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burntoutdaydreamer · 5 months

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To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

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dalekofchaos · 2 months

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Friendly reminder. Bruce Wayne hung up the suit and retired after THREATENING someone with a gun and this was his reaction.

And then his immediate reaction is to shut down and close the Batcave and his only words were. "Never again"

A truly tragic, but fitting way for Bruce’s career to end. Powerful stuff. Batman's career ended the same way it began: with a desperate man wielding a gun

Batman choosing not to be weak like Joe Chill >>>> Batman going on a killing spree because fighting crime is hard.

And by the way, since Zack Snyder says his inspiration was Dark Knight Returns, I got news for you, TDKR Batman doesn't kill either.

Zack Snyder is a complete blithering fucking idiot.

his statement on Batman just lines up with what I’ve seen from all of his work. He likes the idea of the comics he makes movies out of but he doesn’t actually understand their themes. A Batman that kills is pointless. An edgy Superman is not only the most boring way to write him, but doesn’t make any sense without the wholesome one. That’s why injustice Superman/brightburn/Plutonian/omniman/homelander kind of make sense in their own ways because the original exists to compare them to.(mostly also boring though) His take on watchmen was pretty much devoid of any of the actual commentary from the graphic novel, but instead was just a dark justice league that were pretty bad at their jobs. Rorschach was just framed as a kind of unhinged Batman, but still a badass that does good, which is wildly generous compared to the way he’s originally written. I can understand turning your brain off and coasting through an action movie, but his fans are delusional if they think he does any of these stories justice. I wouldn’t take any of his comments seriously if they would stop letting him make these mediocre movies.

Zack Snyder is all flash and no substance. His films are visually stunning but utterly lacking in compelling storytelling.

The point of Batman is he cannot 'stoop to their level'. He HAS to be better, he HAS to believe these criminals can be rehabilitated, because if he kills them, he becomes just like them. With his wit, his intellect, he could future proof the city against crime ever happening by just killing the criminals before they commit crimes based on probable statistics and similar themes. But a Batman who refuses to kill is a murderer by inaction. Every time he chooses not to put Joker in the ground, he's allowed him to slaughter dozens, hundreds more, just for a laugh. Batman is equally guilty for every one of those deaths, because he could simply kill the Joker, and stop him from ever killing again. But he doesn't. Snyder saying Batman can kill, Batman SHOULD kill, is to say that without batman doing so, or being able to, he is just as bad as the villians. Except dipshit doesn't even have his Batman kill The Joker. "Oopsie daisy, Joker got out and bombed a hospital full of people, sowwwwyyyy, I put him back in jail again dunt worry TeeHeee :3". And then next week we do it all over again. OR. You kill the Joker, and he never hurts another person again. Which is why Jason Todd works so well as a counter to batman, and SHOULD be what Snyder is looking into. The reason why Zod works so well as a villain is because Humans are flawed apes who cant be trusted to govern themselves and should be conquered, and Superman, a literal God, could fix all that, but doesn't, because of Hope. Its foolish, childish even, to consider that a solution. And when placed in the vacuum of a comic book it works because you have to suspend disbelief, and forget that Superman let a city full of people die while he punched Zod through skyscrapers.

If you want Batman to kill people, just go and read one of his 1784956th copies that kill people. Go read Midnighter. Go read Punisher. Go read Moon Knight. Go read Peacemaker. Go read Nighthawk. What is stopping you?

I'm sure all those characters have brought about the peace and prosperity and the crime-free society that a "killer Batman" was supposed to. "Punisher would clean Gotham in under a week", right, just like he cleaned Marvel's New York, didn't he?

It has to be Batman specifically the one doing the killing? The number of superheroes that kill is nowadays much higher than the number of heroes who don't. Remember how Hawkeye spent the better part of his existence being the most anti-killing Avenger? Nowadays he is known as a super-assassin that "never had a non-kill rule". Should heroes who don't kill go extinct?

I like that Batman doesn't kill people. I feel no need to turn him into something he isn't like it was done to Hawkeye. If I wanted a Batman that kills, I would go and read one of the thousand "Batman who kills" out there.

Batman should not kill and should never kill.

"Gotham would be better off if Batman just killed The Joker"

You. Miss. The. Entire. Point.

Bruce Wayne lost his parents to crime and Bruce Wayne is a child who died alongside his parents and was reborn as a creature dedicated to insuring it never happened to any other child. He made a vow never to reduce himself to the criminal scum’s level or to Joe Chill’s level. He never kills for a reason.

Batman not killing is what makes him so compelling, if he kills criminals, there is no moral conflict, he is no better than the Punisher, Wolverine or any other dark edgy hero. Hell, if he starts to take a life, Batman is no better than Ra’s Al Ghul.

In the Daredevil Netflix show, Frank Castle told Daredevil this “That’s not how this works. You cross over to my side of the line, you don’t get to come back from that. Not ever.” That alone is why Batman should not kill, not even The Joker. Bruce Wayne is not Frank Castle, stop trying to make him Frank Castle. I mean…Stan Lee was absolutely disgusted when someone called The Punisher a hero, Frank Castle is a murderer, not a hero. How is this so hard for people to understand?

I don’t want to hear that Batman killed in the old comics and I don’t want to hear Elseworld stories. It’s an established fact that Batman does not kill and it’s a big part of his character.

Guess what? We already got a Bruce who killed The Joker, it happened in the Burtonverse/Schumacherverse and he was disgusted with himself. “So, you're willing to take a life.” “Long as it's Two-Face.” “Then it will happen this way: You make the kill, but your pain doesn't die with Harvey, it grows. So you run out into the night to find another face, and another, and another, until one terrible morning you wake up and realize that revenge has become your whole life. And you won't know why.”

A huge part of Bruce’s character is that he doesn’t kill, no matter what. Same with Clark. But edgelord writers from the New 52, DCEU and the Injustice abominations think it’s cool to make heroes kill. Heroes should not kill. You can’t be a hero and a killer. IT DOESN’T WORK THAT WAY!

Guess what would happen if Batman kills The Joker? The Joker wins. The Joker and Batman are each trying to prove a point to society - and really to us, the readers. The Joker wants Batman to kill him because he perfectly embodies chaos and anarchy and wants to prove a point to everyone that people are basically more chaotic than orderly. This is why he is so scary: we are worried he may be right. If the Joker is right, then civilization is a ruse and we are all truly monsters inside. If the Joker can prove that Batman - the most orderly and logical and self-controlled of all of us - is a monster inside, then we are all monsters inside, and that is terrifying. The Joker is terrifying because we fear that we are like him deep down - that he is us. Batman is what we (any average person) could be at our absolute best, and the Joker is what we could be at our absolute worst. The Joker’s claim is that we are all terrible deep down, and it is only the law and our misplaced sense of justice that keeps us in line. Since Batman isn’t confined by the law, he is a perfect test case to try to get him to "break.” The Joker wants Batman to kill a person, any person, but knows that the only person Batman might ever even remotely consider killing would have to be a terrible monster, so is willing to do this himself and sacrifice himself to prove this macabre point. Batman needs to prove that it is not just laws that keep us in line, but basic human decency and our natural instinct NOT to kill. If Batman can prove this, then others will be inspired by his example (the citizens of Gotham, but again, also the readers), just as we are all inspired every day to keep civilization running smoothly and not descend into violence, anarchy, and chaos. This ability to be decent in the face of the horrors and temptations present all around us is humanity’s superpower, the superpower of each of us. The struggle of Batman and the Joker is the internal struggle of each of us. But we are inspired by Batman’s example, not the Joker’s, because Batman always wins the argument, because he has not killed the Joker.

Batman not killing matters. Batman stories to me are the ultimate tale of turning pain and suffering into something positive. That is a story that everyone can relate to because let's be honest here. The world can suck. I've experienced and probably will always experience feelings of fear of depression of anger of angst. It's in my nature as a human being to experience those things. It's in all our nature it is what we choose to do with that pain that we all feel that defines us. Batman chose to turn all those negative emotions, he feels into a symbol that can bring people. Hope that Batman will save us from pain but more importantly hope that we can all be Batman. Why do we fall? And Batman Begins explains this best “Why do we fall sir? So that we can learn to pick ourselves up.”

Yes, Bruce Wayne is a flawed crazy person. He is at times mean stubborn and even abusive but he is still good. He is still someone we can aspire to be. We can try our hardest to be Superman but no human being can fly, but we can still try to be Batman We can all try to turn our pain into something good when I see Batman killing people or fans saying he killed before and he should kill The Joker, It pains me. It actually hurts my soul. Batman is not about finding a way to kill evil. But try to redeem it. His mission is an impossible task. Maybe he should kill people. Maybe he should kill The Joker, but what makes him fascinating what makes him a hero Is the fact that he has that moral code and stopped himself from crossing that line That's why I always looked up to Batman even as a kid despite all the adult subtext or mature themes superheroes are for kids. And killing is not Batman and it is not Bruce Wayne. This is why I hated the portrayal in the DCEU and the Burtonverse and why I really hated the implication that Batman killed The Joker in Batwoman. A Batman who kills is certainly not Bruce Wayne, that is an interpretation of Bruce Wayne that completely misses the point of Batman. It's easy to kill. Batman does not make the easy choice… Batman does not kill.

