then, think about where your character will go from there as a reaction to the things their own choices have caused.
the plot doesn’t just happen. even if you are writing a more passive character, the plot doesn’t magically part for them like the red sea for moses. there are other factors, such as other characters within the story, or perhaps your own character’s desires. of course, this all depends on where you want the character to go from here. you might consider what would make a more passive character less passive, or how else you can ruin their lives to force them to act. either way, plot is something that moves the story forward, not something that just happens to characters.
fundamental character traits. we’ve been talking a lot about how the characters change, but we also need to keep in mind that in some ways these characters must also remain the same. they each have fundamental character traits that will remain by the end of the story. for example, kaz is still the bastard of the barrel at the end of the duology—but he’s opened up more to the crows. the changes a character goes through must be proportional to the events of the plot. they might change a lot, but they must still be recognizable at the end of the story due to the things that they have gone through.
flaws. last but not least, make sure your character has flaws! these can be their weaknesses, things they work on throughout the story and eventually improve upon, or even just character traits that aren’t exactly the best to have—simple facts about them. people aren’t perfect, and your characters shouldn’t be either.
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"all my characterizations and stories are the same" ... to the very slim extent I'm willing to give these critics credence, you do have a pretty distinctive narrative style, especially compared to a lot of fanfic writers. The best of those are intentionally chameleonic, but a lot just haven't really developed their own voice. Your writing actually reminds me oddly of Ursula Vernon, despite your wildly different styles; you've each got your set of ideas you keep coming back to, but you also keep finding new ways to look at the same tropes. Novelty is overrated - you've got craft.
Thank you! That's really kind of you to say, and a comparison to Ursula Vernon is always high praise :) I do my best to write what will entertain and maybe cause some thought, and I try to keep developing my craft.
You don't bounce around fandom for twenty years without making a few enemies even if you aren't trying to, and particularly when you're a) high profile and b) super oblivious, both of which I've been for most of those twenty years. I try to be less inadvertently provocative these days, but some people are going to read malevolence into what I do regardless.
Given I know that I'm doing my best, however, I don't pay a whole lot of heed to stuff like that anymore. If it's true, there's nothing I can do that I'm not already doing, and if it isn't true then it doesn't matter. Given how long it's been a critique, from people who presumably don't keep reading my work, it's also possible that it's based on writing from ten or twenty years ago.
In any case, I appreciate the compliment, and I will do my best to keep being worthy of it!
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i have finished death mark 2...... thoughts.....
general thoughts is the overall story was.... BAD. LOL.
I'll start with the good. The interactions between Yashiki and alot of the returning cast i really liked, the writing especially in the first few chapters. An example being alot of Yashiki and Daimon's chatter, especially the whole weight of saving lives things that comes back at the end, alot of it was quite sweet and heartwarming similarly between him and other mark bearer characters.
^^^ BEST CG EVARRRRR....
I liked the choice of Hiroo and Mashita being the two that come in when he's at his lowest, their curtness and refusal to take his attitude was really refreshing, felt really like what he needed at the time lol. In that same vein i enjoyed his characterization alot in the early-mid game, and how it develops. He's such a sensitive guy lollll and it comes through well with how much he cares but near the latter chapters it kind of.... sours.
Though there were a few new characters i liked his interactions with, Abe and Maruhashi specifically i found endearing of the new cast, Alot of them just Die. Or theyre Hime and Michiho AKA the bane of my fucking existence with this game.
They are the two pushed front and center and it is truly its worst aspect, as characters they're shallow personality wise and though you could say that about others in the cast, them being in love with Yashiki on top of it makes it so much worse.
They barely have any scenes where they actually properly interact and feel like they bond at all but for some reason im expected to believe they're suddenly in love with him?? -and in the end they were also dead the whole time, and not even themselves. So it wasn't even real, and somehow any of this is meant to hold any weight to the audience...?? explaining it as the ghosts being desperate for him instead doesnt really make it.. any more compelling (lol the scene at the end where hes like maybe they just wanted those beautiful normal school days they spent by me.... when did that happen yashiki)
I understand Yashiki is probably saddened by the deaths of two young girls but they're treated with so much more weight and gravitas than anyone else in the cast and its so unearned, especially when alot of the other ghosts are somehow way more compelling in that aspect.
