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juniperskye · 6 months

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Without You

Sneak Peek: Aaron and you have been dating for over a year now…the thing is, the BAU team has no idea. When Aaron does something reckless that could cost him his life, will you expose the relationship you have worked so hard to keep under wraps?

Aaron Hotchner x BAU Fem Reader

Angst/Fluff

Word count: 2371

Warnings: One use of y/n, age gap, mentions of anxiety/anxiety attack, some language, canon typical violence, mentions of death, explosion, BAU case details (similar to those of s7e23), severe emotional pain, mentions of Haley’s death, mention of Jack, secret relationship, JJ is still the media liaison (it just fit better for the plot) if I missed any – let me know!

Not edited - please be kind.

I do not consent to having my work translated or reposted to any other site. That being said I do not own the characters portrayed in this story.

Aaron Hotchner had very quickly become your best friend. Your friendship had come so naturally, despite a pretty significant age gap. After two years of what could only be described as painfully obvious yearning from both parties, Aaron finally gained the courage to ask you to dinner. Even though it took two weeks before you could actually act on that invitation, the date had gone better than expected. Aaron had been a perfect gentleman; bringing you flowers, opening your door, holding your hand, paying for your meal, actually listening when you spoke.

That’s why it had been so easy to fall in love with him. Things with Aaron truly had been effortless, falling into a comfortable routine in which you would drive to his place after work, relieve the babysitter, get Jack started on homework while you got dinner going. Since meeting Jack, back before you’d even begun dating Aaron, you were one of his favorite people. You had spoiled Jack since you’d met the boy, he was just so sweet, and he’d reminded you of your nephews…it was easy to spend time with him. Aaron would come home to Jack helping set the table and you plating up the food. He’d wrap you up in an embrace and the three of you would sit and enjoy your meal while discussing how your days went (mostly Jack talking about school).

The one thing in your relationship that had not been effortless was keeping it a secret from your team. There had already been much speculation as to whether or not Aaron and you had feelings for one another amongst the agents. Dave was the one who pestered Aaron the most, constantly encouraging him to take a chance on love, that it wouldn’t always end like it had with Haley. In your case it had been Penelope, she and you had grown close over your time at the BAU, and she could see the tell-tale signs of a blossoming crush for your superior.

The two of you hadn’t initially planned to hide your relationship, but after many late-night conversations about it and a lengthy pros and cons list, you had determined, for the time being, keeping things quiet was the best option. That was nearly eleven months ago. You and Aaron had been together for about a year and a half, living together for four months…things had not been easy. You guys had to work hard to keep your feelings at bay on tough missions. There had been an instance of you getting stabbed by an unsub, thankfully the wound was superficial, and you were fine, but it had taken everything in Aaron not to run to you and take you into his arms. That was one of many hardships you had faced, but none of those would have prepared you for today.

A call had come in to the BAU at 9:53 am. The call rang to Aaron’s direct line, which meant it was a time sensitive case, usually a child abduction or in this case, a hostage situation. Aaron came out of his office swiftly, calling everyone’s attention without even speaking.

“There is a hostage situation at First Union bank. We’ve been called in by Virgina PD, who is already on the scene and SWAT is currently on their way as well. Everyone needs to gather their things and head to the garage” Aaron gave his orders, and everyone sprang into action.

As you all made your way to the government issued SUVs, Aaron continued briefing everyone and he gave out assignments.

“Alright Garcia and Reid, I want you two in the mobile command unit digging into our unsubs, we need to identify them. JJ, I need you to control the media with this, I don’t want any details getting out without my approval. Morgan and Prentiss go check in with SWAT and go over our plan. Y/N and Dave you will take point on the negotiations. Understood?” Aaron looked to everyone for confirmation.

There were collective nods, and everyone went to their separate posts to get started. You and Dave made your way over to one of the command center tents, discussing with the officers there that you would be in charge of the negotiations. They filled you in on what had happened thus far, and you worked to devise your initial approach. Dave and you had made contact with the unsubs, they were demanding a helicopter and one million dollars (a truly ridiculous request on their part). Approximately fifteen minutes later, Garcia and Reid rushed to where you, Dave and Aaron were standing.

“We have identified the unsubs! The two men are brothers, Michael and James Snyder. They are connected to at least eight other bank robberies around the northeastern United Staes. The woman, her name is Katiya Kuznetsov she is not connected to the robberies, but she is flagged under the FBI’s most wanted. She’s thought to be the mastermind behind dozens of explosions in North America from the last nine months.” Garcia explained. Aaron radioed to request the bomb squad.

“Why would she be working with these two? Robbing banks isn’t quite the same M.O. as blowing up buildings.” You questioned.

“We looked into it, and it seems that she may have connections to someone who owns a safety deposit box at this bank. We don’t know what is in it, but we were able to narrow down the list of potentials.” Reid answered.

“This changes things, we need to get in there and apprehend them. We need to get the civilians out. I think our best option would be for us to breach with SWAT and local PD.” Aaron explained.

“Hotch, that seems a little drastic don’t you think? If we just barge in there, who’s to say they don’t just start shooting the hostages. Dave and I were making progress and now that we know who they are, perhaps we can get them to break.” You could feel your anxiety eating away at you, the thought of Aaron barging in there terrified you.

“Sorry kid, but I’m with Aaron on this one. We were making some progress, but not enough and given this new information, I think it is safe to assume that there is probably a bomb in the bank somewhere, the sooner we get the hostages out, the better.” Rossi shut your idea down.

You could feel the bile rising up your throat. Your palms were starting to sweat and your pulse quickening. You knew what was about to happen, Aaron was going to give out assignments which meant he was diving headfirst into danger while he ensured your safety.

“Alright here’s what we will do, Morgan and I will go in the front, try to talk the unsubs down. Prentiss and Reid you will go through the back, with SWAT and the bomb squad try to locate the explosive and disable it. Garcia, I want you to keep eyes inside the bank the whole time, keep us posted of everything you see through comms. Dave and you can stay out here and monitor the phones, I want you to call in to distract them while we enter, I think it might buy us some leeway.” Aaron gave the assignments.

You gave Aaron a pointed look, one that expressed all of your nerves and anxiety. He looked back at you, it was stern as far as any onlooker could tell, but you could see the softness flash across his features. He was silently telling you that everything would be okay, and for a moment, you believed that it would be.

Time seemed to slow then. Everyone was moving, following orders hastily. But you, you were glued to your spot…Dave’s hand on your shoulder is what finally snapped you out of your thoughts.

“He’ll be okay kid.” Dave tried to soothe your nerves.

You called into the bank to try and steal the attention of the unsubs as Aaron had requested, all the while agents were moving through the bank. Suddenly Garcia’s voice rang over the comms.

“One of the unsubs slipped away. I’m assuming to get to the explosive. I am working to get the blueprints of the bank so we can figure out where it is set up.” Garcia rushed.

Gunshots echoed through the air, the comms were buzzing with shouts from Aaron, Morgan, Prentiss, Dave and some other voices you couldn’t pin down.

The fact that you could hear Aaron’s voice helped to calm your nerves as he clearly hadn’t been shot. His next words soothed your mind even more so.

“We have Michael and James in custody, Morgan is walking the hostages out now. I am going to go and assist the others in finding Katiya and the explosive.” Aaron called over the comms.

Dave could see you tense at Aaron’s words; he once again laid his hand on your shoulder in hopes to ease your mind. Morgan walked over to you and Dave after placing the unsubs in the police cars that were standing by.

What happened next brought your world crashing down.

The silence over the comms had been eerie. Everything paused and then it happened. The bank had exploded, right before your eyes. You had been far enough away that the blast hadn’t knocked you over, but it still left your ears ringing.

Had Morgan and Dave’s ears not already been ringing they definitely would have been after the scream that ripped through your body.

“NOO!!!!!” You screamed.

You couldn’t form a coherent thought; you sobbed and lurched your body forward in hopes of going to find Aaron. Before you could make it three steps, Morgan had his arms around your waist holding you back. He turned you around and held you while you pounded your fists against his chest.

“Sweetheart you can’t go in there. I know we have people in there and waiting for them to get out is going to feel like an eternity. But until we get any sort of confirmation, we need to try and stay positive.” Morgan explained.

Garcia and JJ joined you, Dave and Morgan, tears streaming down their faces, all of them silently hoping your team family would make it out unscathed.

You could feel it coming on, the more time had passed. Your breaths were shallow, body clammy, your vision was going blurry, you were having a hard time keeping yourself upright. Dave was the one to notice and lead you away from the group, he held your hands and was saying something about you needing to match his breathing.

“Dave I…I c-can’t. W-what if he doesn’t make it out? I w-would d-die without him Dave!” You hiccupped.

“He’s going to make it out. But remember that you are strong and no matter what happens you will make it through this.” Dave reminds you.

“No! Dave, you don’t understand without Aaron, sure, the rain would fall, the children would play, the tides would change but I-I would die.” You looked away from Dave momentarily “I die without you.” You whispered.

You saw heads start turning in the direction of the alleyway that was adjacent to what was once the bank, as you followed suit, the bile returned – easing its way up your throat. A body bag, with no other signs of Aaron. Your mind jumped to the worst-case scenario and your legs finally gave out. Dave tried to catch you as you fell to the ground, another gut-wrenching sob ripping its way through you.

You didn’t register the loss of Dave’s arms around your shoulders, not until he moved to pull you up off the ground and turn you in the direction of the group of agents making their way towards you. You tried to protest, telling Dave that nothing mattered anymore, until he physically turned your chin towards them.

“Aaron?” It came out as an exhale, below a whisper.

“Aaron?” This time was a bit louder, gaining your voice back.

“Aaron!” A shout this time as you could see his eyes scanning the crowd for you.

His gaze snapped to you as you ran towards him, looking him over to ensure that he is unharmed before you launch yourself into his arms. He lifted you fully and allowed you to wrap your legs around his waist, he could feel your tears soaking the collar of his shirt. He gently shushed you assuring you that he was okay and that everyone was safe.

“T-the b-body bag, I-I thought it. I thought it was you, Aaron.”

“It was Katiya, she was trying to detonate it when we found her, we had just enough time to get to some sort of vault, but when it went off, the debris trapped us in. Honey, I am so sorry I scared you. I’m alright though, not even a scratch.” Aaron brushed his hand over the back of your head as you brought your feet back to the ground.

He looked into your eyes, he could tell that your brain was trying to process everything, all the emotions you had just been feeling, along with the relief you must be feeling now. He couldn’t help himself when he leaned in and kissed you. It was a kiss that said I was terrified of losing you but we’re safe and here together now. As he pulled away, you rested your foreheads against one another’s.

You knew that there would be tons of questions from the team but honestly in this moment you couldn’t care less because Aaron was safe and back in your arms. This moment that you were sharing allowed a few things to become clear for you and Aaron. You knew that he was the one for you, nobody else, and you were sure you wouldn’t survive losing him. He came to realize that it was time for him to pull that ring from the back of his sock drawer and finally ask you for forever, he thought that maybe it was time for him to step back and take that promotion Strauss had continuously offered. All he knew was that he couldn’t risk what you two had. Without you…he couldn’t even finish the thought because that wasn’t even an option.

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perpetual-stories · 1 year

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Six Ways To End Your Story

Hi, everyone! Someone kindly asked for advice on how to end a story so here it is for everyone!

Six Types of Story Endings

While every story has to end its own way, there are six general types of ending. Which one you go for will depend, of course, on the story you’re telling, and maybe also on the tropes or conventions of the genre you’re working within (if you’re working within a genre at all).