#DC #Batman #Batman Beyond #Bruce Wayne #Anti Zack Snyder #Anti DCEU

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mizukitoyama-blr · 1 month

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Ushijima x Reader: What Do You Say? [a haikyuu one-shot]

Ok y'all, so my friends and I had an all-nighter where we write one-shots. The twist is, we each wrote down on different sticky notes a character, a plotline, and I think the third is a trope. We did this a year ago and I forgot all about this, but I recently found it so I'm posting it here lol

Trope: Childhood friends to lovers

1899 words

Story under cut.

Finally. Fifth grade. It was Y/n’s last year of elementary school and she was determined for it to be different. She wasn’t the most extroverted; she liked people but was too scared to approach them, and they never approached her. But this year, she was going to make a friend.

Kimi seemed to be sweet, everyone adored her, but when Y/n tried to befriend her, she was nothing but rude. In fact, after Y/n had the “audacity” to try to “be on her level”, Kimi tried to make her year awful. But Y/n wasn’t going to give up so easily. She would have a good year and she would make a friend. No mean girl was going to stop her.

After a while, Kimi and her “posse” started to get physical with Y/n and pushed her to the ground during recess. That’s when she met Ushijima Wakatoshi. He was in more advanced classes, so she hadn’t ever seen him before, not really, but they had recess together. When he saw her get pushed to the ground, he felt compelled to intervene. He stood over Y/n on the ground, his shadow covering her. Though in most cases it may be a sign of intimidation, his shadow symbolized a blanket of comfort. He looked at Kimi and the two other girls and spoke to them directly.

“To treat your fellow classmate in such a way is despicable. She should be your friend, not your adversary. Don’t choose violence as a mode of communication, but talk out your differences. If this is something you cannot do, I’m afraid I’ll be obligated to notify your teacher,” the girls snarled in repulse and walked away. When they were far enough away, Ushijima knelt down to Y/n’s height on the ground, placing his hand on her shoulder. “Are you alright?”

“Yes! I’m okay! Thank you for helping me,”

“My name is Ushijima Wakatoshi. I am in advanced studies. What is your name?’

“My name, my name is L/n F/n. I’m in general studies,”

“Your knee. It’s scraped and bleeding slightly. Here, use this band-aid,” he told her and handed her a latex patch from his pocket. She finally realized: this could be her new friend!

“Ah! Thank you! Um… do you like advanced studies?” He was a little thrown by the question but answered nonetheless.

“It’s fine. The work is manageable and if it will help me get ahead I have no problem with extra work,” he said while gently pressing the band-aid to her wound. He was quiet as he worked. Then, something told him to engage in conversation with her. “Do you like general studies?”

“Yes! It’s nice and easy, though I still struggle with maths. Do you struggle with maths?”

“No. I find it to be quite easy,” he stated.

“Maybe you could give me some tips on how to do better?”

“It’s pretty simplistic. The more practice, the easier it gets,”

Even after the band-aid was properly secured, the two children continued to talk. Y/n tried her hardest to keep the conversation alive. Even if the question was simple or off-topic she would ask it, and he would reply. Then recess ended, and they had to depart.

“I really enjoy talking to you Ushiwaka! Will you be at recess tomorrow?”

“I always attend recess. It’s important to spend time outside,”

“Okay! I’ll see you tomorrow then!” Y/n said and ran off to her teacher.

“Y/n dear, what happened to your knee?” the teacher asked her.

“It got scrapped. But It’s okay because my new friend Ushiwaka helped me! I can’t wait to see him again tomorrow!” Y/n told her and ran inside. What a wonderful friendship they had that year.

***

Y/n closed her notebook at the sound of the bell ringing. Another draining class.

I should have stuck to general studies. She thought to herself. Her friend Taeko put her hands on the front of her desk.

“That was so boring. How long are we going to be on tectonic plates?” she wined.

“I don’t know, but if it will help me get ahead I have no problem with extra work,” Y/n reasoned.

“Hey, guess what?”

“What?”

“I got a date today,”

“Really? With who?”

“That hot stud from the volleyball team. Reon Ōhira,”

“Do I get to meet him?”

“Uh, doy! I’m going to watch his practice after school. You don’t have horseback riding today, do you? You should come watch with me. Then you can meet him,”

“I’m finished riding horses for the week. I’m happy to meet him today.”

“Awesome! Then you can ogle his teammates. Oh my gosh. I’m a volleyball girlfriend!”

School had finally ended and Taeko and Y/n were headed to the gym Reon was practicing in. Taeko slid open the door and as soon as they saw each other they smiled. Reon jogged over to her and nodded his head at Y/n.

“Hey, Reon. This is my bestie, Y/n,”

“Nice to meet you. I’m Reon,”

“So I’ve heard. Nice to meet you, too,” “Reon,” Y/n heard a direct, commanding voice call out, somehow familiar. “we’re having a team discussion before we start practice,”

Y/n looked to the student who spoke, the captain, the one she remembered from fifth grade.

“Ushiwaka?” When Reon jogged over to a spot in the circle, for a moment, Ushijima and Y/n made eye contact. Ushijima peered at her, trying to piece together how he knew her face. Then his eyes widened.

“Do you know him?” Taeko asked Y/n. She broke eye contact and looked at her friend.

“Yeah. We went to elementary together. Ushiwaka, right?”

“Psh, don’t ask me. I can’t remember anyone's name. Let's sit here. I don’t want to be hit by a volleyball,”

Practice ended. It didn’t seem as long as Y/n would have thought it would be. She busied herself with homework, but she kept looking up and making eye contact with Ushijima. Did he recognize her? He must have. Based on his expression alone she knew he at least remembered her face. Taeko stood up, pulling her bag onto her shoulder. “We’re gonna head out. Are you okay walking home?”

“Yeah, sure thing. Have fun on your date,” Y/n winked at them playfully. Taeko smiled before turning on her heel and walking off with her soon-to-be boyfriend. Y/n turned to pack away her things when…

“Excuse me,” the same commanding voice came suddenly from directly behind Y/n, causing her shoulders to jump. She turned around to face Ushijima. “I apologize. I didn’t mean to startle you. I have something to ask you. By any chance, might your name be L/n F/n?”

“Yeah, it is,” she replied.

“My name is Ushijima Wakatoshi. We went to the same elementary school. I met you when you got pushed over by some girls and you scraped your knee. I bandaged your wound and we became friends. You called me Ushiwaka. Do you remember me?”

“Yes, I remember you. You were my first friend in elementary,” It was silent for a while. Awkward. Neither of them knew what to say.

“What classes are you taking? Are you still in general studies?”

“No, not anymore. I started taking advanced classes. What about you?”

“I’m still taking advanced classes. I still excel in math. Have your math skills improved?”

“Yes, but of course, as I improve the material gets harder,”

“You are correct. I say if it will help us get ahead there is no problem with extra work,” Y/n nodded. That sounded like him. “Your friend has left with my teammate. Are you walking with someone?”

“No. I usually walk with her but they have a date today so I’m loning it,”

“Then may I accompany you?” Y/n thought for a moment but in the end, accepted.

“I would love your company,”

After Ushijima had walked Y/n home that day, he asked her for her contact information so they could talk outside of school. Y/n learned he was a very formal texter, but he had a charm to it. It was kind of like their friendship was picking up where it left off. It ended up being really, really nice. Y/n started going to his practices with Taeko more, and they studied together outside of school ever so often. One day Y/n caught herself smiling while texting him. Truth be told, she had a bit of a crush on him in their elementary days, but she would never admit that to him.

“Ohmygosh, ohmygosh, ohmygosh, Y/N! Prom is like, right now, what are we wearing?” Taeko asked Y/n as she grabbed her shoulders.

“I don’t know. I wasn’t even thinking about that. Should we go shopping today?”

“Uh, yeah! We have to get on this pronto! I’m texting Reon. I have to make sure our ‘fits don’t clash. Should I get his opinion or surprise him?”

“Get his opinion. Leave the surprise dress for the wedding,”

“Good idea. Oh my gosh! Do you have a date in mind? If so we need to bring him too. We’re obvs gonna do a group picture and I can’t have his suit wash any of us out,”

“No, Taeko, I don’t have anyone in mind,”

“Well, the time is still early. You never know, Reon’s team captain might ask you. You guys are close now, right?” Y/n didn’t even think of that. What if he did? Would she say yes? Would she want to? No. He wouldn’t ask her.

“He doesn’t seem like the type to ‘prompose’. Let’s look for dresses. What do you think about blue?”