He also becomes borderline ooc around them like in what world am i expected to believe he emotionally dumps his burdens on the two highschool girls he barely knows because of how sad he is when hes got like how many other people he knows FROM THE OTHER GAMES he could do that with...????? (AND BASICALLY DOES... ALREADY...?) and it lifts his heart like truly wtf was i reading. HE WOULD NOT FUCKING SAY THAT.JPG
Chapter six is really where it falls off the cliff with this, after hanging out with Hiroo, Mashita and Yasuoka and solving that case they just dissapear from the narrative for a day so he can......... hang out with michiho...?? i couldn't even enjoy murder yashiki in this game because of how ludicrous it felt that the rest of yashiki's companions just dissapeared to make it happen, and no one calls or anything lmfao. I cant imagine how much more compelled i would have felt if he was dealing with that situation with any of the other three around instead of HIME. LIKE I AM ACTUALLY SO INCENSED ABOUT THIS SCENARIO BEING RUINED SO HARD WHEN IT COULD BE SO GOOD BUT I DIGRESS (RIPPING MY HAIR OUT) (CRYING BC I LOVE BLOOD AND HORROR)
Even the first two games weren't as bad as writing women as this!? EVEN IF I HAD TO SEE MASSIVE TITS ON SCREEN THEY WEREN'T TRYING TO JUMP ON YASHIKI AS WELL AS A CENTRAL PLOT POINT (lol kakuya) congrats exp you have outdone yourself with the misogyny.
To continue on the topic of new characters, it feels like so many of them were given so little screen time to make you actually care about them. For how prominent Abe is he barely actually does anything, and Maruhashi instantly dissapears when shes no longer a red herring. On top of this game basically killing off any other character that appears, its hard to get invested in them as characters at all.
You have no opportunities to actually effect their fate as you do in the other two games, so there's even less attempt to immerse you there. Horikoshi comes the closest behind the other two but its because her case with Hanako was easily the strongest and most resonant of the game (lgbt win). Its not even like this is the first time Yashiki saves the lives of kids and bonds with them after, especially with the caveat of being a teacher, like how did you fuck this premise up so bad.
They either needed to commit to more scenes and writing in general to attach you to the new characters or just not have any returning ones show up so prominently if they're not also going to further interact with them.
The overall mystery suffers for it, and while i like the twist of the doll being helpful in this game actually, it is so easy to guess michiho and hime are the departed, and i already didn't even like them so it doesn't hit at all emotionally. Like, i was not feeling very betrayed or anything lol.
Further critiques -> though running around is very fun, the horror in this game really didn't at all compare to the others with the loss of that first person perspective for alot of the exploration, sad.
I also feel like we got more horny shit than we did in NG which is also like lol one step forwards two steps back. Even the gore wasn't as good............... kind of mid in every regard there. I did like the mushroom and scissor stuff, but the bugs and mold ended up just kind of ..... eh...
Mary continues to be the best antag in these games, she slayed and she continues to keep slaying. The sisters were really kind of a letdown in the end, especially since i think i could have enjoyed it if they pulled them off better.
As for my yaoi cocaine score though thats a 10/10 they made yashiki and mashita meow and hiss like cats in this game for some reason, i genuinely think that shattered my mind a little.
I also can't believe they gave us these two panting in unison asmr as well so you could make your own [REDACTED] if you wanted. The departed getting jealous mashita was standing next to him in that one confrontation too like she's calling him a homewrecker..... lol...... also the part where mashita jokes abt him keeping the gun and if you make yashiki go 'then i will 😇' and him immediately backpedaling like okay i was kidding. give it back. very moe very powerful.
I feel like the entire time mashita was on screen he was basically acting as yashiki's brain to keep him from getting too lost in his emotional attachments, truly everyone needs a bitch wife to keep them sane.