The six types of story endings include:

Resolved ending

Unresolved ending

Expanded ending

Unexpected ending

Ambiguous ending

Tied ending

What Is a Resolved Ending?

A resolved ending leaves the reader with no lingering questions or loose ends A resolved ending is part of most classic fairy tales (“And they all lived happily ever after…”), but also of countless classic novels.

Consider the ending of Jane Austen’s Pride and Prejudice, a classic of literary fiction and the inspiration for countless romance novels. At the end of the book, Elizabeth Bennet and Mr. Darcy marry, and we’re led to believe that their marriage will be long and happy. Not only that, but the rest of Mr. Bennet’s marriageable daughters have settled down in matches appropriate to their characters. In other words, there are no lingering questions or tensions.

Remember, a resolved ending isn’t necessarily a happy ending. Think of any of Shakespeare’s tragedies, in which the protagonist and most of the other major characters usually wind up stabbed, poisoned, or executed.

What matters most in a resolved ending is that all of the threads of the novel have been clearly and satisfying resolved.

What Is an Unresolved Ending?

Sometimes, the end is not really the end. That’s the case with an unresolved ending. This is the kind of ending that leaves the reader with more questions than answers. Ending on a cliffhanger has the potential to be a frustrating experience, but that frustration can also be satisfying if the story calls for it.

Unresolved endings are popular choices for books in a series, because it leads the reader to the next book.

What Is an Expanded Ending?

An expanded ending often takes the form of an epilogue. As the name implies, it expands the world of the story beyond the events of the narrative itself. That usually involves a jump forward in time, and occasionally a change in perspective as well. (Dostoevsky’s classic Crime and Punishment ends on just such a note, as does Tolstoy’s War and Peace.) Like an unexpected ending, an expanded ending may reframe the way the reader has been thinking about the story.

One advantage of an epilogue is that it allows the writer to answer questions that might not be possible to answer in the space of the main narrative (for instance, how things turned out a decade or more after the main events of the story).

What Is an Unexpected Ending?

An unexpected ending is one the reader likely didn’t see coming. The twist ending can be earth-shattering, or clever and subtle. The trick to pulling off a great surprise is that it should seem inevitable in hindsight. Very few readers are likely to be on board for an ending that seems to truly come from nowhere, but if the ending makes sense they’re more likely to appreciate the subtle machinations and plot twists it took to get there.

A good ending avoids deus ex machina, a Latin expression meaning “god from a machine.” In the context of fiction, a deus ex machina is a heavy-handed device that abruptly and definitively resolves all the story’s problems in a way that doesn’t feel natural to the story.

For instance, a previously unknown rich uncle appearing from nowhere to give the poor striving protagonist a vast fortune may certainly be a surprise, but it’s not likely to satisfy your readers. Remember, a good twist is one that the writer has left clues for all along.

What Is an Ambiguous Ending?

An ambiguous ending is one that’s open to interpretation. While an unresolved ending doesn’t give the reader enough information to say what’s going to happen next, and an ambiguous ending might allow two different readers to come to two completely different conclusions. Of all the endings, the ambiguous one demands the most involvement from the reader, since they are actively invited to think about the significance of events for themselves.

Take a quick look at the ending to Charles Dickens’ classic Great Expectations. In the last lines of the novel, the main character Pip takes the hand of the widow Estrella and says he sees “no shadow of another parting from her.” But is Pip’s vision reliable? Do they stay together or is another parting in the future? The novel leaves the reader with both tantalizing possibilities.

What Is a Tied Ending?

A tied ending is on that brings the story full circle—it ends where it begins. This type of ending follows the classic Hero’s Journey, which is common to many myths and folktales from around the world, but it’s also a popular choice for many works of literary fiction trying to capture the cyclical nature of time. James Joyce’s famously beguiling Finnegan’s Wake even ends on a sentence fragment that literally completes the very first sentence of the novel.

As a writer, you’ll need to make sure that the journey to this point felt worthwhile. Ending up right where you started can feel pointless if the journey there and back wasn’t meaningful.

There you have it folks, and kind ask, I hope this helps anyone who is struggling with their story endings!

Follow, reblog and comment if you find these helpful!

#writing #writing advice #writing tips #original writing #writers on tumblr #writersconnection #writerscommunity #short story #storytelling #writersupportingwriters

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raven-at-the-writing-desk · 9 days

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Related to the previous ask, it kind of makes me think of my semi-headcanon. In the source material of the Disney movies, some of the villains aren't really evil (Hades is the most decent Greek god, the sorcerer and the advisor from Aladdin are two different people, etc). What if in TWST, the stories are similar to that?

[Referencing this post!]

TWST has certainly teased or suggested the idea of real happenings being manipulated or changed depending on who tells it + the passage of time. It also happens in the real world, both with historical events, anecdotes, and pieces of fiction (fairy tales, fables, etc.). This probably is what results in the juxtaposition between Yuu's understanding of the Great Seven in their dreams versus how the Great Seven are depicted and revered in Twisted Wonderland.

Right now, it's still unclear as to whether Yuu's perspective or the perspectives of those in their new world is the "true" version. One could be right, both could be right, or neither could be right. I like all of these possibilities!!

It's entirely possible that multiple people and their achievements were merged over time into a single entity credited with all of their achievements. It's also possible that the Great Seven of Twisted Wonderland are actually nothing like the classically evil villains we know of in the original Disney films. The films themselves aren't even "accurate" themselves, as they often pull from fairy tales with many different variations, some of which are quite dark. Disney made their own interpretation, and then TWST made its own interpretation of that interpretation.

That doesn't mean the Great Seven are necessarily infallible heroes (much as the characters and their textbooks often extol them and their accomplishments). I feel like a more realistic real-world parallel would be historical figures that are often painted in a good light due to all the stories circulated about them. Think of like how your own textbooks and how prominent people get praised and credited for various discoveries and inventions!! But as people who have actually existed in their world, surely there must also be instances of the G7’s flaws, failures, or even personal lives beyond their achievements, and it's odd that we so rarely hear about these (particularly the negatives).

There's still a great number of mysteries we have to unravel about the nature of all the Disney lore in our world versus the twisted world!! Lots of wiggle room ripe for speculation ✨

#twst #twisted wonderland #disney twisted wonderland #disney twst #notes from the writing raven #question #Yuu

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onceuponatown · 4 months

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The history of Christmas traditions kept evolving throughout the 19th century, when most of the familiar components of the modern Christmas including St. Nicholas, Santa Claus, and Christmas trees, became popular. The changes in how Christmas was celebrated were so profound that it's safe to say someone alive in 1800 would not even recognize the Christmas celebrations held in 1900.

Washington Irving and St. Nicholas

Early Dutch settlers of New York considered St. Nicholas to be their patron saint and practiced a yearly ritual of hanging stockings to receive presents on St. Nicholas Eve, in early December. Washington Irving, in his fanciful History of New York, mentioned that St. Nicholas had a wagon he could ride “over the tops of trees” when he brought “his yearly presents to children.”

The Dutch word “Sinterklaas” for St. Nicholas evolved into the English “Santa Claus,” thanks in part to a New York City printer, William Gilley, who published an anonymous poem referring to “Santeclaus” in a children’s book in 1821. The poem was also the first mention of a character based on St. Nicholas having a sleigh, in this case, pulled by a single reindeer.

Clement Clarke Moore and The Night Before Christmas

Perhaps the best-known poem in the English language is “A Visit from St. Nicholas,” or as it’s often called, “The Night Before Christmas.” Its author, Clement Clarke Moore, a professor who owned an estate on the west side of Manhattan, would have been quite familiar with the St. Nicholas traditions followed in early 19th century New York. The poem was first published, anonymously, in a newspaper in Troy, New York, on December 23, 1823.

Reading the poem today, one might assume that Moore simply portrayed the common traditions. Yet he actually did something quite radical by changing some of the traditions while also describing features that were entirely new.

For instance, the St. Nicholas gift giving would have taken place on December 5, the eve of St. Nicholas Day. Moore moved the events he describes to Christmas Eve. He also came up with the concept of “St. Nick” having eight reindeer, each of them with a distinctive name.

Charles Dickens and A Christmas Carol

The other great work of Christmas literature from the 19th century is A Christmas Carol by Charles Dickens. In writing the tale of Ebenezer Scrooge, Dickens wanted to comment on greed in Victorian Britain. He also made Christmas a more prominent holiday and permanently associated himself with Christmas celebrations.

Dickens was inspired to write his classic story after speaking to working people in the industrial city of Manchester, England, in early October 1843. He wrote A Christmas Carol quickly, and when it appeared in bookstores the week before Christmas 1843 it began to sell very well.

The book crossed the Atlantic and began to sell in America in time for Christmas 1844, and became extremely popular. When Dickens made his second trip to America in 1867 crowds clamored to hear him read from A Christmas Carol. His tale of Scrooge and the true meaning of Christmas had become an American favorite. The story has never been out of print, and Scrooge is one of the best-known characters in literature.

Santa Claus Drawn by Thomas Nast

The famed American cartoonist Thomas Nast is generally credited as having invented the modern depiction of Santa Claus. Nast, who had worked as a magazine illustrator and created campaign posters for Abraham Lincoln in 1860, was hired by Harper’s Weekly in 1862. For the Christmas season, he was assigned to draw the magazine’s cover, and legend has it that Lincoln himself requested a depiction of Santa Claus visiting Union troops.

The resulting cover, from Harper’s Weekly dated January 3, 1863, was a hit. It shows Santa Claus on his sleigh, which has arrived at a U.S. Army camp festooned with a “Welcome Santa Claus” sign.

Santa’s suit features the stars and stripes of the American flag, and he’s distributing Christmas packages to the soldiers. One soldier is holding up a new pair of socks, which might be a boring present today, but would have been a highly prized item in the Army of the Potomac.

Beneath Nast's illustration was the caption, “Santa Claus In Camp.” Appearing not long after the carnage at Antietam and Fredericksburg, the magazine cover is an apparent attempt to boost morale in a dark time.

The Santa Claus illustrations proved so popular that Thomas Nast kept drawing them every year for decades. He is also credited with creating the notion that Santa lived at the North Pole and kept a workshop manned by elves. The figure of Santa Claus endured, with the version drawn by Nast becoming the accepted standard version of the character. By the early 20th century the Nast-inspired version of Santa became a very common figure in advertising.

Prince Albert and Queen Victoria Made Christmas Trees Fashionable

The tradition of the Christmas tree came from Germany, and there are accounts of early 19th century Christmas trees in America, but the custom wasn’t widespread outside German communities.

The Christmas tree first gained popularity in British and American society thanks to the husband of Queen Victoria, the German-born Prince Albert. He installed a decorated Christmas tree at Windsor Castle in 1841, and woodcut illustrations of the Royal Family’s tree appeared in London magazines in 1848. Those illustrations, published in America a year later, created the fashionable impression of the Christmas tree in upper-class homes.

By the late 1850s reports of Christmas trees were appearing in American newspapers. And in the years following the Civil War ordinary American households celebrated the season by decorating a Christmas tree.

The first electric Christmas tree lights appeared in the 1880s, thanks to an associate of Thomas Edison, but were too costly for most households. Most people in the 1800s lit their Christmas trees with small candles.

The First White House Christmas Tree

The first Christmas tree in the White House was displayed in 1889, during the presidency of Benjamin Harrison. The Harrison family, including his young grandchildren, decorated the tree with toy soldiers and glass ornaments for their small family gathering.

There are some reports of president Franklin Pierce displaying a Christmas tree in the early 1850s. But the stories of a Pierce tree are vague and there doesn't seem to be contemporaneous mentions in newspapers of the time.