“For you? Absolutely! A royal blue in satin fabric – long. Oh my gosh this is gonna be so fun!” Taeko practically skipped out the school doors, bringing Y/n with her. Even if Ushijima didn’t ask her to prom, she was so ready for prom.

Taeko found a beautiful green princess gown and the most flattering suit for Reon, but Y/n hadn’t found the right fit. After a long time of looking, the three ended the day and walked Y/n home. It was about 2 hours later Y/n heard her doorbell ring. She went downstairs, opened the door, and there she saw Ushijima with a long banner, asking her to be his prom date.

“L/n F/n. Will you go to prom with me?” he asked. Her face was still for a moment, trying to comprehend. Ushijima, upon seeing her face, started to worry he made a mistake. “I asked Reon what I should do to ask you since he was seeing your best friend. He told me to keep it simple. I also got you flowers. I couldn't hold both them and the sign so I put it on your step,”

Y/n looked down to see the large bouquet. It was magnificent. “So, L/n, what do you day? Will you be my date to the prom?”

She lifted up the massive vase and held it to her face. Who knew he’d ask the same day Taeko suggested he might? Probably Taeko. Y/n couldn’t contain the smile on her face. “Yes, Ushiwaka. I would love nothing more than to be your date!”

______________________________________________________

Posted. 17.Sunday.March.2024 at 19.37 (7:37pm)

#haikyuu #haikyu x reader #haikyuu x reader #haikyuu fluff #hq #hq x reader #hq fluff #volleyball #anime #fanfiction #anime x reader #female reader #x reader #ushijima wakatoshi #ushijima x reader #ushijima fluff #hq ushijima #haikyuu ushijima

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bengiyo · 3 months

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An Apology to Ossan's Love and The Novelist

I'm writing this post today as a formal apology to both Ossan's Love and The Novelist for avoiding them in 2018-2019 due to general negative fandom takes about them. Both shows are great, and I should have watched them six years ago.

I recently watched the Pornographer series thanks to @lurkingshan burning some of her coupons to make me properly engage with the series. In that series I found one of the most compelling expressions of internalized homophobia I’ve ever seen. Rio was not only cut off from being sexual with other people, but he felt like he couldn’t even be a proper man.

Later, in Mood Indigo, we got to see the messed-up way Rio became an erotic novelist but also finally seemed to connect with an important part of himself. He also found a mentor who, despite his proclivities, became an important paternal figure to Rio.

Finally, in Playback, Rio finally faced his own insecurities and accepted that Haruhiko loves him and reciprocated it. At every stage of this story, they are able to communicate so much of their story through the sex that’s happening. We’re applauding depictions of sex happening in the genre now that this series was doing half a decade ago.

I decided to give Ossan’s Love a second try when I saw @isaksbestpillow getting so excited about the second season and providing context for the original show. With Ossan’s Love, I understand why people might have bounced off this series right away. A lot of folks don’t enjoy the way the Japanese do comedy, Haruta is intentionally unlikeable at the beginning, and I’ve seen concerns about the boss either being a predator or that his feelings would be treated as a joke.

Thankfully, I tend to enjoy Japanese comedy and found the show hilarious! I was laughing out loud almost every single episode because of multiple characters, but most especially Yoshida Kotaro as the boss. This show generated so much of its comedy from the core characterization of each character, so every joke landed so smoothly for me.

Something I really liked about this show was that it never said we were wrong for disliking Haruta for being a mess and a slob. He cannot take care of himself, and he barely gets better at it before the end of the show. I like that Maki breaking up with him didn’t make him suddenly straighten up his ways about this and become a fully-functioning housekeeper, but he did get better about doing some chores even as the chief started taking care of him. Haruta isn’t the easiest character to like on the domestic front, but he is good at his job and he is a kind character. I like that you have to figure out why these guys like the mess that is Haruta, because I like the audience has to think about what in men that gay people find attractive. Is that a rosy-eyed read? Yes. I don’t are.

As for the boss, he never uses his position over Haruta, and they’re also in sales. It’s not as egregious to me as it would feel in other positions. I also like that his attraction to Haruta isn’t a joke, but the fact that he’s older and maybe isn’t speaking the language of the youth is very funny. He’s an extremely endearing character and I love Kurosawa Musashi.

So, this is my apology to both of these shows for letting negative fan opinions stop me from facing these shows properly. Both of them were great. I’m currently working through the Ossan’s Love: In the Sky season to get to the movie and new show.

#Ben writes #ossan's love #the novelist #pornographer #mood indigo #japanese bl #bl series

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fernsnailz · 2 months

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February 2024 Review Roundup

well i sure did watch some stuff and read one book this month

the things i finished this month reminded me that for every incredible piece of art i find myself enjoying, i end up watching some Hot Garbage immediately after to balance things out again. idk why i do this.

i have quite a bit to say about both the things i enjoyed and the things that brought me physical pain this month, so there is um. a lot under the cut. any previous desire for brevity i had in january has been completely thrown out the window as i use these roundups as an outlet to gush about things i like and complain about things i didn't. fair warning, if you open the readmore you will be scrolling for a while. enjoy i guess

House of Leaves

does any other book out there have the balls to write a completely fake interview with stephen king

House of Leaves is a novel you gotta throw around a little bit. It feels really weird that my copy is still in the pristine state I bought it in - It seems like it should have water damage and smell like mildew with its pages falling out and spine cracked into pieces. Getting the full story from this book requires flipping back and forth, turning it around, searching for answers. All things considered it’s not that difficult of a read, but its format still allows you to feel like you’re discovering every hidden piece for yourself, and I really liked that interactivity. I was engaged pretty much the whole way through.

I don’t really think I’ll be able to revisit this book anytime soon though. It’s difficult for me to format what else I’d like to say about it because to be honest, it caught me off guard and disturbed me on a fairly personal level. There’s a relief I feel when I remember that I don’t actually know what was going on with the house - maybe that was intentional on the book’s behalf, maybe I just didn’t look hard enough for answers. I don’t know. But the implication that something divine was down there was enough of an answer for me. The book's good. read it if you want a spooooooky time or if you never want to look at a hallway the same way again

Doctor Who (Series 1-4) (rewatch)

ok so this is a fuckload of doctor who to cover so i’m gonna give some thoughts on a few of the characters and my favorite + least favorite episodes

9th doctor: My favorite butch lesbian. Christopher Eccleston truly embodies the concept of The Doctor so, so well: otherworldly guy who knows too much, genuinely cares about life across the universe, and also has a bit of deep, unresolved rage. His moments of joy and careless fun stick with me the most, he absolutely radiates with life and brings so much to this character.

Rose: I first watched Doctor Who when I was in middle school, and I didn’t like Rose that much back then. And guys. I have bad news. I'm still not really much of a Rose fan

I definitely understood her more this watch through - that desire for adventure and some sort of control over her life, emotions so strong that she’s willing to throw near everything away. That’s just what being 19 is like sometimes. I think Rose is a very compelling character who just happens to frustrate me a bit. And that’s kinda the point, her co-dependent relationship with the Doctor is doomed to fail and it's meant to hurt. Ultimately, I think when I first watched the show I was too young to understand Rose, and now I’m just too old to relate to her.

Captain Jack: Jack is my favorite character. I fucking love this guy. Dude has the worst luck in the whole universe and still cannot be stopped. Legendary. Every episode with him is a goddamn delight because he has so much chemistry with every single cast member. No notes 10/10 i love my problematic bisexual king

10th doctor: About four episodes into David Tennant’s run I realized that he dresses like a Hazbin Hotel character and it made me very sad. Still, there’s a reason this guy inspired every middle schooler to buy a pair of converse in 2008. He has style, he has depth, he’s got the sauce. It’s genuinely terrifying to see his anger, I like that a lot of 10’s run is about his denial of godhood and power over life in the universe, something that the rest of the time lords desired. idk i like my sad pathetic little weasel but he's also a huge fucking asshole sometimes which sucks. especially when it's directed at Martha.

Martha: Martha I am so sorry for what this show put you through. Martha was my favorite companion when I first watched the show, and I still have a huge soft spot for her. Her ability to hold her own and navigate foreign worlds using her own intelligence absolutely rules, and her drive forward is unbreakable. But the show seems to put her down at every possible opportunity, most notably with how 10 treats her. Her struggles and wants are constantly ignored, and she's often treated as a rebound from Rose. And I like that she eventually chooses to end it by not traveling with 10 anymore, but it hurts because it feels like she was never given the same chance or care that Rose and Donna were. This era of Doctor Who really doesn’t treat its black companions well because Mickey goes through something similar - both Martha and Mickey are characters designed to be ignored or left behind, and it sucks.

Donna: Donna Noble is one of the greatest fictional characters to ever exist. Despite seemingly living a fairly average life and working a fairly average job, Donna reflects the idea that no one is truly "average" and every single person is brimming with personality, life, and love. I love that her relationship with 10 is purely platonic, personally their friendship feels like it has a lot more depth than either of the romance-oriented relationships 10 had with Rose and Martha. 10 and Donna bounce off of each other so well and it's delightful, Donna brings so much humor and life to every world she's taken to and it's incredible. I wish her and Captain Jack could have interacted more.