TL:DR this game could be so good (average) if it wasn't so fucking badDDDDDDDDDDDD easily the worst entry in this series...... dont buy it unless its on sale for 4 bucks (this applies to every game) or just watch in on youtube lol.
anyway. beautiful yashiki collection. I CANT BELIEVE MASHITA DIDNT GET A BAD END CG ACTUALLY < / 3 BUT YASHIKI'S IS REALLY GOOD < / 3 SMALL WINS < / 3
#chitter chatter#gore warning for cgs and also spoilers for the whole game#i made this post instead of a 3489034890 long thread on my priv twit rejoice#im going to draw yashiki like next week regardless of my shit talking bc hes my oc now
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David and Michael get lots of acclaim and heart eye emojis for being adorably cute and proud and lovely and OOP! And as if by magic… #dontforgetaboutus
Oh, boy. Well, I was tagged in several posts about this and had it sent to me by several people, and it's just...going back to what I mentioned the other day about predictability, here is another perfect example of exactly that.
This seems to be a callback to Georgia referring to AL as "#mywife", and in both cases, the "flirting" between Georgia and AL feels very forced and disingenuous. I would say this is especially true of today's post, as it comes right on the heels of that photo of Michael and David on press night and how it has subsequently been overwhelming the social media chatter.
The problem here is that Anna's caption makes absolutely no sense at all. As it is worded, it makes it sound like Georgia has two husbands (if she has a first husband, then logically that would seem to mean she has a second one). So is Anna calling herself a husband? It seems like this is yet another attempt at her and Georgia trying to be like Michael and David, and once again, it falls completely flat. All of this is riffing on Georgia calling Michael David's "other wife," but that was never something Anna was originally part of--she never called Michael David's "other wife" or was included in any of the banter/exchanges between Michael and Georgia, and certainly not in anything involving David.
So the fact that people are now describing this as a "polycule" is sort of mind-boggling to me, because while calling Michael "other wife" was rooted in the unavoidable chemistry and powerful connection between Michael and David (on and off screen), in reality there is nothing to suggest Georgia or Anna are attracted to or even like each other as genuine friends beyond a superficial, surface level. And while many fans on Twitter are up in arms about people shipping Michael and David (who were just photographed actually looking into each other's eyes), it somehow is completely acceptable for people to tweet/comment about Georgia and AL "making out," asking if Georgia "can fight," and so on.
That all being said, what's really interesting to me is what Anna and Georgia haven't posted, which is any sort of personal pictures. The pictures AL re-shared from Georgia are production stills (rather than a picture with David backstage, for instance), and she also did not post a picture of her and Michael, which she did do when they went to see David in Good in October of last year:
There has also noticeably not been a personal picture posted of Georgia and Anna, and even more notably, no picture of Michael and David from last night. For me this calls to mind the recent blurry photo that AL posted, and the fact that it appeared to have been a sneaked photo that was taken without Michael or David's knowledge (which would explain Michael looking so caught off-guard/alarmed and David not even looking in AL's direction).
Thinking about the warmth and adoration on Michael and David's faces in the theatre photo, it seems like last night was very much "their" night, and so I do wonder if Anna--much to her chagrin, no doubt--was strictly told not to take any photos for the sake of Michael and David's privacy.
Whatever the case may be, it is definitely tiring to see this predictable pattern of behavior from Georgia and AL. I think what folks are missing is that whether Michael and David are together romantically or not, they do not care what people think of their friendship/relationship, because it is for them, not for anyone else. But Georgia and Anna seem to want people to think that they are close, and have created this "flirtation" for the purpose of public consumption and furthering a narrative.
So yes, those are my thoughts on the new Insta stories from Georgia/AL. Glad as always to hear from my followers on what you all think of these latest developments. Thank you both for writing in! x
#taraiha#rainbowposes#reply post#michael sheen#welsh seduction machine#david tennant#soft scottish hipster gigolo#georgia tennant#again if this was a one time thing i wouldn't even say anything#but the fact that it keeps happening is...yeah#the patterns are patterning#she also keeps 'joking' about leaving Michael#and usually someone doesn't do that if they are happy in a relationship#but what's the old saying: when someone shows you who they are believe them the first time#TL;DR: Michael and David are pure cane sugar and Georgia/AL are aspartame#so much cringe#relationships#anna lundberg#discourse
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