Benjamin Harrison's Christmas cheer was closely documented in newspaper accounts. An article on the front page of the New York Times on Christmas Day 1889 detailed the lavish presents he was going to give his grandchildren. And though Harrison was generally regarded as a fairly serious person, he vigorously embraced the Christmas spirit.

Not all subsequent presidents continued the tradition of having a Christmas tree in the White House. By the middle of the 20th century, White House Christmas trees became established. And over the years it has evolved into an elaborate and very public production.

The first National Christmas Tree was placed on The Ellipse, an area just south of the White House, in 1923, and the lighting of it was presided over by President Calvin Coolidge. The lighting of the National Christmas Tree has become quite a large annual event, typically presided over by the current president and members of the First Family.

Yes, Virginia, There Is a Santa Claus

In 1897 an eight-year-old girl in New York City wrote to a newspaper, the New York Sun, asking if her friends, who doubted the existence of Santa Claus, were right. An editor at the newspaper, Francis Pharcellus Church, responded by publishing, on September 21, 1897, an unsigned editorial. The response to the little girl has become the most famous newspaper editorial ever printed.

The second paragraph is often quoted:

"Yes, VIRGINIA, there is a Santa Claus. He exists as certainly as love and generosity and devotion exist, and you know that they abound and give to your life its highest beauty and joy. Alas! how dreary would be the world if there were no Santa Claus. It would be as dreary as if there were no VIRGINIAS."

Church’s eloquent editorial asserting the existence of Santa Claus seemed a fitting conclusion to a century that began with modest observances of St. Nicholas and ended with the foundations of the modern Christmas season firmly intact.

By the end of the 19th century, the essential components of a modern Christmas, from Santa to the story of Scrooge to strings of electric lights were firmly established in America.

Source

#christmas #christmas tree #christmas traditions #victorian christmas #victorians

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taakosleftshoe · 9 months

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Nanofather Lore insanepost

Alright. We've seen my murderboard. It's incomprehensible. But for those who haven't, here it is:

It includes... a lot of everything. I couldn't begin to describe the journey I went on putting this together. Without further ado:

The Nanofather, also known as "The Weaver," "Creaky Man," and sometimes "Geltfrimpen" or briefly as "wily weaver," "dirty jeremy," "muck dweller," and "crusty man," is a recurring ominous character which appears most frequently in the opening segments of The Adventure Zone: Steeplechase. He says a lot of weird shit. And after 33 episodes, I believe I have a pretty good understanding of this shit. Take a walk with me, through this 8-part dive into what the Nanofather's deal is.

I will warn you, this is... insanely long. Turn back now.

1. The Foretelling [moments leading up to the weaver]

Back in episode 18 of Ethersea, Justin mentioned how he's the last of them who has yet to DM. Then, later in the episode, Griffin loses his train of thought and Justin prompts him with "Spin the... spin the yarn" and the riffing leads Clint to say, "weave," and Justin says, "step up to the loom... let the weaving begin at the loom."

In the next episode, as the intro song fades out, Justin interjects in a high falsetto song, singing "Weave another tapestry! McElroy Family and me," and the bit goes on for a minute or so. Later, in Ethersea 24, when trying to convince Griffin to reconsider what happened in the narrative, Justin asks him to "Check your loom, weaver!"

When Justin finally makes his Steeplechase debut, he initially struggles with starting the story. So, Griffin jumps in with,

Griffin: "Can I do what you usually do to me?" Justin: "Please." Griffin: "And be like [singing dramatically] 'The yarn-spinner takes the loom in his hands and weaves a magical tale. Take the wizard by his hands as he flies you around on his rug made of wings and a angel’s hair.'"

Every subsequent episode has the same opening. The recurrence of these instances have culminated in the persona of "The Weaver."

2. The Stew [in which the nanofather discusses various culinary topics]

The Nanofather routinely brings up the food of his world, in some way. This starts as early as episode 3, in which he says, "Perhaps a few more moments before the stew is prepared."

Other segments include advice about nano-nutmeg [12], clarifications about cilantro (called corriander in the UK)[29], and directing the addressee to search for pepperoni and green pepper in "the pyre" [19].

The other three instances of mentions of food directly address Shookles the cat. First, "Shoockles, your master calls. Where's the scum canteen? Fetch it from the shoof... my thirst is unslakable" [7]. Then, in the very next episode, says, "Please... the pollen broth. My throat became so dry... Fetch me the pollen broth, Shoockles" [8]. And most recently, he speaks rather dramatically, saying, "I believe I went… as far as I could… I don’t know if… it was far enough… I’m terrified to push it further… I believe this is the limit… Yes… no, that’s true… It’s true… The greater danger is hesitation, yes… I will add one more half-teaspoon of cumin, Shookles. Thank you, Shookles, I… should listen to your culinary acumen more" [22]. This is assumedly in reference to something he is cooking, perhaps the stew mentioned in episode 3. Perhaps all of these ingredients are being used in the stew.

Either way, these interactions tell us that the Nanofather has an interest in cooking, and that Shookles acts as an assistant to him.

3. Direct Interactions [in-character conversations]

There are several instances where the Nanofather speaks with our player characters, or appears within their world.

This first happens in episode 20, when the crew enters the lair of Geltfrimpen and hears a voice familiar to the players coming from the dragon. He says, "Excuse me for this, but I have to keep up appearances." He continues to speak with the boys throughout the scene as they fight the animatronic. He says, "I’m having trouble staying here," and within the scene, Justin describes that, "The sound seems to be coming from like... the entirety of Geltfrimpen. It’s emanating from him, not localized to any one point in the dragon’s body." Beef asks the Weaver if he could come out of the dragon, to which he responds, "Would that I could." When Montrose begins refering to him as Geltfrimpen, he says, "I am not Geltfrimpen. I am here. But I am not Geltfrimpen." Emerich asks for his name, which is met with "Would that I know," but because Beef had called him creaky man earlier, the voice says "Creaky Man will suffice for now, I suppose. A good amount of christening."

He goes on to explain his situation at their behest:

"I will do my best to tell you what I know. It takes quite a bit for me to be as here as I am. But I will try. Part of me is in Geltfrimpen. But I am many places throughout the world. Part of me is here. Part of me is imprisoned here, I think. And through this act, I am no longer... trapped here, this part of me. I’m able to be more concentrated, if that—if that is the correct word, else... elsewhere... I will not be here long, and then I will vacate Geltfrimpen for good. And I will be a little bit more myself, elsewhere."

The implications within this one paragraph are that he does not have much of a physical form, and is potentially some sort of spirit, but he can manifest part of himself at will in some places. Montrose asks if he has a home base, but he says, "I’m... scattered. More accurately, I think... shattered."

He follows with even more interesting information,

"I’ve seen you elsewhere, I was... in one of the vans, as you made the thrilling escape. I was there. I called out, but it was so loud. I have watched you from the porch of Ustaben. In the... the whittling I sat, a rocking chair... I couldn’t summon up enough voice to reach you, but I called out. I called out to anyone who would listen, honestly. But you three are the first who seem to... be looking hard enough to hear."

There have been two heists with van escapes. The first is in episode 3, when Gravel pulled up in a stolen truck/van (it is important to note that they use them interchangably). The four of them were the only ones in the vehicle. However, this escape was not very thrilling, so we are going to refer to the Gutter City heist.

Sticky Finger(s) Paul Pantry asks the three of them to steal a truck called the Clean, and notes that it is made of Hardlight. When the time comes, Emerich has attuned with the hardlight Short Doug and drives in one of the trucks with him [9].

The second thing the Nanofather mentions is an obvious reference to the Ustaben attraction, Whittle Around. In the setup episode, Whittle Around is established as having a porch where "grandpa" sits and whittles wood-- grandpa, of course, being a hardlight construct who was initially Eustace but has since been replaced [0].

The combiantion of these two implies that the Nanofather exists for moments within, or as, these constructs. His spirit seems to be able to travel between them-- to what extent this is under his control remains questionable. Perhaps he is living within the park itself, haunting it. This is given further support at the end of episode 27, when an arcade machine in the back of Poppy's Place crackles with static and we hear the Nanofather say, "act... quickly." Emerich however is unable to make further contact, and this is the last time he seems to interact with them. Montrose says that they "have a ghost in the machine"[28].

4. The World He Inhabits [what we know about the environment, the character, and allusions to mechanisms of communication]

In his first appearance, the Nanofather says to the audience (which may be moreso to the players/player characters? uncertain), "welcome travelers," establishing that we are not from the same place he is.

The world he lives in is fleshed out through each episode. Highlights include "quite a long day tending to the muck fields" [5], "I've missed the meeting with the rust council"[13], and the afformentioned scum canteen. He also says, in episode 6, "I have a new tale for you. Of a muck-dweller turned hero to his- to his people… I seem to have lost it in the last rust storm." This sets him in a sort of wasteland. He also says, or rather, sings, "I'm a neutron guy, you're my nega-girl, I'll sweep you through the ash waste as we make our way through the,"[10] before he cuts himself off.

It seems to be a world where things are rough-- he says, "to make it 37 years is quite a blessing"[13]. That implies his age is 37, or that he has survived 37 years in the conditions that he is in. Additionally, he says, "you will find it in the pyre"[19], a pyre being defined as "a combustible heap for burning a dead body as a funeral rite," implying that they either have to make their own fires or 'bury' their dead.

Notably, there seems to be a recurring theme surrounding weather and time.

"It's gotten so quiet, lately... in the nights... and in the mornings... and the cyber night, the time between the night and the mornings..."[14] "It seems the storms have come early this evening"[4] "The last rust storm"[6]

This implies that time is somewhat technologically controlled, and weather is on a cycle. The building of Steeplechase, or what we are to assume is, is like holographically augmented[31], and so are the inside skies of the park. It is plausible to say the environment wherever the Nanofather is could also be simulated.

5. Wall Breaks [speaking to the players]

These indicate communication from the nanofather directly to the players. They imply to us more about the world, but more importantly, the means of communication and lore surrounding it.

In episode 9, we open the episode hearing a different voice. They say, "Hello? …Hello, spirits?" and begin to knock. "Nanofather says the spirits can hear you through the wall. Spirits… are you there?" But they are interupted by a familiar voice-- "Kavecca!," the nanofather says. "Just another of his stories, I suppose," Kavecca amends. "Kavecca, away from that! You dabble with powers you do not understand!" This raises a lot of questions from the players, about who Kavecca is, why there is another person speaking to them, and what the fuck the 'nanofather' means. What interests me is the referral to their audience as "spirits"-- and what implications does that have? Are they between the world the players inhabit and Steeplechase? Are the players spirits? Also factoring in Blades in the Dark, which has ghosts in it, which have been altered into hardlight for Steeplechase-- maybe the hardlight kept some of that original intent. Maybe that's how the nanofather is able to inhabit hardlight.