My favorite episode: The Runaway Bride is hard to not choose as my favorite. I have a blast every time I watch this episode and it’s such a good introduction for Donna. Also the Tardis car chase kills me, I love when it cuts to the kids in the back of another car clapping and cheering. I was also surprised by the episode Midnight - it’s dreadful to watch and I kinda loved it. So much spirals out of control when shit hits the fan, even though no one has any idea what they’re trying to fight against. Really interesting exploration as to how fear can drive people apart.

My least favorite episode: It’s Love & Monsters. I wish I liked this episode - stories that follow regular ass people living in this world are often some of the best episodes in the series (Weeping Angels and all that). And this episode definitely has some of that. It’s honestly really touching to see this group of nerds get together and enjoy life in the first part of the episode. I think the antagonist of “guy who absorbs people” ends up dragging down any charm this story had because he just. eats all of the interesting characters. But despite me disliking this episode, I honestly have a deep respect for it - it’s fucking crazy. It ends with the main guy telling us about his sex life with his girlfriend who is now stuck in a piece of concrete. Where else are you going to get a story like this. It fucking sucks and that’s hilarious

oh also the production design: GODDDDDD I FUCKING LOVE THE PRODUCTION DESIGN AND SETS ON THIS SHOW. I love how dirty and rundown a lot of the spaceship sets look with wires and lights scattered everywhere. And a number of alien designs also go CRAZY with the prosthetics - I keep thinking about the Hath from The Doctor’s Daughter and how every head prosthetic had liquid inside it that could bubble. Absolutely crazy. I also love the moments where you can clearly see they did not have that much time and just had to throw something together or pain a bald cap green. Jank is the nature of sci-fi production design and I dearly love and miss that Doctor Who jank.

Rebuild of Evangelion

Last year after finishing the original Evangelion series + End of Evangelion, I remember going through the Evangelion tumblr tag and being very confused by the number of slice of life/found family-esque fanworks of the cast. It left me puzzled and thinking “...did we even watch the same thing??”

APPARENTLY NOT

[spoiler warning here because these movies are very good and i give the best parts away. if you want to watch these movies then DO IT NOW!!!!!!!!]

I honestly never expected a world where these characters got a happy ending. I so, so badly wish I could see 3.0 and 3.0+1.0 in theaters - these movies are stunning. I know I say things “go crazy” a lot, but man. They go fucking CRAZY.

While I have a few issues with how the first two movies adapted the original show, I do think the changes they made better serve the story this rebuild is trying to tell. For example, my favorite episode in the original Eva series is episode 18, where Toji is chosen to pilot Unit 03. It’s absolutely terrifying because Shinji doesn’t know who 03’s pilot is, yet he’s forced to be inside Unit 01 as it tears 03 apart. His resolve not to kill anyone despite not even knowing who’s in danger is an aspect of that episode I love and speaks to Shinji's inherent humanity, and when he learns Toji was in there it hurts even more. The rebuild movies change Unit 03’s pilot to Auska, and Shinji knows she’s in there from the start. I think this choice works for the movies and is still an effective emotional beat, but personally I still prefer the version where Shinji had no idea who was in there. That lack of knowledge is infinitely more terrifying to me.

I really like what these movies did with some of the angel designs though. The sixth angel (the fuckin. blue diamond cube thing) works really well in 3D/CG animation. The way the thing warps and moves is otherly and terrifying - and it’s just a fucking cube. I’ve always really loved how the Eva series approaches angel designs and the divine - despite the alien-like designs, there’s often something extremely familiar about them. They’re often reminiscent of an animal, a machine, or a human. This is also how they approached the anti-universe in these movies, I loved how it takes the form of various locations from the series and turns them into a movie set. It’s deeply familiar, but ultimately just an illusion of familiarity like the angels and the divine.

Also I gotta say. I fucking love Mari. I think she’s hilarious. She first meets Shinji by accidentally parachuting into him and then immediately starts crawling on all fours to sniff him. This girl also introduces “Beast Mode” where the Eva pilots can go wild turn their mechs into a fucking. superpowered beast of some sort. And also she defeats a whole army by using the Eiffel Tower as a spear. She’s such an absurd character and I honestly kinda love it. The only thing I knew about these movies before watching them was this gif of her Backing That Shit Up and she truly lives up to the insane nature of this shot.

My favorite section of these movies is definitely the first part of 3.0+1.0 where the pilots are basically just living a domestic life in a small town - it’s truly beautiful. The growth that Rei’s copy goes through here is fantastic, I love stories about seemingly emotionless beings learning how to live. And right after she dies, we get the shot that absolutely broke me the first time I saw it:

This shit. The way you can just barely tell he’s been crying from the red around his eyes. They don't talk about it, they barely linger on it, but it's allowed just enough time to punch you in the gut. I don’t know why this shot got me as hard as it did but goddamn. jesus christ. i want to throw up

There’s some goofy shit in these movies. The infinite synch rate. Misato’s stupidass hat and sunglasses. Some goofy ass 3D animation that doesn’t age super well. The rainbow that shows up every time an angel dies. But these things really didn’t take me out of the core of these films, and there’s so much genuine emotion and beauty in this series that had me absolutely hooked - especially in the last two films. They go crazy. My favorite line is 100% “The only thing a son can do for his father is pat him on the shoulder… or kill him.” and man. ain’t that what Evangelion is all about. i love these movies

High School Musical 3

kinda slaps just a little bit

High School Musical 3 starts with a finale number. The last high school basketball game of Troy Bolton’s life - and it goes kinda hard. The classic pep band brass that’s essential to so many High School Musical numbers returns, and the constant theme of two feuding cheer teams in the background? Genius. This is truly art. I love listening to Now or Never without visuals because in the middle Troy just starts coughing and gagging seemingly out of nowhere

Unfortunately, starting the movie at such a high point means that the rest of the runtime doesn’t quite match up to it. The story lags and meanders quite a bit, but part of me kinda appreciates that - it’s their last semester of high school, which is always a time of confusion and turmoil. However, I do have a pitch for how they could have countered the constant falling action this movie seems to go through:

The Wildcats should have lost their last game at the beginning of the movie.

What if the game is instead the inciting incident that leads Troy and his besties through their tumultuous last semester? Troy is still torn between basketball and theater, but his identity would be even further challenged here - is winning and success all that matters for him, or is it the love of sport and performance that keeps him going? idk whatever this movie came out 16 years ago i can’t be out here writing AUs for it jgnfsgfnjdksg

Some miscellaneous thoughts about this movie that i don’t care about formatting into larger paragraphs:

Ryan and Sharpay’s number (I Want It All) slaps as usual. The part where Ryan shouts “MADISON SQUARE GARDEN!!!!!!!” makes me so happy every time i hear it

The production design and sets go absolutely fucking crazy. I still have no idea how they pulled off the spinning hallway in Scream.

One of the classic staples of HSM is Chad’s shirts. Most of them are fairly silly and like something you would expect to find in the walmart clearance section. However, there’s one shirt he has in this movie that confused the hell out of me. It’s this one:

What the FUCK does Greenster mean. Is it just a combination of Green and Monster?? Why??? What green monster are we talking about here????? Where the fuck did this shirt come from?????????

Avatar The Last Airbender (2024)

There’s really only one word I can think of to describe what this show is like: sauceless. No flavor. No depth. No character. No sauce. This show is honestly so fucking boring and seems to fundamentally misunderstand what the appeal of the original Avatar series is - not necessarily because things are changed or removed from the original, but because nothing of substance is added in return.

Most of the characters are mere echoes of their original counterparts when compared to their source material. Sokka is reduced to a guy who wants to fight good, Katara’s stubborn and confrontational nature is very rarely utilized, and Aang’s mischievous antics and love of fun is sorely missing. One of the major reasons for the dull interpretations seems to be the directing - While I have faith that most of these actors are trying their best (especially since a number of them are kids/young adults), the direction seems to be incredibly lackluster and takes away nearly every cast member’s stage presence or personality. There’s a number of reaction shots of the main trio that just look like this: 😐😐😐 as if they were just told to “look concerned” at the events unfolding before them. And these issues are apparent in the majority of the performances - for example, General Zhao talks like he’s in a board meeting up until the last episode, and it’s an incredibly flat performance. He talks somewhat monotone in the original series as well, but this live-action take on the character often meanders with his dialogue and lacks that sharp, terrifying quality that I think this character needs. Uncle Iroh also feels incredibly stiff in this adaptation, and it’s a goddamn crime that they took away the cunty little outfit and chains he was originally wearing when he gets captured by earthbenders. wait who said that

Credit where credit is due, there’s a few cast members that seem to be giving their best. It’s clear that Aang’s actor enjoys the role and does pretty well despite the lackluster direction and dialogue he’s given. On top of that, I think Zuko’s actor is honestly the best part of the show. His take on Zuko leans much more into teenage tendencies and sarcasm, which, although it can be silly, is a welcome take of the character in my opinion and pretty fun to watch. There’s this one line he has at the beginning of episode 2 where, in an incredibly whiny tone of voice, he goes “He RAN! The ultimate warrior! He’s a Coward :((((“ and the read is so. fucking funny

The case of bad direction isn’t limited to the performances, however. It’s also stunningly apparent in how everything is shot. Despite being in a widescreen format, most shots are incredibly centered - you could crop the entire runtime into a 4:3 frame and you wouldn’t be cutting out much of anything. I’ve seen some speculation that this was an intentional choice to make things more adaptable or readable for TikTok/phone video, but honestly I think that’s a dumb take. I think the issue stems from a lack of creativity and thoughtless composition. Keeping everything staged in the center can make shots feel disjointed, lacking much depth, or completely empty. It’s a boring way to shoot and indicates that the show lacks any unique vision at all.

