I'm finally back into the way of kings and like.kaladin. Kaladin. Babe. My poor little meow meow. Sad boy times only. Prime Blorbo material. I would die for him.
What a shame bsanderson is such A Worldbuilding Guy and I'm very much more a character driven person where the world mostly exists to serve the narrative & themes bc like. Ho boy is this one dragging. The dalinar chapters SHOULD be smthn I enjoy! Sad old men! Guilt! Honour! Chivalric codes! The ever encroaching fear that you're losing your sanity! And yet. Mcdying.
Love shallan and jasnah. Absolutely fascianted by scholarly, philosophical and religious infighting and implications there. But Kaladin is THEE cosmere guy of all time. He's uprooted even my mistborn era 1 faves. Guilt complex chronically depressed sometimes suicidal enslaved soldier is actually meant to be a healer and a surgeon and he is kind. And good. He doesn't want to be a miracle but for his men he will be. But he also said fuck the lighteyes class oppression all my homies hate this shit. I stood ZERO chance of him not being my fave immediately
seeing IF fans finally begin to (rightfully) criticize w*yhaven's issues wrt plot, pacing, tone, attention to detail etc. wasn't on my 2023 bingo card but congrats to all for the growth/glowup moment.
wait what happened to that Raeliana x Beatrice fanfic where Beatrice was in love with Raeli but ends up trying to kill her after finding out the current Raeliana has replaced the Raeli she knew?????? i thought i bookmarked it??????
The Allure of the Fish-out-of-Water Trope in Fantasy
In the sprawling annals of fantasy literature, the ‘fish-out-of-water’ trope is as permanent a fixture as a brooding hero in a murky tavern.
Imagine plucking an unassuming character and tossing them into a realm where their understanding of the world is about as useful as a chocolate war hammer.
Picture a character for whom the idea of quantum physics is less alien than their current…
Are there place that surprised you as you read your first draft?
- Why do you suppose that is?
- Is there material there you'd like to expand?
What are the character really doing in this story?
- Might they have issues you haven't explored fully yet?
Look to the places that drag.
- These might be scenes where you have avoided dealing with something deeper.
- What are the characters really thinking in these places?
- What are their passions, frustrations, and desires?
Imagine alternative plotlines.
- How might your plot be different if ti headed off on another tangent from various points in the story?
- You don't have to follow them, but they might suggest other streams that can flow into the main plot.
Think About Structure:
Does you story play out naturally in three acts?
Is there an immediate disturbance to the Lead's world?
Does the first doorway of no return occur before the one-fifth mark?
Are the stakes being raised sufficiently?
Does the second doorway of no return put the Lead on the path to the climax?
Does the rhythm of the sotyr match your intent? If this is an action novel, does the plot move relentlessly forward? If this is a character-driven novel, do the scenes delve deeply enough?
Are there strongly motivated characters?
Have coincidence been established?
Is something happeing immediately at the beginning? Did you establish a person in a setting with a problem, onfronted with change or threat?
Is the timeline logical?
Is the story too predictable in terms of sequence? Should it be rearranged?
About Your Lead Character:
Is the character memorable? Compelling? Enough to carry a reader all the way through the plot?
A lead character has to jump off the page. Does yours?
Does this character avoid cliches? Is he capable of surprising us?
What's unique about the character?
Is the character's objective strong enough?
How does the character grow over the course of the story?
How does the character demonstrate inner strength?
About Your Opposition:
Is your oppositing character interesting?
Is he fully realized, not just a cardboard cutout?
Is he justified (at least in his own mind) in his actions?
Is he believable?
Is he strong as or stronger than the Lead?
About Your Story's Adhesive Nature:
Is the conflcit between the Lead and opposition crucial for both?
Why can't they just walk away? What holds them together?
About Your Scene:
Are the big scenes big enough? Surprising enough? Can you make them more original, unanticipated, and draw them out for all they are worth?
Is there enough conflict in the scenes?
What is the least memorable scene? Cut it!
What else can be cut in order to move the story relentlessly forward?
Does the climactic scene come too fast (through a writer fatigue)? Can you make it more, write it for all it's worth?
Does we need a new minor subplot to build up a saggin midsection?
About Your Minor Characters:
What is their purpose in the plot?
Are they unique and colorful?
Polishing Questions:
Are you hooking the reader from the beginning?
Are suspenseful scenes drawn out for the ultimate tension?
Can any information be delayed? This creates tension in the reader, always a good thing.
Are there enough surprises?
Are character-reaction scenes deep and interesting?
Read chapter ending for read-on prompts
Are there places you can replace describing how a character feels with actions?
Do I use visual, sensory-laden words?
For a Dialogue Read-Through:
Dialogue is almost always strengthened by cutting words within the lines.