In the following episode, we find the nanofather singing a song. What follows is pretty strange.

ohh… I’m a neutron guy… and you’re my nega-girl… I’ll sweep you through the ash waste as we make our way through the…. [click] …do you hear me, Travis? Travis: What? I’m sorry… I didn’t realize I’d left the horn on. Travis: Are you speaking, are you- talking to me? Fare thee well. [10]

First, in "I didn't realize I'd left the horn on," a horn is primarily UK slang for telephone. That could be interpretted here as a literal telephone or whatever line of communication they seem to share. Next-- he directly addresses Travis. This is the first conversation the players have with this character, and so far the only. But it isn't the only time he addresses them:

Clinton? Travis? Gribby? My three… my three favourite micro-nephews. Here to visit me. What a wonderful treat this is… Come. Let me see if I can’t find you a new tale… Griffin: Gribby! Gribby can only say his own name. Justin: Oh? Griffin: Yeah, that’s sort of his thing. Justin: Do you… how do you… I’m surprised you have insight into these three new characters… already. Travis: I’m trying harder and harder to just pretend like we are not on the call when he records that part. Griffin: It’s the only way to not be... ensorcelled by the tapestry he weaves. Clint: Not me. Not me. Did you say Clinton? Clinton… Travis: It sounded like Clinton. Clint: I wonder who that is. Justin: Clinton, Travis and Gribby are apparently, I’ve just found this out with you guys, is— did he say— Griffin: The micro nephews. [15]

This is interesting because Travis is the only one whose name is not altered, and he was specifically addressed before. What we also glean from this is that the nanofather views them as micronephews, so he has an alleged relation to them. Previously, he has called them children but it wasn't apparent until now that he was addressing them specifically.

In the intro with Kavecca, it is important to note that they are the first person to call the weaver "the nanofather." We know from his time as Geltfrimpen that the nanofather has no proper name. Nanofather is more likely to be a title, or rather, a signifier of Kavecca's relationship to him, such as being his child or grandchild. This would put Kavecca on the same family tree as Clinton, Travis, and Gribby, if they really are his "micronephews."

6. Descent Into Weirdness [tonally different moments and their implications]

Everything The Nanofather says is weird, but these are the moments that absolutely baffle me, or upon which he is commenting on the story somehow.

The first time he seems to comment on the events of Steeplechase is in Episode 16, in response to a plot twist at the end of the previous episode (in which the Barrister arrived to kick Emerich's ass but they got him stuck in a machine). He says, "Oh, that’s not right… [rustling paper] …Oh, but this doesn’t make any sense, it was… The story wasn’t like this …. Or… I-Is it changing?" He then follows this in the next episode by... just... breathe-whistling menacingly? Note that this episode takes place when they are travelling between layers, on the start of their Ephemera quest.

Episode 18 starts with, "Oh… Oh, they haven’t… even begun to fathom it… But you…. You swore, we both swore? You know they’re not ready!" I wonder who the "you"/"we" is in this. Is it us as the audience, the players, or perhaps Kavecca? Eighteen is the beginning of the time they spend in Ephemera, and at the beginning of the episode Krystal has an encounter with someone in the Gallspire. This adds on to the commentary in 16 and implies that there is something bigger at play...

Episode 20 presents us with a poem of sorts:

Ever faster, ever closer, ever never slowing down… Ever nearer, ever clearer, ever nipping at the gown... Ever spinning, ever grinning, ever hearing what they please. Ever growing, ever knowing, that they are the disease…

There is no direct indication of what this is talking about, but I think it's about Dentonic. They never slow down, they don't know when to stop dreaming! They will warp whatever they must to fit their narrative and they don't care what the casualties are.

When the Weaver makes his entrance into the world of Steeplechase, at the end of 20 and speaking through Geltfrimpen, these occurences get more frequent:

"Oh, I… I’m mostly… mostly… with them now… [chuckles] ah… ah… smaller than I… assumed…" [21] "Mostly… echoes… yet to be… I’m sorry, I know that doesn’t… answer your question…" [23] "Yes… yes, I was surprised too, Shookles. What? Oh… Oh, they didn’t hear…"[25]

25 ends with Gravel being arrested for Sticky Finger Paul Pantry's murder. 26 opens with, "…yes, but I’d assumed it was… consigned to legend! I never would’ve expected- i guess… my understanding is not… what I’d thought it was. Terrifying, in a way, but also… quite wonderful." I can't even begin to parse what he's talking about.

Then of course, there is 27: "No, no, not to the boat... Only one... one node per layer... I tried to maintain hopping... but it’s too taxing... too many...noises..." What fucking boat? And he tries to hop between layers- maybe the nodes are in the things he is inhabiting. Geltfrimpen, the arcade box, hard doug, eustace... The arcade machine and Geltfrimpen aren't made of hardlight, and these are the methods through which he has actually been able to speak (he could only see through hardlight)... maybe these are the "nodes?" I wonder what the noises refer to.

When things start looking down for the crew as they try to piece together what the fuck is happening, The Nanofather opens episode 28 with, "I’m not sure yet… I’m hopeful… Ah, Shookles… optimistic…or perhaps… perhaps optimism is just the last refuge of those… with nothing left to lose..." The Nanofather is referring to himself in this line, and the fact that he considers himself to have "nothing left to lose" implies that he has a strong connection to the events in Steeplechase, particularly to the crew-- which makes sense given their previous interactions. But what is at stake for him is unclear.

In episode 30 he says, "The thought had crossed my mind… But it can’t be long now…" I must say this is particularly ominous because I have no idea what the "thought" is or what he is waiting for. His salvation?

Finally, we have episode 31. His last appearance.

"It feels… like something… has frayed…"

In this episode, Kenchal Denton speaks to the crew a lot about cutting loose ends. And then he drops them out of a hovercraft into a desert that seems to be entirely disconnected from the electrical grid Steeplechase is on. And we don't hear from The Nanofather again.

7. Ties to Clint McElroy. [the ways in which this comes back to him.]

[post-discussion following the moment in episode 10 when the nanofather asks, "do you hear me Travis?"] Travis: Is that guy my real dad? Justin: You wish Griffin: Legally, you have to tell Travis, if the muckdweller is his real dad Justin: Not the muck dweller. The nanofather. Please- Travis: Oh, it's right there in the name! I should have seen it a mile away it's so obvious now!

Now, this may be a stretch. And it started out to me as a joke, but guys. The further I get the further I am convinced. The Nanofather is connected to, if not is, Clint McElroy the Planeswalking Janitor.

Evidence A: He calls them "children" when he goes to tell them stories. Counterpoint: Clint can't be his own son. Counter-counterpoint: Clint's full name, according to Griffin on an episode of Wonderful, is Clinton Emil McElroy Jr. Meaning, he has a father named Clint.

Evidence B: When the Nanofather refers to Travis, Clinton, and Gribby, Justin later describes them as "these new characters," in the same way he insists that Clint McElroy his father and Clint McElroy the Planeswalking Janitor are separate things [Spiritbreakers Live in San Jose].

Evidence C: The Nanofather hops between layers, in a similar way to how Clint hops between planes. And the Nanofather seems to be fractured, scattered, not his whole self. He is powerful but weak. He is able to speak to players, characters, and potentially the audience? It transcends the boundaries between the two worlds...

Evidence D: Justin is a big fan of the TAZiverse. He has shown this multiple times but the ones I remember most are of course, when he introduces "Taako from Television" in Ephemera (and other Balance things, implies it was a legend passed down, etc), and when Griffin introduced that he would be playing Indrid in Dust 2. Like of fuckin course he'd be excited to bring things together more in small ways.

Evidence E: There has been increased Clint McElroy the Planeswalking Janitor activity, the most since before Ethersea. In April, Justin played the character Clint McElroy the Planeswalking Janitor in a liveshow in San Jose (I was there hi!!!), which had initially been planned for November but was rescheduled. Both of these, though, fall under the time in which Steeplechase was active, so he was thinking about this character during that time. Additionally, the merch of the month for August is a sticker of Planeswalking Janitor Clint McElroy. And he was mentioned in Steeplechase Episode 26, when there was debate over whether something was said by Emerich or his player.

Travis: I think that was Dad. Justin: Oh. Well, I mean... yeah, I guess dad could be in it too, Trav. Is that what you’re saying? Travis: No, I’m just saying, I think Dad was making the observation— Clint: Oh my God! Is this an appearance by Clint McElroy, the planes-walking janitor? Griffin: No, no, no, no, no, no, no. Clint: Okay— Travis: No, no, not yet. Justin: No, we can’t, we can’t. Travis: Don’t force it, don’t force it.

Evidence F: I didn't expect to find this one. Honestly I think it shows that I have gone too far as a person. But... guys this one drives me crazy. So. We meet Shoockles in Episode 4, when The Nanofather introduces him as "Cat bart... he's my cat. Bart Shoockles." And guys I was like haha that's funny there is no way this is related... But then I was on Clint's Instagram trying to figure out if maybe he had a cat, since I know Justin has one. And I came across a photo he took of a white dog, which I wasn't sure was his until I got confirmation from an old post on one of the boys' Instagrams. But... in the caption of the post with his dog, he calls him Homer. Clint McElroy has a dog named Homer. Let me just, direct you to the Simpsons family tree:

Finally, Evidence G: Justin would go really far for a bit. He likes to have fun and get silly with his family and he knows Clint would get a huge laugh out of this. And he would also do anything to get a good age joke on his dad.

8. Conclusion [how it all comes together]

The moment you've been waiting for. What does it all mean?

The Nanofather seems to play no real importance to the main plot in Steeplechase at this point, but he has huge potential to. More importantly, looking at the Nanofather gives us some insight into the state of the park and where the player characters find themselves. He works as both a narrative framing device and as a part of the story. He talks to the players, the characters, and the audience, truly bringing a special flavor to Steeplechase.

With everything we've seen and heard, there is sufficient evidence to say that the Nanofather lives within the walls of the park, travelling using its energy grid. He has only been able to manifest to the characters through the electronics and hardlight creations. When they arrived in Kidadelphia in episode 32, it was apparent they were not connected to the same electrical grid, and there was no hardlight. The fact that he was completely silent in both 32 and 33 supports this theory, because there would be no way for him to communicate with them. Either that or they were too late and he died.

He has found himself in a wasteland, with weather and times that are controlled electronically. He is scattered, does not have a name-- a shell of who he once was. If the Carmine Denton Nanofather theory were correct, this would be a beautiful picture: the guy who created a way for others to escape is trapped in the destruction that his creation wrought... Regardless, I am concerned for his wellbeing since it seemed like he was in a hurry.

The interactions between the Nanofather and the heist crew imply that there could be a larger plot with him, but I don't know how close that is to happening. The Nanofather is one complicated guy, and if they want to save him I... guess they'll have to never know when to stop dreaming.

Thank you for coming along with me on this long and gruesome ride. I started this way back after episode 30 aired, I think. It's been simmering for a month, my own personal stew of sorts... For those of you who have helped contribute to my madness, thank you, and to those who have watched in horror, I'm sorry. It's been a real one.

And now, to send you off, I present to you this excerpt from Episode 10:

Justin: Our friend and employee Jupiter is kind enough to help pull together recaps of this dumb stuff, but Jupiter, showing a lot of wisdom here, does not track the story of the nanofather […] Travis: I think they realize it's been so clear cut at this point that any child could keep track of all the nanofather/muckdweller lore.

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funnier-as-a-system · 30 days

Note

ik u have a big ask load still but wanted to point out: a lot of singlets have unhealthy relationships with themself, and I wonder if they could improve their life so much by treating themself like they were their spouse? Like would they attempt to fix any eating disorders they might have gotten? would they properly rest? Would them treating themself like how system with insys relationships do help them improve their life?

While I don't know if singlets treating themselves like their own spouses specifically would improve their quality of life, numerous people have found their quality of life has improved after treating themselves like multiple people, or like how headmates treat each other (in systems that get along, of course).

For instance, some singlets may be more motivated to take care of themselves if they see self-care as doing something for their future self. Or, by imagining one's emotions as a separate entity they must help or cooperate with (for example, anxiety as a skittish horse that needs to be gently walked through whatever is causing it distress), a person may be better able to handle their emotions. Personally, we find humanizing our worries and fears to be a great help in understanding and resolving them; by listening to our fear like we would a scared headmate, we are able to identify what is causing this distress and take steps to resolve it. I've always seen this as a plural-adjacent approach to self-care, and I've heard many tales of it improving one's life.