Overall, this show doesn't really seem to understand what makes Avatar interesting in the first place. It's more interested in spectacle and action than the characters' relationships, emotions, and mistakes. I try not to compare it too much to the original since it's allowed to take liberties with its adaptation, but very few of its changes add much to the end result or give it a unique voice. It's just sauceless and boring.

Some YouTube videos i liked in February:

💥 My House.WAD - Inside Doom's Most Terrifying Mod (some supplemental House of Leaves material for ya) 💥 Martha Jones Deserved Better (this video explains how Doctor Who did Martha dirty better than i ever could) 💥 bringing JUSTICE to the worst garfield game 💥 Selling Kids for Clout: The Downfall of Family Channels

And that’s my roundup for February! Thank you for reading, I promise there are no more reviews left to scroll through below this goodbye. Nope, nothing else I watched this month. Bye!

…ok is everyone gone. phew, i’m glad no one noticed i pulled an hbomberguy and hid the largest part of this post under a false ending. Anyway holy shit i need to talk about hazbin hotel

Hazbin Hotel

well i didn’t like it

Hazbin Hotel is a weird, fascinating mess of a show. Every episode left me wondering what creative decisions (or lack thereof) led to the sequence of images I just watched. There’s been a lot of discussion of this show recently and I’m not interested in covering every critique I have, but there’s a few things that I'd like to talk about somewhat in-depth.

Hell is real and it's just Red Chicago

The setting of Hell is kinda boring in this show.

Let me try to put this into perspective. Aside from the hotel, here’s a list of the locations we see in Hell:

A boardroom

A video store

Vox’s evil lair (it has cyber sharks which is kinda cool)

Various streets

Another boardroom

A BDSM club

Carmilla’s house (it’s gray and has. balconies?)

A porn studio

A bar

Another bar

A town square (full of cannibals)

None of these locations really take on any sort of otherworldly form besides some vague demonic imagery scattered throughout (and the cannibals. i guess. whatever). In short, Hazbin Hotel’s setting resembles Chicago more than it does Hell.

I can see a world where that’s intentional. Perhaps making Hell resemble a modern city could be used as a thematic tool or point of relatability? But Hazbin doesn’t really do anything like that - since the characters rarely ever interact with their environments, these locations end up seeming like they lack creativity, like they’re just cardboard sets where characters go to swear. They all start to blend together after a while - every street feels the same, every boardroom fades into the background, and every bar feels like a google image search result for the word “club.” This world feels stunningly empty despite the busy designs and colors. Even though the backgrounds are painted and designed fairly well, nothing of substance is ever really added to them through the story.

However, a few musical numbers take effort to break away from these settings. This felt like a weight off of my shoulders whenever it happened, it was nice to see some interesting setpieces and backgrounds that weren’t red. I liked the bombastic and over-the-top broadway lights in Loser and the glowing alternate world in Charlie and Lucifer’s song. But these moments are few and crowded by the dull locations in Hell - or worse, the Hotel itself.

Despite being the namesake of the show, the actual Hazbin Hotel is… lifeless. Which, yeah, it’s a hotel where dead people go in the afterlife, but it’s missing any sort of personality or history besides “it’s old and falling apart.” I expected the hotel to be full of secrets - like maybe some hidden passages or rooms, or mysterious cabinets full of rotted meats, or old valuables hidden under the rugs by the previous owners. Something for the cast to explore and discover, and as they get closer to each other they also start to understand the hotel more. Alastor seems very intent on keeping the physical hotel standing for some reason, but I never really understood why. There’s nothing there. And that nothingness is fully realized when at the end of the show, they just rebuild the entire hotel to be grand and beautiful - an emotional beat that didn’t hit me at all because I never felt like I knew the hotel in the first place. Despite rebuilding it from the ground up, it will feel just as empty.

3 SHOTS THAT DRIVE ME CRAZY

I was truly baffled at how some of these scenes are timed and put together. Multiple sequences left me feeling nauseous and dazed - the camera moves like it’s being swung on the end of a rope, and there’s so many misplaced or meaningless cuts scattered through these episodes.

There’s a sequence of three shots in the first episode that I want to dissect. I will fully admit that I'm breaching nitpicking territory here, but the shot composition issues in this show are pretty rampant and my analysis here is just a hyper-specific look at a single part of that larger problem. Hopefully you can also use it as a quick storyboarding lesson too idk

First, we see Adam teasing Charlie.

Then, it cuts straight to this shot:

A few things here.

Shot 2 is just closer on the characters, which is not a great idea to cut to after the previous waist-up shot. On top of being a jarring jump cut, there is no purpose for this new shot. All the information we see here (Adam laughs, Charlie fake laughs) could have just been conveyed in the previous shot.

Despite the characters being in the same position as the last shot, the background changes. This straight up just feels like an error. I think the idea is supposed to be that the camera is at a different angle, but the position of the characters does not convey that. It looks like reality changes behind them.

And if that’s not enough, this is the shot we get immediately after those two:

In this shot, the residents of the hotel sit on the couch as Vaggie walks into the shot, framing them between her legs. But there’s something… off.

Vaggie either looks like she’s floating or she’s three stories tall. Quick storyboard lesson as to why:

The main problem with this shot is that the perspective of the background doesn’t match up with where Vaggie is placed. The couch is framed as if the camera were above it, but Vaggie is framed like the camera is floor-level below her. I’ve traced the shot and added a perspective grid to hopefully better illustrate this:

Do you see what I mean? If the camera WAS actually on the floor like Vaggie’s position in the shot suggests, the composition would look more like this:

Notice how much closer the floor grid is to the bottom of the frame and how you can see the underside of the couch.

And to be fair, this is probably what the original storyboard for this shot looked like! Personally I think something went wrong in the compositing stage - this might be a couch background from another shot that was reused here to save time, or whoever approved this shot just let the error slide since the shot is so short (i've been there. sometimes you let the jank slide). Most animated shows will have some poorly framed shots and continuity errors because mistakes are bound to happen, but two egregious ones right next to each other like this is. pretty bad. It's so noticeable from a directing perspective.

Here’s the thing: these three shots happen in the span of like 10 seconds. Most viewers probably wouldn’t notice these issues, and that's fine. But even though these errors are quick, they stack upon each other so fast that even if you can’t pinpoint exactly what’s wrong, something still feels wrong. There’s so many other moments where the show breaks extremely basic shot composition, continuity, and staging rules - for example, the second musical number of the show breaks the 180 rule like four times for no good reason. The whole show feels like a dizzy, nauseating mess because the shots rarely feel like they form anything cohesive.

MY ROOMMATE TOLD ME TO GO TO BED SO HERE ARE SOME FINAL THOUGHTS

Here’s a rundown on some other thoughts that I don’t care to format into larger sections:

The show seems to lack much to say about sin and redemption other than “redemption good.” like sure, but what are they being redeemed from? Is heaven truly the place they deserve to go after being redeemed, even though it’s shown to be unjust? Are there sins that are too great to be redeemed from, or others that shouldn't be considered sins at all? I asked myself a number of questions like this, but never got many answers from Hazbin.

This show has a bad relationship with kink and sex. Both are mostly used as a punchline or a form of control. I didn’t like it. Perhaps the reason Hazbin never really comments on the nature of sin is because it needs you to consider sex and kink sinful or otherly for these jokes to hit.

Some of the animation is crazy good. I will praise any animator that even attempts to make these character designs move. A number of extremely talented people worked on this show, a few of the musical sequences in particular have some incredible movement.

Alastor is a very boring character. It’s wild that most of the side characters in this show only exist to talk about how much they like or hate Alastor, he mostly just stands to the side of some shots or kills random nameless goons. I expected him to have a much larger role in the story, but he just gets his ass kicked in the final episode and then crawls back to the hotel.