In dialogue, be fair to both sides. Don't give one character all the good lines.
Greate dialogue surprises the reader and creates tension. View it like a game, where the players are trying to outfox each other.
Can you get more conflict into dialogue, even emong allies?
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ALWAYS rotating TAZ: Balance around in my brain like microwave but ESPECIALLY with the announcement of The Suffering Game graphic novel
The dope thing they can do (and are doing) with the graphic novel series is sprinkle in moments of foreshadowing and hints to the reader about what REALLY might be going on here, which is so cool and I’m a huge fan of it, especially when you’re telling a story in this form.
But what is REALLY FUCKING TASTY about Balance as a story is that none of the motherfuckers telling it had any clue what they were doing when they started
Gerblins is dick jokes and not knowing how dice work and making fun of each other for voices. LICHRALLY the scene where Taako grabs the Umbrastaff is immediately proceeded by Clint trying different voices for Merle while Justin begs him to stop, as Taako. Merle gets launched across the room cuz he failed his save, and now Taako has an umbrella. The scene moves on.
Griffin brought them up to the BOB, introduced them to the Director, and gave them memories of a war fought over nameless, lost, powerful but mysterious artifacts. The memory that Taako takes from it is the idea of soured cream (ya know, for his taco quest).
And then they’re off, on different adventures, making friends, saving lives, making more dick jokes, and Griffin is in the background, slowly building in the meta-plot, as all DMs do.
But this meta-plot was HUGE. It was ALL-CONSUMING. It completely changes everything we know about this world and these characters. It takes the moments of dick jokes, and arguments about character voices, and flirting with death, and adds a layer of tragedy and complexity that just wasn’t present the first time they told that story.
AND THAT’S WHY THIS STORY KICKS ASS. The vibe of the story changed as Tres Horny Boys grew closer and closer to remembering the lives they had lost, as Griffin upped the stakes, as people started dying. They still don’t know shit for most of The Suffering Game, but you absolutely could not have predicted the tone of that arc after just listening to Gerblins. It sounds like a completely different story. And so when the other shoe drops, when shit breaks bad, when it’s the end of the world… again, and they have to reclaim their Stolen Century…
It makes sense. The tone has shifted enough to accommodate that kind of change. The characters have grown (back) into themselves enough to make this work.
Because TAZ: Balance is a tragedy. But the tragedy happened before the podcast even started, and had been erased. So of course it started off with goofs and dildo jokes. Of course the three of them started being standoff-ish with each other and making light of every situation that should have had a lot more weight. They didn’t know what they had lost, and we, the audience, didn’t either. So it was easy to laugh and joke… until slowly, it wasn’t so much anymore.
Plenty of people have praised Griffin’s storytelling abilities, but I think the thing that was most impressive to me was how he took the disparate threads laid out behind the Boys on their adventures, and followed them backwards, into the story they had lost, and forwards, into the ending they earned. I fucking love that he settled on Istus as the deity to interact with them, because I don’t think there’s a better representation of the story Griffin was weaving behind the scenes of the arcs.
Story and Song wasn’t really an arc driven by dice rolls and role playing - but it wasn’t railroading either. Griffin took every story they had told, every happy ending they had fought for, and twined them around and through each other. The world was saved not because of a lucky nat 20 roll, but because every person they had helped through the story came out in force to fight beside them to save their world.
And so in the end, the Stolen Century was a tragedy. But The Adventure Zone: Balance was a story of hope, of family, of the power that just a few loveable doofuses can have when they move through the world, making friends and saving lives. So when the world was ending and they needed help, there were dozens of people waiting to hear the Story and the Song that would give them the push they needed to fight, and the hope they needed to win.
How Not to Read Terry Pratchett's Discworld Novels
With the very exciting fantasy books poll bracket going on Discworld and how to read it is in the zeitgeist again. I figured I would take a crack at adding to this important topic with a guide drawn from my own chaotic mess of a reading journey:
Learn that Terry Pratchett is a fantasy author that several people whose reading taste you admire enjoy. He apparently blends comedy, good plotting, and a world that is both grounded and satirical and you're a big fan of all those things.
Fabulous! Decide to read some of his work.
Go to your local library. Love a good library. You're new to the area, so you're also exploring the library for the first time, too.
You have found Terry Pratchett! Points to you! Pull a book off the shelf at random. It's called The Dark Side of the Sun.
Start reading. Realize that this feels more like sci-fi than fantasy. Sigh in smug superiority about people who get the two confused.
Realize about halfway through that this is not, in fact, a Discworld book.
Nobody warned you the guy wrote other things!
It's still good, tho. Maybe a little rough but this was an older book and the author clearly has potential. Let's try again.