On that note, while running this blog over the years, I've received many submissions about posts that describe very plural-adjacent experiences that led to the poster taking care of themself. Have you noticed that I've gotten a lot of submissions lately about people eating better because they imagine characters from Dungeon Meshi telling them to eat well? That's just one example of this type of post that I get! It's not uncommon for people to take care of themselves because they imagine or visualize people or characters (or religious figures, in some cases) they admire telling them to do so, which is rather reminiscent of healthy intrasystem relationships, don't you think (especially ones with introjects in the mix)?

If you're looking in more clinical settings and are open to parallels that are less clear than the above examples, some therapeutic practices approach patients from the angle that every person is made up of multiple parts, and that treating each part of oneself with understanding will improve one's quality of life. IFS, or Internal Family Systems, is the most overt example of this, but it's also discussed in other circles; it's not a new idea in psychology that the mind has many parts that all work together, and that treating a patient requires treating, or at least acknowledging, each part of their mind. In some cases, these circles/practices help and encourage the patient themself to acknowledge and treat each part of their mind. You could find parallels in these therapeutic and psychiatric treatments to singlets "treating themself like they were their own spouse". However, I feel this may be drifting from the topic a bit.

I do think many singlets would benefit from practicing a form of "soft" functional plurality along these lines, by accepting their multitudes, multifacetedness, and complexity, and taking advantage of their ability to personify things to lend themselves some kindness. Hell, we thank our body for working hard to keep us alive, and that helps us have a better relationship with it! So, yes, I do think singlets treating themselves like their own spouse – or rather, as a separate, if connected, person they wish to do good to and for – would help them in many aspects.

#thanks for the ask!#intrasys sweethearts

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hayatheauthor · 9 months

Text

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!

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maisonaime · 1 month

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The Star Who Listened [Azriel x Reader]

My little contribution to @starfallweek 2024 ✨

Prompt: Character A is a fallen star, Character B finds them

Note: Angst with a happy ending. This prompt immediately reminded me of this quote from a very beautiful but heart wrenching spoken word poem about the power of friendship and of friends who dream together. Happy Starfall Week!

“You kept a rock on a satin pillow on your bookshelf and told me ‘It’s a star.’ You said you found in a junkyard. And it had been broken down for quite some time because too many people wished on it, and that’s a lot of pressure for one little star.” Shane Koyczan and the Short Story Long, For Instance

There was no telling how long he had lain there. Long enough that the ground had given way to valleys and mountains, snow and grass, fire and rain. Long enough that the wind and the moon cooled his skin, warped from the burnout. Long enough that the bones that cracked on impact hardened in the same position they had come to rest. Long enough that he learned all of the parallels of nature.

First he learned the way the ground vibrates during an earthquake is almost indiscernible from the thundering of hooves and feet as armored men trample over him. His tears flow into the rivulets of blood from fallen warriors, which flow into the river that rages through the carrion. He wants to wash away with it.

Then he learned how the earth would split and crack and flow bright and hot, creeping across the ground like candlewax. It looks like his beautiful, ruined hands. He remembers the skin dripping off of bone when he could no longer hold the burning dreams they piled into his arms. So bright, and so beautiful, but so heavy.

Then he learned how the air would hang heavy before the sky cracks open. It reminds him of the weight that hung around his shoulders in the moments before he tumbled from the sky. Feels the despair, the failure in being unable to remain afloat. He waits for Hera’s wrath for his forsaking of Astraea.

Azriel could’ve recounted all the lessons he learned in all the hundreds of years he’d lain there. Could’ve stopped someone to tell his story, to beg pity or forgiveness, or simply for a listening ear. But how could he have proven his tale?

Who would believe that a small, rough-edged, unassuming rock was actually a fallen star?

How could he even begin to explain the thousands of dreams he had forsaken when he fell? He had seen some of those dreams dashed personally. Had seen the men whose safety had been prayed for fall screaming on their swords. Had seen a woman who wanted nothing more than a child bury seven silent born at the riverbed. Had seen the children who dreamed of their prince or princess and were instead sold into marriage beds with monsters and carted away from their homes.

So he could not move, he could not speak. He could only relive his failure and all the lessons he’d learned from it. Lessons he would never get to use. Lessons that meant nothing to anyone, because lessons don’t mean as much as dreams do.

Rocks don’t mean as much as stars.

But to you they do.

You, who look to the stars to guide you. But who also looks to the ground to see how far you have come. You who use rocks to mark the trail the stars take you along. You who collect the ones you find most beautiful, the ones that remind you of the stars.

You too have a gift for seeing the parallels in nature.

And yes, dreams are beautiful. But so are the lessons we learn when they do and don’t come true.

And so, this is how he finds himself in your pocket, after so many years in the dust. After so many years on the cold ground. The wool of your skirt is warm and soft, and it cushions Azriel’s hardened heart.

The next thing he knows he is resting on a satin pillow, high on a shelf in your room where he can watch over this strange savior. He watches day and night. Watches as you work and write and wander by day. Watches as you dream by night.

He wishes you had left him on the ground. He is stricken and terrified to be so close to another’s dreams, even as his very essence cries out to caress them. It is worse agony than he ever faced. At least before didn’t have to be so close to the humans who once depended on him.

He feels perverted because you haven’t even entrusted him with your dreams and here he is fantasizing about them. Prostrate before you trying to hold himself back, because he cannot warp your dreams with his horrible hands. Cannot bear the responsibility of ruining even one more dream. No matter how large or small.

He doesn’t even know why he is there. Why you plucked him out of his quiet obscurity and forced him to endure this proximity to such a vociferous dreamer. He loves and hates it in equal measure. Loves and hates you in equal measure.

And then the strangest thing happens one day. You are showing a friend around your room. And your friend points to him and laughs “Why do you have that rock on that pillow?” and Azriel would blush if he wasn’t a rock. But you smile knowingly and say “That’s not a rock, it’s a star I found. It fell from the sky when too many people piled their wishes onto it. Too much pressure for anything, don’t you think?” and the friend nods understandingly.

And Azriel glows. And Azriel cracks. Because he is awash with the forgiveness of a dreamer. And he remembers the child with eyes like yours but different, the first who looked up to him and wished. The one who made him want to take as many wishes as he could carry, and then take more after that.

And when the friend is gone, you reach up onto the shelf and bring down the satin pillow. You set it on your desk, and observe the crack that that splits your star down the middle. You gingerly separate the two halves, and behold the bright blue gemstone in the center.

You smile. “Do you think the weight of one person’s dreams is bearable? I promise to leave plenty of room for your own.”

Azriel glows as brightly as he once did in the sky.

#Starfall Week 2024 #acotar #azriel #fantasy #acotar fanfiction #azriel x reader #classic Azriel angst #because of course I did #angst #angst with a happy ending #night court #acotar crack

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phoenix-fell · 1 year

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Anti-Bumbleby criticisms answered with BB analysis - Big post

As expected, as Bumbleby gets more attention from the show, the anti-BB crowd have surfed in on their tidal wave of bitter lemons. So, I’d like to put my degree, job and training to use and compile my thoughts down in one place - a one-stop shop if you will - it’s long and will be largely unfiltered as I tackle the weirdest and most common criticisms and BB analysis. (I kinda miss Bumbleby analysis Megaposts, I might make one sometime to go alongside this as a point of reference as most I’ve seen end around Vol 6).

TIA for anyone who actually takes the time to read my ramblings and please feel free to give your thoughts/analysis and I’ll edit it in. FIRST EDIT - 8th Mar 2023 presenting labels and sexuality in Remnant - 4th from end.

Credentials: Double major 1st class grad in Literature and Creative Writing, specialising in fairy tales and WLW representation in media. Recipient of dissertation award exploring character psyche and the presentation of psychological themes. Literary critic, writer and content specialist.

Let’s start off with a cracker from Reddit!

“Why couldn’t the BB scenes be more of a background thing? Why do they need to focus on them like they’re a main plot or something?”

Is... Is it stuffy under all that homophobia? I could easily rhyme off a string of sarcastic quips like ‘gee, I wonder why, it’s almost like it’s important to the development of two of the main characters or something.’ But it’s so lost on some people that I’mma spell it out:

We’ve seen Blake and Yang’s trauma painted across the screen from ‘Burning the Candle’ when Yang first confesses her abandonment issues, to the White Fang / Adam arcs that gave us a picture of the abuse Blake has endured - not just as a Faunus, but from her partner (“Adam used to get into my head, make me feel small.”), right through to their separation that dealt with their respective issues with running away/being abandoned and the shared trauma which has tied them both together indefinitely. They’ve been apart, they’ve repaired their relationship, they’ve grown together. In a current volume that’s so inherently focused on character’s individual development, seeing Blake and Yang together was almost inevitable as they’ve been so completely involved in one another’s development throughout the entire series. This is without going into their fairy tale allusions that tie them together which I’ll go into further down or the references to Yin/Yang and numerous romantic tropes that show how integral they are to one another’s characters. Contrary to belief, it’s not romance for the sake of romance - in this instance, the romance very much strengthens their development individually.

Asides from all of this, it was decided from the very beginning that Yang would lose her arm (foreshadowed in the Yellow trailer). The moment they decided that Yang would lose her arm protecting Blake, was the moment a decision was made to invariably tie these two narratives together on a very fundamental level.

But also, don’t clown yourself into thinking you’re not a homophobe if you think any LGBT content belongs in the background whilst also rejoicing any onscreen developments between straight ships.

“If BB was meant to be a thing then they wouldn’t have had Sun as a romantic interest.”

Is there a universe where love triangles and bisexuals are a foreign concept?

But in all seriousness, I think that certain corners of fanbases seem to struggle with any concepts that are non-linear; something I often see with anime. By ‘linear’, I mean: love interest introduced > build up > canon > together forever. As opposed to ‘non-linear’; a character that goes on their own journey of discovery and, through which, has more than one interest and path over time and has the ability to change their mind. The show was never a ‘romance’ as a primary theme; it’s an action/adventure which has some romantic subplots. But to honest, Blake changing her mind shouldn’t really be this much of a shock to the fanbase given that our FIRST ever interaction with Blake, in her TRAILER, is her changing her mind about her partner (and first romantic interest) and deciding to pursue a new journey. A scene which is actually referred back to in the Season 6 opener when Blake uncouples the train and sees what she believes to be a hallucination of a hooded Adam on the opposite carriage, foreshadowing the importance of that original decision later in the series (“you didn’t leave scars, you just left me, alone”).

The arc that follows Blake thereafter is inherently tied to Adam (amongst other important themes), who is predominantly based off Gaston and the rose (or curse of the rose) from Beauty and the Beast. Blake and Yang are interchangeably alluded to as both Belle and the Beast throughout their character arcs from as early as the Red Trailer: “Black the beast descends from shadows / Yellow beauty burns gold.” and as recently as Blake describing Yang to the Hunter Mice in Vol. 9 Chapter 1. I can rhyme off these allusions until I’m blue, but again, I may save this for a master post.