Episode 4 is the most cohesive, and i think Angel is the best character in the show. Unfortunately, the fact that Hazbin takes so much effort to show Angel’s misery left me… concerned? None of the other characters get treated as poorly as Angel by the narrative. There’s a few smaller explorations of trauma, but nothing remotely compares to what Angel is put through on-screen. This isn’t to say that I think the whole cast needs to be extremely traumatized and constantly miserable, but rather that I find it concerning that the only character subjected to incredibly graphic abuse and torture (that we see or hear about) is the gay sex worker. Which sucks, because I think the concept of hypersexuality resulted from sexual abuse is an important topic worthy of discussing in adult media. I just think they tried to execute this theme without much critical thought beforehand.

I think the voice cast does a fantastic job for the most part. Keith David is way too good for Husk.

I really liked the one shot where Charlie opens her phone and we see that she has a contact for every individual egg minion.

I was very brave and got through this whole review without talking about my new least favorite character of all time, Vox. here’s what I think of him:

The overall vision and end result of Hazbin Hotel is just mediocre. While I don’t know what led to the messy state this show ended up in, my guess is that it was probably the result of inadequate direction, sloppy writing, and lacking creative support from the studios involved. Because of this, please understand that I have no desire or intention to put down any individual artists that worked on this show - I hope it's clear that most of my criticisms are directed at the larger vision these artists were given to execute and/or the lack of creative support they received while working on this show.

I also don’t really have much desire to participate in any further Hazbin discussion or discourse because it has wasted enough of my time already and I want to be free of this curse. please spare my inbox from hazbin hotel discourse. please. i'm begging.

You want to know what the most fucked up thing about this is though? Despite everything I said about Hazbin, Avatar the Last Airbender 2024 is still the worst show I watched this month. I would take Hazbin over Avatar 2024 literally any day.

well if you got this far. thanks for reading. also sorry you read all that. whelp alright back into my hole i go bye bye

#to get to my hazbin hotel opinions you must first read my pitch on how i would have written high school musical 3 #jesus christ. either i gotta watch less things or learn to shut the hell up next month this is a longass post #review roundup #long post

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tyriongirl · 9 months

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Tyrion's Heterochromia as an Analog to Lann The Clever Stealing the Sun

This is inspired by this post by @jackedup180 and further conversation with them.

Tyrion does not fit the mold of Lannister looks (fully blond hair, fully green eyes, and, in Tywin's and the rest of abelist Westeros' views, able bodied) and instead is this mix of both blond and dark haired, eyes both dark and bright, supposedly not looking like a Lannister 'should' look.

Tywin clearly thinks Tyrion isn't "truly" Lannister, and this is strictly because of his looks and his highly hyper visible disability:

"[...] Men's laws give you the right to bear my name and display my colors, since I cannot prove that you are not mine. To teach me humility, the gods have condemned me to watch you waddle about wearing that proud lion that was my father's sigil and his father's before him. But neither gods nor men shall ever compel me to let you turn Casterly Rock into your whorehouse."

However, Lann's looks weren't "Lannister" either. In reality (or actually, imagined history / mythic past) Lann wasn't blond, even if that part of the story is being de-emphasized.

"The Lannisters were an old family, tracing their descent back to Lann the Clever, a trickster from the Age of Heroes who was no doubt as legendary as Bran the Builder, though far more beloved of singers and taletellers. In the songs, Lann was the fellow who winkled the Casterlys out of Casterly Rock with no weapon but his wits, and stole gold from the sun to brighten his curly hair."

[AGOT, Eddard VI]

Lann The Clever didn't fit the mold. There was no mold, and there still isn't one now. There's no 'right' way to be or look a Lannister. The story itself is only a legend, a myth, a tale with no actual or very little basis in history:

"Names such as Brandon the Builder, Garth Greenhand, Lann the Clever, and Durran Godsgrief are names to conjure with, but it is likely that their legends hold less truth than fancy. [The World of Ice and Fire, Ancient History: The Age of Heroes] "It is highly unlikely that such a man ever existed; like Lann the Clever [...] the Winged Knight is made of legend, not of flesh and blood." [The World of Ice and Fire, The Vale: House Arryn] "Lann the Clever supposedly lived to the age of 312, and sired a hundred bold sons and a hundred lissome daughters, all fair of face, clean of limb, and blessed with hair "as golden as the sun." But such tales aside, the histories suggest [...]" [The World of Ice and Fire - The Westerlands]

Tyrion's looks stopped Tywin from seeing that he was the essence of what house Lannister was about, before Tywin's bizarre "traditional"-made-up house values that didn't exist until him. Tyrion is a trickster, Tyrion does use his words as his weapon and assets, Tyrion can and have tricked his way into getting what he wants - as we can see with his first trial in the vale, and his deal with the mountain clans.

Instead of acknolwdging that, Tywin prefers to see it as a fault of Tyrion:

"He closed the shutters, frowning. "You have a certain cunning, Tyrion, but the plain truth is you talk too much. That loose tongue of yours will be your undoing." "You should have let Joff tear it out," suggested Tyrion."

[ASOS, Tyrion VI]

Tywin can pretend forever that Tyrion is not a 'true' or 'proper' Lannister ("this was the last time I will suffer you to bring shame onto House Lannister." ASOS, Tyrion I), but in the end it is clear that Tyrion is both a Lannister in values, deeds and character, and inherently Tywin's true and undisputed son:

"Now that's where you're wrong, Father. Why, I believe I'm you writ small." [ASOS, Tyrion XI] "[...] But Tyrion is Tywin's son, not you. I said so once to your father's face, and he would not speak to me for half a year. Men are such thundering great fools. [...]" [AFFC, Jaime V]

Also I just think being the og Lannister would be the cruelest and most fun revenge Tyrion could enact on Tywin <3

#tyrion lannister #tywin lannister #house lannister #meta #valyrianscrolls #lann the clever #mine #i took the basis from the conversation and rewrote it with text based close reading in a state of mania

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lindsayraindrops · 2 years

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So “A Taste of Gold and Iron” by Alexandra Rowland is an unmitigated delight.

I am not even kidding, I consumed this book in a haze and consciously made myself slow down while reading so I could better savour it. It’s unspeakably good. The world is so rich and detailed and woven into the characters’ personalities and quirks and how they experience their surroundings, it was a joy to read and I cannot stop thinking about it.

(I started writing this review after I read the advanced reader’s copy months ago. In March!! Rest assured I have not stopped thinking about it.)

In this fantasy romance novel with a limited though plot-relevant magic system, Kadou is the Prince of Arasht, struggles with chronic anxiety and his-sister-the-sultan’s annoying lover, and constantly tries his absolute best to do well by his kingdom and the people entrusted to him.

Evemer is a supremely capable bodyguard who gets assigned to Kadou in an effort to keep him out of trouble. He starts out being supremely unimpressed with Kadou. Take one look at the US cover of the book to see just how much he will become attached to his prince—

All of the characters are fleshed out and multidimensional, with realistic flaws and strengths and so much tangibility to them and the context in which they exist, I am absolutely FLASHED by the character work!

Do you like fealty?? Do you like Fealty with Feelings?? Do you like an achingly tender love story of growing devotion where they talk about their positions in each others’ lives long before they realise or admit they’re in love? You will love them. I love them.

Listen to me. Do you enjoy the liege/vassal dynamic but are particular about the power differentials in play? EXCELLENT NEWS the complications therein are addressed in the book, both in general ways relevant to the worldbuilding and relationships with side characters, and between the main couple themselves. Both of them broach the subject on several occasions! Laying open their expectations and fears in scenes most tender and caring and my god it is so well done.

Do you enjoy a world that is dealing intimately with mechanisms of fealty that is gorgeously constructed and thought through and then there is on-page deconstruction of that situation and dissection of what it means and what responsibilities come with it for both vassal and liege, and how the characters deal with that responsibility?? I know I do!!

Are you unsure about the fealty? Have you literally ever looked at fealty in fiction and thought to yourself, “This makes no damn sense—compels me though” ?? Rowland will make you look closer. They will hand you your own emotions and say, look at it. Hold it. Feel the weight of your own heart in your hands. You are allowed to have feelings about it. You are allowed to admit that this is intense, and it is not the same devotion as love is devotion, but it is just as Much, just as Heartwrenching, and NOW watch me add love to it and see how it transforms.

This author lays hands on this trope with absolute precision down to the molecular level and it is so. fucking. good.

And this is not even the only excellently executed and close relationship in the book. Kadou has family he loves, and who love him: the sibling relationship is politically strained and is immediately influenced by the plot. Another plot thread concerns a sexual relationship that ends, with the characters expending effort to transform it into a friendship, and it is not less valued for it.

The plot is gripping! There is a counterfeiting operation going on that threatens the kingdom’s economic stability, and our main characters are charged to investigate it. It flows seamlessly into the worldbuilding and character work. The world itself is queernormative, both regarding relationships and regarding gender, and nuances of it are discussed in narration and between various characters.