Review his works. The vast majority are Discworld. You are highly unlikely to grab another non-Discworld book. Go back to the Terry Pratchett section of the library.
Oh hey he wrote a book with Neil Gaiman! You've hears of that guy!
Grab Good Omens off the shelf.
Take it home, realize, much sooner, that this is also not a Discworld book. Still enjoy yourself thoroughly. You should read more of this Gaiman dude, too.
But okay. For real this time. Go back to the library and don't leave without *CONFIRMING* you have a Discworld book this time.
Grab a book. Look at the cover. Read the back Discworld! Ha HA! You've done it!
It's called Thud.
You are utterly gripped by a story of a man wrestling with himself, his growing child, the political tensions of a city and extremism that echoes reality beautifully while still being entirely true to itself. It's a story of responsibility and love and building communities and Fantasy Chess. You are driven nearly to tears by the sentence *WHERE IS MY COW?*
You emerge from the book fundamentally changed as a person, and finally understanding what all the fuss is about. You are now a Terry Pratchett reader for life.
You realize Thud was in the middle of a series. That was a part of another series. That explains why there was a feeling that you were supposed to know some of these people already.
You finally find one of those flowcharts and figure out a more sensible reading order.
I always sort of laugh when people ask where to start reading Discworld, because Thud would be first on absolutely nobody's sensible Terry Pratchett reading order. I'm still tempted to recommend it though!
(My actual advice: Going Postal if you love con men being stuck doing the right thing, Wee Free Men if you like YA and smart angry girls owning their own power, Guards! Guards! *and* Men at Arms if you like crime shows with heart and are okay giving earlier work a try (the quality gets better and better, but I think it needs at least two books to get you into it), and Monstrous Regiment if you like gender and queer feelings, anti-war books told in the middle of a war, and/or would prefer a stand alone novel...and, you know, Thud if you want a great read and don't mind some chaos.)
I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TONIGHT in PHOENIX (Changing Hands, Feb 29) then Tucson (Mar 10-11), San Francisco (Mar 13), and more!
Uber lies about everything, especially money. Oh, and labour. Especially labour. And geometry. Especially geometry! But especially especially money. They constantly lie about money.
Uber are virtuosos of mendacity, but in Toronto, the company has attained a heretofore unseen hat-trick: they told a single lie that is dramatically, materially untruthful about money, labour and geometry! It's an achievement for the ages.
Here's how they did it.
For several decades, Toronto has been clobbered by the misrule of a series of far-right, clownish mayors. This was the result of former Ontario Premier Mike Harris's great gerrymander of 1998, when the city of Toronto was amalgamated with its car-dependent suburbs. This set the tone for the next quarter-century, as these outlying regions – utterly dependent on Toronto for core economic activity and massive subsidies to pay the unsustainable utility and infrastructure bills for sprawling neighborhoods of single-family homes – proceeded to gut the city they relied on.
These "conservative" mayors – the philanderer, the crackhead, the sexual predator – turned the city into a corporate playground, swapping public housing and rent controls for out-of-control real-estate speculation and trading out some of the world's best transit for total car-dependency. As part of that decay, the city rolled out the red carpet for Uber, allowing the company to put as many unlicensed taxis as they wanted on the city's streets.
Now, it's hard to overstate the dire traffic situation in Toronto. Years of neglect and underinvestment in both the roads and the transit system have left both in a state of near collapse and it's not uncommon for multiple, consecutive main arteries to shut down without notice for weeks, months, or, in a few cases, years. The proliferation of Ubers on the road – driven by desperate people trying to survive the city's cost-of-living catastrophe – has only exacerbated this problem.
Uber, of course, would dispute this. The company insists – despite all common sense and peer-reviewed research – that adding more cars to the streets alleviates traffic. This is easily disproved: there just isn't any way to swap buses, streetcars, and subways for cars. The road space needed for all those single-occupancy cars pushes everything further apart, which means we need more cars, which means more roads, which means more distance between things, and so on.
It is an undeniable fact that geometry hates cars. But geometry loathes Uber. Because Ubers have all the problems of single-occupancy vehicles, and then they have the separate problem that they just end up circling idly around the city's streets, waiting for a rider. The more Ubers there are on the road, the longer each car ends up waiting for a passenger:
Anything that can't go on forever eventually stops. After years of bumbling-to-sinister municipal rule, Toronto finally reclaimed its political power and voted in a new mayor, Olivia Chow, a progressive of long tenure and great standing (I used to ring doorbells for her when she was campaigning for her city council seat). Mayor Chow announced that she was going to reclaim the city's prerogative to limit the number of Ubers on the road, ending the period of Uber's "self-regulation."