The story that Blake is based on is a love triangle - she was never meant to have one set path from the beginning and romantic interests were always meant to play a huge part in Blake’s story/development; she was always going to have a romantic decision to make after conquering the curse / Gaston. Blake being haunted by her first romantic interest is foreshadowed in the ending of her trailer and first referenced in her conversation (with Yang) at Mountain Glen, and becomes an undeniable path of exploration once Yang loses her arm to Adam at the end of Volume 3. Let it be noted that Sun was present when Yang announced she was going to find Blake at the Battle of Beacon - a decision was made here for Yang to be the one to lose her arm protecting Blake, as was Adam’s poignant promise to take away everything Blake loves - “starting with [Yang]” or, otherwise, the solidifying of this romantic subplot. Which, again, is called back to with the infamous line: “What does she even see in you?” besides the obvious subtext, it’s setting the stage for these parallels between Adam and Yang, past and future, the previous love interest identifying something in Blake that used to be reserved for him, now directed towards Yang.

This season began with Blake declaring that Yang “seems scary, but isn’t”. Because, once Belle knows the Beast isn’t scary, she allows herself to fall in love (conveniently, this is said whilst walking through a fairy tale).

I could go into a big post about romantic foils and the ways in which Yang, Adam and Blake are all foils to each other but I might make a separate post instead for anyone new to the FNDM. Either way, I feel it’s worth mentioning as it’s Blake who directly compares Yang to a past love interest who was designed with semblances and characteristics that mirror each other. Point being, no one should be shocked that Blake has multiple interests given the character and fairy tale she’s based off and heavy allusions where Yang is concerned.

“Oh yeah, because Yang ‘literally purred at guys in their underwear’ Xiao Long and Blake ‘literally kissed a boy’ Belladonna are clearly bisexual because of [insert out of context reasons]” and “yes but Monty said...”

1. You mean... the one, and only one scene in 9 entire volumes where Yang shows any interest (albeit jokingly) in a guy, and the literal scene directly before she sees Blake from across the crowded room and proceeds to never express interest in men again? (Ignoring the very obvious implied trope here). And, in fact, only expresses interest in a woman from this point onwards? This is your frame of reference? Personally, I find it quite lovely that Yang’s perspective is never the same from the moment she sees Blake. Asides from this, while ‘bisexual’ is the label that these guys have gone with, Yang’s sexuality hasn’t been confirmed outside of being sapphic - it’s not outside the realm of possibility that she is, in all likelihood, lesbian. It’s important to note here that any young character expressing an interest in a man would not invalidate that same character being a lesbian. In fact, if we apply this to real life, it’s not uncommon for people not to realise that they’re queer immediately (I myself didn’t until I was 21). But in the opening episodes of the series especially, I’d very much chalk this up to writers exploring the characters.

2. As for Blake - there are, from what I remember, three kisses in the entire show so far. The one between Jaune and Pyrrha - on the lips after prolonged romantic allusions between the two (their romance is explicitly referenced by Nora - “practice what you preach, Pyrrha.” - almost fitting that it’s Nora to call out the Bees in Season 7 - A Night Off, no? Neat little parallel for y’all). The one between Ren and Nora after trying to work out the status of their romantic relationship - again, on the lips. And the one where Blake says goodbye (and thank you) to Sun by kissing him... On the cheek. (So hot, I know). Which is immediately followed up with Sun telling Neptune “it was never about that”. One of these is not like the other, can you guess which? I’ll wait.

As for referencing Monty - I could go on all day about this one, and the quote most notoriously used is ‘they’re a sisterhood’. Firstly, let me just say that I find it disturbing that anyone would use the show’s deceased creator as ammunition, whilst also disregarding his other comments on LGBT rep - specifically, ‘maybe there are LGBT characters there now / they’re just kids rn and figuring it out / it needs to be earned’. But also, it’s really disturbing and egotistical that anybody would pretend to know what Monty wanted better than the crew he handpicked, worked with, collaborated with and was friends with (special mention to the fact that his own brother is one of the cast). If you truly want to honour his legacy, then show respect to the people he put his trust in.

“I don’t have an issue with BB, but why does it always have to take away from Yang’s moments with Ruby?” / “All Yang’s feelings for her sister transferred to Blake.”

One from the hall of fame. The age old question of ‘can a girl have a romantic partner and still care about her family?’ I wish this wasn’t a serious question, but there are actual sides of the Fandom that seem to think that Yang’s forgotten about her sister that she raised because she has feelings for someone and that the sole purpose of Yang’s existence is to be her sister’s keeper.

I’mma address this on 3 fronts. 1 - Logistically, the episodes for RWBY, excluding the intros, are 15-20 mins long currently and typically oversee several different storylines particularly as the cast grows larger, leaving us with... What? About 5 minutes of team RWBY interactions? It’s not a lot of time to pack in character development, relationship development, plotline, strategy etc. so often if they’re wanting to develop more than one relationship, they will alternate between putting these themes in the background (such as the yellow in Blake’s sword, references from other characters etc.) and foreground, and some developments have to be shoulder-to-shoulder to fit them in. This isn’t an indicator of how much one character cares for one another and is more a demon created by people’s perception of how they ‘think’ a protective sister should act.

Additionally, it should be noted that Yang fawning over Ruby and not allowing her to develop other relationships outside of her sister, would actually offer us nothing from a development perspective for both Yang and Ruby’s characters and would, instead, steer these two strong female characters down a path of co-dependency.

2 - It feels like a very easy excuse for Anti-BB folk to throw out there, conveniently forgetting how great of a sister Yang actually is (contrary to the number of RWDE videos I’ve seen arguing otherwise, as this is an essay I could write in itself). These very often take isolated incidents out of context and conveniently forget important information like Yang 1. Literally sacrificing herself twice to protect her sister 2. Sacrificing her entire childhood to raise her sister and 3. Importantly, the fact that Ruby is her (self-sufficient) Team Leader needs to be factored into their dynamic, as Yang gives her space to find herself as a leader and steps in when her sister actually needs her - not when the audience thinks she does. People hear ‘protectiveness’ and seem to think that this should mean that Yang should be overbearing.

3 - Anyone who says this doesn’t have siblings. I have older and younger siblings and, having largely raised my younger sibling, I can safely say that I still love them even when I’m in a relationship. I also feel extremely secure in arguing/disagreeing with any of my siblings because I inherently know they will still be there at the end of the day - a sibling love goes deep (referencing ‘Fault’ from Volume 8). However, in a romantic relationship that is not established and very new... you will feel insecure, that’s normal, it doesn’t have the luxury of established stability that siblings do, and therefore you will overtly express more anxiety about this as a result. It’s a very strange concept that if you have a sibling, you need to give them all of your attention and ignore any love interests. Yang has gone through her own traumas, she has every right to care about others, heal herself, and have a life that isn’t defined by being a caretaker for her sister. ESPECIALLY as she already gave up her childhood to fulfil this role, unselfishly AND as the person she’s bonding with is best poised to understand Yang’s trauma. Yang as a character deserves to receive the love she constantly gives out. Again, this is a demon born from the fact that it either doesn’t reflect the relationship commentors have with their siblings, or the fact that they’re *imagining* how that relationship should be.

Bonus picture below: Yang putting aside her anguish for Summer Rose, who she considered to be her mother, to prioritise comforting her sister about that same loss.

“I hate BB shippers because they pass off BS interactions as platonic. BS made more sense, there was no build-up to BB until Vol 6 and they let the BS build-up go to waste to force BB.”

First off, there’s nothing wrong with BlackSun as a ship. Shipping shouldn’t be dictated by canonicity and people have the right to ship it and to their opinions. And while a few of these seem to have referenced BS, I don’t actually think that BS shippers are at fault for the hatred coming this way, but rather that the ship seems to get used as ammunition from the Anti-BB crowd - to summarise, Anti-BB and BS shippers are not synonymous. I personally don’t ship BS, but I do enjoy the debate and actually think that Sun is a very important part of Blake’s development and arc. There did seem to be some form of mutual attraction between Blake and Sun. Had they gone down that route, I wouldn’t have hated it, I just never felt excited by it, which seems to be a large consensus amongst BB fans. An appreciation whilst feeling there was a better alternative.

Believing all the development between Sun and Blake was ‘wasted’ is also very closed-minded given how much he helped Blake in the White Fang arc and also disregards the importance of their friendship. BS has the potential to be one of the best and most supportive friendships in the series, I stand by that.

That said, I don’t think it’s entirely wrong to acknowledge that a lot of (not all) interactions between BS were platonic from Blake’s pov while Sun’s feelings were more explicit. The only real hint I saw of Blake reciprocating was a blush at the Vytal festival. Maybe the dance at a stretch, but there’s hints at both BS and BB and I will fight you on it. Now, it might be a question of timing; Adam was still a prevalent threat during this time which will have been weighing on Blake given the resurgence of the White Fang, and is clear when Adam rocks up seeking vengeance in Volume 3. For this reason, I honestly think it would have been disingenuous to have explored Blake in a full relationship with anyone at this point given these loose ends, and Blake undergoes a lot of development over volumes 4-6 as a direct result of this.

Additionally, if BB didn’t begin until Volume 6 then that means that BS had 4-5 volumes to happen - 2 of which where they were in their own arc, separated from the main cast. It didn’t happen. What happens instead is Blake’s guilt over Yang weighs heavily on her while she deals with her arc and Sun helps her come to terms with this, ultimately redirecting her back to her team, and Yang, while Sun’s interactions with her become increasingly platonic from his side.

Lastly, the only way you don’t see build up for BB, is if you actively will yourself not to see build-up. If you replace Blake and Yang’s moments with Sun, I don’t feel there’d be any misunderstandings on how these moments are supposed to be interpreted. Take off the hetero goggles, and we’re cool.

But on a sidenote and personal pet peeve of mine, the cries of ‘BB is forced while BS had build-up’ will forever irritate me - BB has a slow burn, a full arc, developed from a friendship and partnership as well as several tropes and allusions without going into too much detail. BS, firstly, never ended up happening, but it starts when Sun runs past, winks at Blake, magically knows she’s a faunus, then proceeds to follow around a girl he doesn’t know for two days who, at his own admission, didn’t speak that whole time. But... BB is forced? I’d say it’s subjective, but logic defies when this is the barometer for a natural introduction of a romantic pair.

“BB is ‘queerbait’”

Let’s address the ‘Goliath’ in the room, shall we? ‘Queerbaiting’ gets thrown around like a reflex at the moment by pseudo-fans who I don’t believe actually know the gravity of their statements or the meaning behind the word. I often see this slur paired with BB being strung out to keep the shippers watching. Now, there’s an essay in itself that could exist in this section, but are people really still clowning themselves that a show that’s explicitly shown that it wants to have queer representation in the cast and foreground is ‘queerbaiting’ it’s audience? Even weirder for me is the part of the FNDM saying that it’ll be baiting if they make BB canon. Please stop this nonsense and do some research.

Now, one thing I would like to tackle is that, sadly, some will still see pairings on the show through heteronormative glasses, so let me use that here. If the pair were a m/f couple and had several seasons of development and increasingly intimate moments, there would be no doubt in anyone’s mind that 1. It was heading in the direction of canon and 2. That it was a slow burn romance that’s building to its’ climax. Interestingly, the show actually does use the hetero goggles to frame BB on several occasions by paralleling this budding romance with several straight ships such as Arkos and Renora. Why? Because this is a narrative technique often used by writers to frame LGBT romances to separate them from ‘just friendships’ and, let’s face it, use an unconscious heteronormative bias to their advantage.

“BB is badly written, they barely interacted in volumes 1-3 then didn’t speak for two volumes.”