I cried about this book twice in one evening bc it has the ABSOLUTE AUDACITY to follow up an intense scene of fealty with an intense scene of the love that is developing underneath.

This book hits is like a needle-fine arrow directly into your heart.

The US edition came out today, the UK edition will be out in two days (September 1st), please read G&I, get it now, enjoy <3

#a taste of gold and iron #alexandra rowland #queer fantasy #queer lit #book rec #book recs #queer romance #bookblr #lgbt #fantasy #romance #fealty #a conspiracy of truths #a choir of lies #ALSO. do you like ariaste fanfiction?? THIS IS THEM. YOU WILL LOVE THIS.

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sparingiscaring · 6 months

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Continuing from my previous tags, a thing I've wondered about Light Fingers (at least since finishing it) is, why do we never actually experience one of the major horrors of the Ambition ourselves? Like, okay, Starved Men, we go there and have a bad time, Clara is having so much body horror, Hephaesta and the Zee, Edward is staking us, the Orphanage is... yeah, and A Bat Wants to Roofie The City, sure that's a Bad Time, but it feels like we missed out on Actually experiencing what is at the core of this story!!! OBSESSION.

I wish we had gotten Moon-Milked! I think we are the only ones in the story (Aside from Frank n Jasper) who don't experience it! Like, I'm sorry, you're telling me EVERYONE HERE either is or has gone through one of the most intense horror things ever, an obsessive love that is driving you almost to madness, and you DON'T GET TO?! Not even for a BIT?! It feels like it should be there! You should have had it happen!

It could be at Vaughan's Island. Think of it. THE BOTH OF YOU. THE SYMBOLISM. Obtaining Lethean Tea Leaves (It's Light Fingers, you could probably steal some with a high shadowy challenge, make it a Heist if ya want) is how you opt out! Opting out is your Current Route - you don't get the letters full text, you get to act horrified at Poor Edward's... yeah, unchanged. But if you don't, you have to read what he sends. You're compelled to. The game can tell you in Bold, after it happens. "Find a Remedy, or else your Obsession will Grow".

You have the option to burn the letters, but even when you click it, the narrative, the Obsession, makes you read them, makes you keep them, makes you keep the boxes and the letters and everything else he sends you. Just changing the framing, changing it so your every no is changed by the Moon-Milk into a yes, because you are NOT in control of your own Self, when it comes to this. Nothing else is changes - but when it comes to the Object of your Obsession, you just cannot be in complete control of yourself.

And if the first time control is taken is too much, you could just be reminded again. And that option to Undo This is there, you just have to opt out. You get the Biggest Part of the Horror tied even more to your character, and you as the player have to deal with the loss of control of your Self, of that certainty that your choice was your own, and the building unease that, in the following sections, you cannot even trust your own Player to obey you, when it comes to this ambition.

Or, piggybacking off of @thedeafprophet's 'PC Gets Kidnapped' idea, it could easily come into play there, in a much smaller role. You're subjected to it, then, if you don't hold out, and you see the world as your saviors (puts a blanket over Jasper and Frank's heads) did in Clara's case, and still do, in Hephaesta's. You get to experience the need and the pull and the obsession yourself! The parallels of how you freed Clara from her's, to her freeing you now! They physically get you out of there, and then Vaughan mentally gets you out of there, helping you cure/repress the after effects.

You never marry Poor Edward, he's whimpering pathetically in the Nightmare Orphanage, or Murderized in the Nightmare Orphanage, but you can chose between cure and repress. No Edward Card, sealing him away in that place, or leaving open a door in your subconscious, come the next Nightmare card.

I don't know how to end this. I just feel like we should have had the chance to subject ourselves to The Horror of this Ambition, because stopping this from happening to everyone is really the story of Light Fingers. It's one thing to see it in somebody else - I wish we could have seen it ourselves, and had the chance to see just how horrifying it really is.

#and NO you can't become obsessed with anyone But Him because i'm biased and i refuse to entertain a falsehood #look me in the eyes. look my icon in the eyes. there never was another way #anyways i've gone feral #i think about this all the time okay #it's!! it should have happened!!!#long post #it should have!! it feels like it was being set up for that!!!!#fallen london #just in some way to Feel It Ourselves

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clovecardamom · 10 months

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justice for q force & high guardian spice

i was yelling on the bad bird website and i forgot i can also yell here now so i want to yell about the completely embarrassing legacy that we, the collective royal we, all of us hooligans on the internet, cursed high guardian spice and q force with.

this is for two reasons:

i think the way our cultural forums decided to burn these shows stake because we did not personally like them extremely sucked, especially if you were a queer person in those industries watching it happen, especially if you were one of the many queer people working on these shows.

they were just genuinely super funny if you gave them a chance and didn't prescribe preconceived notions of what good queer animation is supposed to be.

the cosmos is compelling me to yell about this. so i am. you cannot stop me.

so, both of these shows were burdened with a press cycle basically yelling at everyone from the hills, okay! hey! the new gay show is here! if you're gay you should like it!

anyone familiar with how media works should already be going like "aw geeze" if you weren't there for this in real time, but the resulting shitshow was heard round twitter, tumblr, youtube, and probably other places i don't use as much.

instead of cheering on these underdogs and politely recommending people give them a shot, or just politely stating if they were or were not to our tastes, it became like... a cool fad among posters on all platforms to explain why these shows were actively intrinsically, irreparably bad!

when the shows were perfectly fine, with some mediocre lows but overall high highs!

q force, for every softball joke about lesbian uhauls makes five more genuinely hysterically specific jokes while treating its cast with a huge degree of respect. if you did not get these jokes, that's fine, but lines like "call me miss congeniality honey cause i'm a femme top with a gun" and the entire endgame of eurovision hosted by a small european nation whose economy is based entirely around christmas (twink's favorite holiday from harry potter) live forever in my mind. it was a stupid little adult comedy, but the characters talked like me and my friends. characters like twink especially, was allowed to be funny and silly while still respected by the people around him. i cannot express to you how rare it is to find stories where a flamboyant drag queen twink is given his degree of nuance and development.

on the other hand, high guardian spice was doomed from the outset, but we all jumped at blood in the water instead of letting it exist as it was. it takes no research effort to learn that high guardian spice was yanked around through development hell for years and very clearly had no time or money to make their original pitch a reality.

i'm the first person to admit high guardian spice is, put kindly, a complete mess, but it's a mess with an unbelievable amount of heart and charm if you just engage with it organically instead of making fun of every little production error. i cannot stress enough how little time or money they had to make this thing. it was straight up unethical.

and despite that production hell... it was funny? high guardian spice was straight up just way funnier than most cartoons lately if you just engaged with the jokes as jokes and got the hate-watch stick out from under you. the character chemistry was super compelling, the voice performances had that bee & puppycat amateur charm, and it was a viewing experience so genuinely enjoyable my friends and i have literally watched it like three times from to back.

so, this completely mediocre and janky western anime should've just fallen by the wayside right? nope! it became political baby! it became about wokeness ruining animation, and we all participated in that narrative because we thought that one scene where a character says he's transgender very bluntly was awkward!

the way that everyone, mostly without watching more than ten minutes of the first episode, decided to jump on a hate train spearheaded by 4chan to completely destroy the show's chance at survival was... quite frankly? pretty embarrassing! it was genuinely super awful to watch otherwise reasonable members of our community to act so callously because something was... cringe? annoying? even if high guardian spice was as bad as everyone was saying it was, this kind of behavior is kind of straight up cruel if you took a second to listen for the cacophony of dogwhistling and the way that the cast & crew of the show was being spoken about.

as these things go, it became an easy way to punch down and earn some sweet engagement by posting jokes you thought sucked or where budgets and production timelines faltered.

it was really stupid. i am not asking for an apology for these shows, but i am asking that you give them a chance if you previously avoided them or otherwise bounced off. if you don't like them, that's okay, i don't care. i just want these works by queer writers, artists, and actors to... actually get to exist on its own terms, instead of being swept up into a cruel and pointless circus of engagement farming.

because you know what the industry takeaway extremely is going to be moving forward? guess people hate this, let's make sure future products for this market receive less time and funding.

if they do get made? gotta make sure they completely avoid all of the meatier and mainstream alienating subject matters both shows genuinely got into if you gave them the time of day.

every time the next gay movie or television show comes out in this online fandom space i have my eyes peeled for the kind of buffoonery that we subjected q force and high guardian spice to because they had the gall to make queer cartoons that were not for everyone.

they were specific, they were weird, and they were rough around the edges. and they've stuck with me because of that.

so far, it does not feel great to see media with non-threateningly nothing representation where characters peck each other on the lips briefly and wave a flag but otherwise never engage with each other, their identities, or their communities, and have everyone praise it because it didn't dare say anything specific enough to alienate anyone.

i would rather not connect with a gay character in a movie or cartoon because they just weren't the type of character or story i connect with... instead of not connecting with a gay character because there was nothing there to connect with in the first place!

okay i'm done i love you goodbye.