Tickle me pink. Volumes 1-3 are a very strange reference point for ‘in-depth’ development between characters. Crumbs, sure. The odd scene, absolutely. But let’s be real here - the show started as a low budget web series with an onus on cool fighting scenes and, most importantly, the episodes were around 5 minutes long whilst entertaining teams RWBY and JNPR, the White Fang, the Vytal tournament and several other plots. Nobody particularly interacted much but the writers did the best they could with what they had and the rest is left to us, the audience, to interpret that relationships are developing off-screen. Though from a critique POV in the interest of fairness, I would say the current season is a breath of fresh air by re-focusing the plot on the central characters as I think the show can sometimes be guilty of taking on too many plotlines.

As for volumes 4-5, while they’re in different continents, it’s obvious that they’re prevalent in each other’s arcs. Whether it’s Yang admitting she’s struggling with Blake’s abandonment - in the same episode the first lesbian character is revealed confessing their feelings to Blake (sidenote, all of team RWBY left Yang, and it’s Blake she’s mad at, this was always meant to be framed differently to her other teammates and IMO the struggle they go through is meant to frame the characters coming to terms with the depth of what they mean to each other), the parallels of them both getting onto the ship (named ‘Pride’ - wink wink), or Blake actively struggling to talk about Yang, yet referencing it when Sun is hurt (“Not again!”) showing it’s at the forefront of her mind. All of which culminates in their reunion in the Vol 5 finale.

Is it the best writing ever? No, nothing’s perfect. But they do explicitly use parallels throughout the series to drive the narrative forward as a foreshadowing tool to strengthen subplots.

“Blake being bisexual makes no sense - she was interested in Sun, it just seems so out of the blue, she and Yang just seemed like friends to me.”

Funny, because she and Sun seemed like friends to me too.

There are so many things I wanted to fire back at this, from the insinuation that if a woman first shows interest in a man then it’s out of the blue that she’s bisexual now that she’s showing interest in a woman... Like, how do you think it happens for bisexuals IRL?! Did you want her to burst onto the scene in Volume 1, announce she likes men and women, and then express explicit simultaneous interest in both of them? Start a harem? Proposition a throuple?

This particular take amuses me most of all as someone who is very openly bisexual. Yes, she and Yang seemed like friends. Great friends, in fact. That hold hands and blush and want to spend all their time together. And check each other out when the other isn’t looking. And make excuses for casual physical contact and flirt and giggle like a couple of giddy teenagers. Just like me and my ‘best friend’ did, before I realised I was bi. I’m sure that a lot of people thought it came out of the blue for me too. Blake being oblivious to being bisexual until it becomes too obvious to ignore is actually a very realistic scenario.

Bonus headline - just because you don’t understand/identify with something, doesn’t mean that it’s not good representation or realistic. I feel it’s also important to mention Blake’s VA, Arryn Zech, is bisexual and has spoken numerous times on the matter. The reason I bring this up is because it’s clear that the way in which the bisexuality of her character is presented on the show is actually something that’s incredibly important to Arryn - because good representation is significant.

Presenting labels and sexuality on Remnant: A Theory and - “BB is a terrible representation of LGBT and your critique ignores the female and LGBT people that have spoken out against it.”

They say, to someone who is both female and LGBT. Credit to the Anon who charged into my inbox to accuse me of the above - hope you enjoy. Now, there’s a couple of things I’d like to cover before I go into how sexuality is perceived in-universe. The first is that if you use this argument against someone who is queer without seeing the belligerent hypocrisy of your statement, please check yourself as, clearly, you only care about LGBT voices on representation when it aligns with your own rhetoric and ready to dismiss any narrative to the contrary from that same community.

Secondly, the queer/LGBT community is a vast and vibrant community of *individuals* with their own opinions and own voices. I didn’t nominate anyone to speak on my behalf, just as I don’t speak on the behalf of the rest of the community. Moreover, any art is open to interpretation. My opinion does not override theirs, nor does their opinion erase my own. And, believe it or not, it’s quite possible to have two or more differing opinions within one community without being at war with one another. I respect their opinion, just as I hope they respect mine.

We clear? Great. Onto the analysis! Huge shoutout to @crimsonxe for the brilliant discussion and assistance with the analysis in the comments that helped me construct this section! You’re awesome.

Let’s dive in with the headline - Homophobia doesn’t appear to be an issue on Remnant and labels don’t appear to exist, in the sense that it doesn’t appear anywhere in-universe. Now just to pre-emptively disclaimer: this may change, but in 9 volumes and however many supplementary materials, we’ve not heard any labels or had any representation of this type of discrimination. If that changes, I’ll happily remove this.

So why is this important, you ask? Ultimately, when you take away the inherent ‘fear’ that a lot of the LGBT community face IRL along with prevalent ignorance towards the community and society’s insistence on labelling sexualities and gender identity, it creates a world divorced from our own and is, from a narrative point of view, a double-edged sword. On the one hand, it allows the characters to explore themselves in a non-discriminatory environment that is inherently more fluid and free, whilst the audience will inevitably want to compare that to their own experiences. But we can’t - not properly - due to the still very real stigma and discrimination that exists in our own world. Instead, what we see are characters who express an interest in other characters and find other ways to allude to their preferences or identity. A prime example of this would be May, canonically a trans character, who does not use this term in-world but instead says, “To the Marigolds that meant I wasn’t their son, and I made sure everyone knew I wasn’t their daughter.” This is a theme that is poignantly reflected in the accompanying media for the series - such as the books; for instance, Coco, canonically lesbian, referring to “breaking the hearts of many women.”

How does this tie into the relationship with Blake and Yang? Glad you asked. If you bear in mind that Remnant has a very fluid outlook on sexuality and more of a ‘love who you love’ ethos which is blind to gender norms, it immediately subverts the assumption that interactions between m/f are romantic while f/f are platonic. It’s an open field, if you will. BB is a steady build from partner/best friend (though I’d argue that at least Yang had an immediate attraction, with Blake figuring herself out) with interactions that become increasing more intimate. Eye rolls and jokes become winks and innuendo (“I love it when you’re feisty!”), nudges become intimate hugs (Burning the Candle), become hand-holding (it isn’t coincidence that these two have held hands more than any other pair in the series), becomes pining, blushing, forehead touches (BB and Renora - remember those parallels), which evolves into flirting and... More. And yes, some of their interactions will still resemble the friendship they built their foundations on. But in a world where labels don’t exist, that journey from friend-to-lover is much more subtle and embedded in a gentle upwards curve of increasing intimacy.

“BB is only happening because the horrible BB fans demanded it, the show caved and gave in to the toxic fanbase, it wasn’t planned from the beginning.”

I’ve seen this in so many places, like a broken record. I have no doubt that there are BB fans that are fanatical, and I’d never justify the behaviour of any so-called fan that resorts to death threats or violence in any way. I’m hoping this surely must be a minority that has, hopefully, shrunk over the years as the audience has matured. However, this also really isn’t how shows work...

As many have pointed out in recent weeks, the show would be a very different landscape altogether if CRWBY were, in fact, that easily swayed by fans; namely, I’m thinking of Clover/Qrow, Pyrrha, Penny etc. While I don’t doubt that show-makers pay attention to the fanbase where needed and where it’ll be beneficial (seeing how fans react to developments, if allusions are clear etc.), sending death threats or whatever is actually much more counterproductive than anything else. But also... You’re not on the crew, you’re not part of those discussions. I feel confident that Miles, Kiersi and Kerry aren’t writing BB content with a gun to their head.

Lastly, the ‘it wasn’t planned from the beginning’ war cry is a tale as old as time. Like Beauty and the Beast. (See what I did there?) Asides from the fact that 1. Yang and Blake were actually the first created out of the team, and made with each other in mind, regardless of in what context (check out the original character designs/concepts) 2. Even if it wasn’t planned from the beginning, what difference does it make? There are tonnes of examples where the writers have felt the chemistry between two characters as the story’s gone on and decided to put them together (case-in-point from outside the anime world.. Chandler and Monica from Friends). In fact, while some writers like to plan every element of their plot from the beginning, there’s a great many writers who allow the characters to steer the plot as they grow - especially arcs with romantic undertones. The series was made predominantly for the action - it’s not a romantic series, so if they didn’t plan it from the beginning that wouldn’t be unusual, especially given that the episodes of the first few volumes are literally 5-10 minutes long. But regardless of whether the romance of the two was planned or not planned, it does not make it any less meaningful.

But let’s be real, the issue at heart isn’t that they weren’t sucking face in the first 3 seasons, it’s that they thought Blake would be with a guy, and she chose a girl. To which I say... Get over your bruised ego, and move on.

“BB fans deserve the hate they get because of x, y, z and cos it has toxic shippers.”

And you’re... Not... Toxic? If you’re an Anti-BB shipper and go out of your way to stalk and comment on BB tags/accounts just to harass shippers etc, then are you any better than the toxic fans you supposedly hate? To me, following BB tags and looking at BB content whilst being an Anti-BB shipper is so weird, why you trying to hurt your own feelings?

Also, saying that innocent shippers who are just living their best life should bear the burden of the toxic FNDM, is literally the definition of tarring everyone with the same brush. Some of us just want to eat our crumbs in peace, and from our POV, you’re the toxic ones being disrespectful. Bonus point: others being toxic does not give you licence to be hateful to anyone you come across that doesn’t agree with you.

“I’m no longer watching the show cos it’s trying too hard to be ‘woke’”

This ain’t an airport, you don’t need to announce your departure. But since you are, if your issue is the gay representation in the show then wake up and look around... We’re everywhere. The show is literally just reflecting the diversity you see day-to-day; but you keep sipping that haterade, my dude, we’re here to stay.

#anti rwde #rwby analysis #bumbleby #rwby

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obeetlebeetle · 1 year

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brennan's choice to bring the authors into neverafter is an interesting move -- on a basic, storytelling level, it adds another dimension to the cosmic horror elements already in place, which is useful primarily because brennan likes cosmic horror and tends to rely on it, so we have a lot of basis for comparison going forward. on another level, and one that i find more fruitful largely because it brings something very new and sharp to the story, is that we now have textual acknowledgement that these tales were recorded or written with authorial intent. we've yet to see if brennan will be invoking basile, perrault, the grimms, etc., but they are present in the text now and can be considered as much a part of the neverafter story as the characters themselves. all that said, i want to start thinking about what that authorial intent was, and how it has developed in our retelling.

much of the horror in neverafter is centered on pinocchio -- he is our most direct link to the stepmother, an entity that consumes other characters (notably, her own children and red's grandmother, and presumably snow white's stepmother) in order to achieve the same power as the authors. so we can demonstrate a link between authorial intent and parental authority, and we can assume that neverafter is interested in the intersections between parent and author as roles occupied in order to control characters or stories and their eventual outcome.

as a character, pinocchio is pinocchio, but acting on an archetypal level he is also the child: his original tale was inspired by and modeled after the "jack" tales, after all. there are two primary roles that the child can inhabit in fairy tales. the good child is rewarded, and the bad child is punished. as a character, pinocchio confuses these roles, and we can see why -- the original intent of his tale was not to reward him, and he was never supposed to become "good" and therefore "real." he was meant to die as a puppet. in nva4, pinocchio dies as a puppet. the dissonance of collodi's tale is recognized in the stepmother's promise to pinocchio, stating that she can make him real when it is impossible for him to be good.

in this, the stepmother takes on the role of both the blue fairy and geppetto in pinocchio's story. but those roles, as written by collodi, were never meant to be gentle -- the parent is not meant to be a source of care, or protection.

brennan is not collodi -- his concerns are less material, less related to the issues of class and poverty and survival present in collodi's tale -- but, consciously or not, he has drawn on the way the original story primes pinocchio to accept violence from parental figures and to understand their anger towards him as a function of a properly told story. in this instance, with the agency of a player behind him, he is able to develop new aims and defy his parental authority -- and we can see that the world of neverafter is unable to function properly when pinocchio cuts his strings and rejects his role as a servant to his father's wellbeing.

so, again, we see the stepmother taking on geppetto's role -- but what about the fairy? what about the fact that our pinocchio was introduced after the end of his tale, and what about the role the fairy has played until now? she was the one that killed him the first time, not the stepmother; she was the orchestrator of his moral adventure and, as neverafter so succinctly put it, the figure in control of whether or not pinocchio is "real."

there has been a clear schism between the fairies and the stepmother in neverafter -- we can see that in the exchange between the stepmother and cinderella's fairy godmother, particularly the claim that "magic was never [the stepmother's], magic is [the fairies']!" but what the fairies seem to resent is the stepmother's authorial role, her ability to take stories and reshape them, rather than the character role she plays within the stories themselves.

additionally, there have been a lot of hints that this was a "good" world, and that there is something to return to, if the stories can be restored to their "real" versions. but by breaking down the original pinocchio tale through the lens of what has occurred in the neverafter, we can see that this corrupted version is not really so different -- the macro effect, the authorial intent through first the stepmother and then brennan himself, has clearly changed, but the effect on pinocchio as character and the child as archetype remains.

i take the introduction of the authors into the tale and the link drawn between them and the stepmother to be our first significant sign that things will not be able to return to the happily ever after -- our first real critique of the conditions of thought created and reinforced within fairy tales, and hopefully, a sign that brennan is questioning not the optimism of the fairy tale but the goals fairy tales set out to achieve.

#ids in alt text #tumblr ate like three paragraphs of this between drafts btw so idk if my argument came thru on the retype #but im getting this out now before ep9 either contradicts this or says it for me #this is my ep8 post disguised as a pinocchio deep dive btw<3 #dimension 20 #neverafter

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jackgoodfellow · 7 months

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"Grace" here is being used not in the Christian sense, but rather to broadly refer to the incredible power of human kindness, patience, and love. ❤

High-res closeups:

high-res full image (Google Drive link)

Flower language (or at least the flower language I am using):

Forget-me-nots: these little blue flowers are symbols of memory and remembrance, as well as true love, devotion, and, occasionally, senility

Baby's breath: these tiny white flowers symbolize new beginnings, everlasting love, freedom from corruption, happiness, and thankfulness

Dandelions: A cursory google search says these flowers represent "hope, healing, and resilience," which is apt. But I've included them here as a reference to their symbolism in Fionna & Cake. In this illustration, the field of dandelion puffs that Simon wakes up in at the end of the show has become a field of yellow dandelion flowers.

More analysis, if you're into that kind of thing:

1. I'm never going to get over the fact that Simon saved Marceline for no other reason than to save a child who needed his help, and in doing so - in showing up for his adopted daughter not just once but constantly and for YEARS - he basically saved the world. I think it was a brilliant move to use the narrative to further validate his actions in "The Star" episode of Fionna & Cake.

Marceline is the narrative opposite of Dean and Sam Supernatural.

2. Kindness has a way of spreading and coming back to us in ways we could never predict, which is one reason why I'm ALSO never going to get over how Simon saving Marceline eventually led to Marceline convincing Finn and Jake (and BMO and even Bubblegum) to be more empathetic to the Ice King, who becomes way safer and happier once he is not isolated in his madness.

Finn's kindness towards Simon, both before and after being cured, is a huge deal to me. It's a vital part of his character growth, and I like that Fionna had a parallel moment of growth with the Candy Queen.

Like, yes, it is big and important that Betty saved Simon. But what she couldn't do is love him in his madness. She was unable to love him if it didn't also cure him, and this destroyed her.

And so it is beautiful to me that because of Marcy and her friends, Simon was not left to suffer alone in the darkest depths of his senility. And I really love all the ways the show demonstrates how this deeply affected him even if it didn't make him remember who he was.

I believe this kindness shown to Ice King led to him having the confidence to stand up for himself and accidentally save the world AGAIN when Betty tries to kill everyone to "save" Simon in the Elementals finale because GOD FORBID WOMEN DO ANYTHING.

(Betty is our problematic Queen, and I absolutely love how she's written. The CW could NEVER. The MCU would sooner DIE. 90% of all prestige dramas can only DREAM of having such a complex and dynamic female character.)

3. And finally, there is that most recent and possibly most vital instance of grace of all in Simon's story: the kindness, patience, and forgiveness that he finally learns to start showing to himself.

Simon's is a tale of people being kinder than they have to be and the way that changes everything. I am extremely grateful that his story culminates in him learning that kindness and self-sacrifice are NOT the same thing, and that he deserves his own kindness as much as if not more than everyone else.

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raven-at-the-writing-desk · 7 months

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Alot of people are saying Meleanor and Maellus are the same when she shot everyone with lightening. But I think she is more extreme. At the very least Malleus hasn't hit anyone, though their have been some close calls. But he has never threatened to hurt sebek, Lilia, or Silver. Melenore and Maellus are similar, but I think Malleus is more in control. Lilia does reprimand him if he acts up or he loses thought.

Mmm, well... I don't really think it's fair to say one is considered "worse" or "better" than the other in terms of control of their powers and emotions??? They're a lot alike, but they're also at completely different points in their lives and under much different circumstances. We also get a very limited perspective of one (Meleanor) over the other (Malleus), who is very much a prominently featured character.

Both Meleanor and Malleus in their basest forms are temperamental, and their bad mood stirs changes in the weather. The old adage, "like mother, like son" is very applicable here. The main difference between them is that Meleanor, the parent and adult, has more responsibilities and lived during a warring period.

We hear tales of Meleanor acting up and letting her powers flare out of control in her youth, and that parallels what we know of Malleus's childhood (ie when he froze the castle and many servants). They are the same. However, I would say that Meleanor's emotions running high is considerably more understandable (at least during the instance when we actually physically see her in the dream), considering that she's in the middle of a war and the life of herself and her unborn child are at risk. She's not just "shooting everyone with lightning" because she's lost her temper for no real reason. Meleanor is mad at Lilia and the soldiers for not showing up to defend her and her child. She had NO reason to believe her men would be returning with humans (Yuu, Sebek, Silver, Grim) in tow (who would be much more susceptible to being hurt from her magic than a fae), so I don’t think she was shooting at them specifically; they just got caught in the crossfires. I have no doubt that Meleanor could have done some serious damage with her magic, but since she's expecting only enemy soldiers or her own to walk through that door, I do feel like she has her reasons??? Like, if it's enemy soldiers, then those humans are for sure fried. But if it's her own soldiers, then she's most likely expecting them to be experienced enough to avoid her strikes (since they are, after all, trained rigorously to protect the royal family). Seriously striking down her own soldiers in a time of war only hurts herself, doesn't it?? Meleanor's anger focuses on Lilia and Lilia alone when he refuses her order to take her baby and leave her to fend for herself. I don't believe that she seriously intended to harm Lilia in that moment; she needs him alive and well to ensure the safety of her son. If anything, it feels like she summoned that lightning (the second time) to try and scare Lilia into running or as some kind of "test" to prove his readiness to do so. (Keep in mind that Lilia at this point was ALSO holding Malleus's egg while Meleanor was trying to blast him; do you think she would honestely try to decimate her friend and her baby when she just told Lilia to make sure the baby was kept safe?) This only got messed up because Silver (bless him) leapt in the way to defend his father, because to him, the danger still felt very real. Comparatively, Malleus gets upset over what are much more mundane things simply due to being a student during a time of peace (not being invited somewhere, Lilia getting a text message from a friend, etc). He does an excellent job of self-regulating most of the time, but he also has bad days when he expresses intent to harm those that anger him or at least considers it (ie the Magicam Monsters during the first Halloween event, Rook in his PE vignette (until he realizes Rook is purposefully provoking him), Rollo in Glorious Masquerade for deceiving him). Maybe he hasn't ever threatened to hurt Diasomnia, but that doesn't mean everyone is safe. Look at book 7, he did not hesitate to turn his magic against the people he cares about to force them to comply with his desires. Malleus is immature and doesn't know a lot about the world, nor is he able to easily cope with change or things that already escape his understanding, which results in these kinds of incidents. And like... even if Malleus doesn't mean to hurt people, that doesn't negate the harm he does do, does it? Just because he "never hit anyone" with his magic (at least not that we know of) doesn't mean he can't hurt in other ways. Think of the worry he caused in Endless Halloween Night or as far back as when he (accidentally) froze various servants in the castle. All of book 7 is also indirectly hurting people; he's not allowing them to live their lives and is deciding it FOR them. Even if Malleus doesn't see what he's doing as harmful, the truth of the matter is that it IS harmful. (Mr. Shroud even surmises that without food or water in those bodies forced to sleep, the dreamers might actually die.)

To quickly touch on Lilia, he shouldn't be used to excuse or to hand-wave away any bad behaviors on Malleus or Meleanor's parts. Yes, Lilia is an important person in both of their lives. Yes, he tells them off for their actions--but 1) his words are not always taken into consideration, understood, or followed through on by Malleus (such as in the Dorm Uniform vignettes) and Meleanor, and 2) there are also instances when Lilia enables them instead of discouraging them from acting out. (Endless Halloween Night comes to mind for Malleus.)

Malleus, like his mother, HAS to learn how to better control himself or risk repeating these same mistakes with or without Lilia. Let's not forget too, it's Malleus who Overblotted, a condition which arises mainly due to negative emotions. I don't know if I would call that a demonstration of being "more in control", but rather a sign of Malleus’s immaturity and inability to accept change 💦 ADDENDUM: it is implied later in book 7 that Meleanor also Overblotted, but not out of negative emotions but rather that she overexerts her magic when fighting.

We don’t know as much about Meleanor or how much of her childish tantrums (like the incident where she blew up part of a castle) carried over to adulthood. We also don’t know enough about her to understand if she ever compromised the safety of others like how Malleus did in his own childhood (again, the whole ice thing). When her castle is under siege, she takes control of the situation and makes a plan, then confronts the Silver Owls for a duel. She’s somewhat selfish in her insistent commands to Lilia, but then again, she has to be—she’s a sovereign with people she desperately wants to protect. Malleus is actually just as immature as his mother was as a child. It's possible to see him as "more in control" because we have so many other instances of him being calm and rational to refer to. Meanwhile, we only hear about Meleanor's destructive rampages via stories and have only one real instance of interacting with her to refer to, and she's being violent for most of it. We have very few instances of her being nice or pleasant to compare to, so by focusing only on what we physically witness, a biased interpretation of her can form. In reality, neither mother nor son is "worse" or “better” than the other—again, the standard for comparison for the two’s present behavior is not equal to begin with.

Malleus needs to be given the time to learn and grow to get to the same position and maturity that his mother reached. He’s still at a point where he’s insecure about his relationships and with the change that comes with the passage of time, not a pillar of control—and that’s just a consequence of his youth and lack of real-life experiences. That’s not to say that Meleanor is perfect or that she’s somehow “more” controlled than Malleus; they're both powerful, demanding, domineering types, which is how the Draconia family in general is described. It’s Meleanor's age and experiences have helped to temper her into a leader who knows what she most wants to prioritize in a live-threatening moment. She still uses force to get her way, but utilizes her powers with a more learned wisdom that deviates from Malleus.

#twst #twisted wonderland #Meleanor Draconia #Malleus Draconia #Lilia Vanrouge #disney twisted wonderland #spoilers #notes from the writing raven #Rook Hunt #Rollo Flamme #Rollo Flamm

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