#high guardian spice #q force #rant #i'm so MAD #THIS ALSO SERVES AS MY REVIEW OF NIMONA #WHICH I HATED BUT I AM BEING CIVIL ABOUT

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narwhalandchill · 6 months

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a bit more serious/negative note on childes characterization and fandom perception, saw a post where the tone upset me quite a bit

i did do a whole vent/rant/cathartic 2.4k words of writeup on this yesterday which like did help clear my thoughts a lot but in hindsight is way too long to just release by itself so i suppose ill just summarize my thinking now

so i would really appreciate it if a certain subset of childe fans reading his character a specific way (the trauma, identity crisis, dark abyss experiences, etc. - you know the one) could stop acting as if its this like. superior canon proven hoyo intended most real and intellectual way to look at his character and interpret his narrative. as opposed to just one reading of the canon material among others. and im sure most people are civil but ive seen this tone enough to just need to get this off my chest rn.

like im not "missing" something or being "tricked" (what?) by childe or the narrative. its not some naive ignorance about this reading being a thing and the ways people argue for it. ive read his lore. p much memorized it rly. and i simply did not find the arguments that compelling or feel that inserting this additional layer of subjective interpretation atop my understanding of the canon text did much to enhance childes narrative potential or characterization for me.

simply put. applying this super strict irl psychology logic (bc yes a real 14 yo going thru some irl version of ajax' backstory would get severe psychological disturbances as p much given. i know what the DSM-V is) to fantasy game characters isnt how i enjoy engaging with childe or any character really.

genshin is a fantasy game and fantasy as a genre has always readily sidestepped things like realistic psychological consequences of various heavy experiences in favor of building a compelling narrative whenever necessary. i dont find arguments relating to irl psychology particularly relevant at all on the subject really. if you enjoy this approach, go on, have fun! but please understand that its an interpretation that people can disagree without being "wrong" or failing some arbitrary reading comprehension test.

like the dismissive tone i see from people who simply cannot comprehend that like no, this take isnt some universal truth of hoyos that every person will glean from reading up on childes lore and appearances if theyre big brain and intellectual enough is just... really fucking rude? and alienating.

im not going to go on a like whole ramble on all the things that i personally see very much as hinting towards childes characterization going quite a different direction than this popular heavy self-doubt, psychological angle would suggest. its my interpretation after all, and could be proven wrong the way any interpretation can. but for now ive read his lore for years and looked into every single tidbit that involves him and so far hoyos writing of him hasnt given me any convinving case for changing my view drastically anytime soon. and id just like to be allowed to exist in this fandom space without being randomly jumpscared by posts alleging im reducing his character to this or that just bc i see his greatest narrative potential elsewhere.

theres enough insane shit and incredibly interesting lore relating to his overall role in the story and the cosmic scale of teyvat as a whole to be invested in already. like taking childes character as depicted to us and how in-game content characterizes him at a relative face value as opposed to seeking an implied internal struggle of sth hidden and repressed is me simply finding that take the most unique, fascinating, horrifying, compelling and exciting way to see him instead. thats what i love about him and his character. like im sorry, in my eyes the dark past corrupting innocence and trauma angle has just been done to death already in media. childe can have something actually different and breaking those tropes is what makes him stand out for me!

anyway. this whole situation is not sth i wanna start flaming ppl for or make into some drama, i try my best to stay on my lane and let ppl live even if i disagree w these sorta takes on childe. and i just wish for that grace to be extended towards myself too.

#like this attitude literally drove me off genshin fandom and childe content one time already im just tired #im sorry this got so negative but man.#and like do not fucking make this into a debate on whose interpretation wins im talking about basic respect. i WILL block you #rambles #genshin #childeposting #long post

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howtofightwrite · 11 months

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So this story uses the cliche armour that blocks everything and weapon that pierces everything, except the same person has both thus cleverly avoiding the issue. However, whenever he gets captured, both these items always stayed on him. Which is quite stupid, though most of time he was tied up in a way he couldn't reach his knife to free himself as he hides it deep in his clothing. So uhh.. good, bad, etc? I'm trying to write fanfics but can't seem to justify weirdness like this?

I don't know what cliché you're thinking of. This is just a poorly balanced character versus the threats they seem to be facing. We're both guilty of writing a couple characters like this over the years, so you could consider this, “lessons learned.”

An invulnerable character can still be interesting and compelling. The problem is that they fundamentally sabotage a lot of constants that we, as writers, have in relation to character tension. If you have a character who cannot be harmed, you can't build tension by threatening them with physical injury or death.

You can build texture, if they experience pain, or appear to suffer damage. If a character is so detached from the human experience that they can't die, they may legitimately look at losing a limb as an annoyance. You can even play this for a kind of comedy. Such as a character voicing annoyance after being shot in the back of a head and dumped in a ditch.

Unsurprisingly, this is something you see in comic books. I'm specifically thinking of The Crow, and Spawn. A bland quote from the latter that comes to mind is, “that's mine, give it back,” referring to his heart which had been torn from his chest by a demon.

Ironically, Spawn had an interesting concept for how to deal with this kind of immortality on a character, even if the comic eventually abandoned it. Initially the character had a finite energy reserve, and everything he did, including recovering from catastrophic wounds, consumed some of that energy. For all the comic's flaws, it was an inventive use of the ticking bomb.

An immortal character (whether that immortality is innate, or derived from an artifact of some kind), can still face genuine tension. Characters around them, who are important to them, can be placed under threat as a proxy for threatening the character directly. This can build tension for the audience, as if you'd placed the immortal under threat. Now, it's also worth noting, especially in cases where the immortal is already a bit separated from their own humanity, they might not go for the bait.

In parallel to individual characters, you may be able to build tension with an immortal protagonist by putting larger numbers of characters in peril. For example: If your immortal character is trying to prevent a demonic invasion, it doesn't really matter if they can't be hurt, if they fail to stop the plan, the entire world is going to be overrun and everyone they know or care about will be dead. Worse, unlike the mortal characters around them, they can expect to have to deal with whatever (literal) hell they're stuck with, for a very long time.

Really, the one thing you need to be aware of in situations like that is simply that you can't use, “mortal peril,” as a way to build tension.

I'd categorize taking away a character's invulnerability as more cliché than it existing in the first place. If the antagonists could remove your character's armor, that's what you'd be looking at in broad strokes. This is a legitimate way to put your immortal under threat. They're used to being invulnerable, and suddenly that advantage is gone.

Really, taking away a character's powers, “to see what happens,” is a cliché I'm tired of. There are legitimate reasons to write stories like this, and you can write them, but a lot of them are very rote.

When you have an immortal (or otherwise invulnerable) protagonist, you immediately categorize all potential antagonists into two categories. Antagonists who are basically irrelevant, and ones who will realize that the protagonist can't be removed conventionally, and that they need to find a way to work around the protagonist's nature, or subvert it.

Some popular solutions for dealing with fully immortal foes include the aforementioned, “holding their friends hostage,” and, “finding ways to shut down or steal their invulnerability.” Sometimes trapping them in a prison is enough, other times you'd need to get more creative, such as exiling them from the universe.

As for the weapon... to use an actual cliché, “when all you have is a hammer, everything looks like a nail.” When you have a weapon that can kill anyone, killing people starts to sound like a pretty reasonable solution for a lot of problems. However, killing people, even important enemies, tends to create new problems. We could probably do an entire article dedicated on potential consequences for one character with penchant for assassinating their antagonists. Items like this are actually less problematic than they might first appear, because it's only useful in situations where they're engaging in violence and can afford to kill everyone who opposes them. It doesn't help with social situations, it's not going to help expose a conspiracy your character's investigating. It's not something they can take into high security areas (you know, usually.) And, in any violent situation where lethal force is excessive, it's not usable. If your character is in a prison, and the guards are just normal people doing their job, murdering everyone is more than a little messed up. Granted, that might be in character, but now instead of being some guy who was captured and escaped, they're the guy who broke in and murdered the entire household staff of some VIP. Before, your character might not have been hunted by the law, but now they certainly are.

Simply, “hiding the weapon in their clothes,” and keeping it while imprisoned because of that makes their captors seem incompetent. Something that can be kind of tricky when balancing the various characters in a narrative is understanding that making your character too competent can be perceived as their foes being that incompetent. There are ways to engineer a story around this, but it's not trivial.

It sounds like you might want to step back and reconsider fully reworking this into its own thing, rather than keeping it as a fanfiction. Ultimately, that decision depends on where you are as a writer, and how comfortable you are with your work. But, when you're working on fanfiction, and struggling to justify what you're dealing with, it might be time to take what you wrote, look at it very carefully, and decide if it can stand on its own without ties back to the original inspiration.

-Starke

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#writing reference #writing advice #writing tips #starke answers #how to fight write

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