Uber, naturally, lost its shit. The company claims to be more than a (geometrically impossible) provider of convenient transportation for Torontonians, but also a provider of good jobs for working people. And to prove it, the company has promised to pay its drivers "120% of minimum wage." As I write for Ricochet, that's a whopper, even by Uber's standards:
Here's the thing: Uber is only proposing to pay 120% of the minimum wage while drivers have a passenger in the vehicle. And with the number of vehicles Uber wants on the road, most drivers will be earning nothing most of the time. Factor in that unpaid time, as well as expenses for vehicles, and the average Toronto Uber driver stands to make $2.50 per hour (Canadian):
Now, Uber's told a lot of lies over the years. Right from the start, the company implicitly lied about what it cost to provide an Uber. For its first 12 years, Uber lost $0.41 on every dollar it brought in, lighting tens of billions in investment capital provided by the Saudi royals on fire in an effort to bankrupt rival transportation firms and disinvestment in municipal transit.
Uber then lied to retail investors about the business-case for buying its stock so that the House of Saud and other early investors could unload their stock. Uber claimed that they were on the verge of producing a self-driving car that would allow them to get rid of drivers, zero out their wage bill, and finally turn a profit. The company spent $2.5b on this, making it the most expensive Big Store in the history of cons:
After years, Uber produced a "self-driving car" that could travel one half of one American mile before experiencing a potentially lethal collision. Uber quietly paid another company $400m to take this disaster off its hands:
The self-driving car lie was tied up in another lie – that somehow, automation could triumph over geometry. Robocabs, we were told, would travel in formations so tight that they would finally end the Red Queen's Race of more cars – more roads – more distance – more cars. That lie wormed its way into the company's IPO prospectus, which promised retail investors that profitability lay in replacing every journey – by car, cab, bike, bus, tram or train – with an Uber ride:
https://www.reuters.com/article/idUSKCN1RN2SK/
The company has been bleeding out money ever since – though you wouldn't know it by looking at its investor disclosures. Every quarter, Uber trumpets that it has finally become profitable, and every quarter, Hubert Horan dissects its balance sheets to find the accounting trick the company thought of this time. There was one quarter where Uber declared profitability by marking up the value of stock it held in Uber-like companies in other countries.
How did it get this stock? Well, Uber tried to run a business in those countries and it was such a total disaster that they had to flee the country, selling their business to a failing domestic competitor in exchange for stock in its collapsing business. Naturally, there's no market for this stock, which, in Uber-land, means you can assign any value you want to it. So that one quarter, Uber just asserted that the stock had shot up in value and voila, profit!
But all of those lies are as nothing to the whopper that Uber is trying to sell to Torontonians by blanketing the city in ads: the lie that by paying drivers $2.50/hour to fill the streets with more single-occupancy cars, they will turn a profit, reduce the city's traffic, and provide good jobs. Uber says it can vanquish geometry, economics and working poverty with the awesome power of narrative.
In other words, it's taking Toronto for a bunch of suckers.
If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
I'm going for gold, lads, lasses, and other gendered classes!
Do you like visual novels? Do you like stories about the fey? Do you like your entertainment as EDUTAINMENT?
IF SO, BOY HOWDY DO I HAVE A VISUAL NOVEL PROJECT FOR YOU.
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The Good People (Na Daoine Maithe) is a lore-rich and choice-driven romantic visual novel inspired by Irish mythology.
Play as an Irish tenant farmer from the mid-19th century, whose path becomes inexplicably entwined with fairy affairs after getting robbed by the roadside and lured into the mythic and war-torn world of Tír na nÓg: A once unified land, now divided into the Seelie and Unseelie Courts.
Will you escape with your stolen belongings? Or does fate have something else in mind?
OKAY, BUT WHAT DOES THIS MEAN FOR YOU, SEEKER OF SEROTONIN?
6 wonderful romantic/PLATONIC options (each love interest can be pursued entirely platonically)
a visual novel whose philosophy is less on anxiety-inducing, arbitrary choices to get a good or bad ending, but instead focuses on if you, the player, are interacting with a character in a healthy or unhealthy manner, leading to player freedom and choice
intelligent and reflective writing that is reflected within character moments and dialogue
and MORE! (so much more!)
WHERE CAN I FIND MORE OUT ABOUT THIS GAME?
Here is the bio link, which has links for the indie developers' social media accounts (Tumblr, Twitter, Discord Server) along with the link to their official website, which has a deep dive into every main NPC and the philosophy of the game. The demo is out now and free on both Steam and Itch.io
(As an official statement: I am in no way employed or affiliated with Moirai Myths and I was not approached in any way to make this post. This is me being a feral fan on main, blazing this post)
EDIT:
HELLO EVERYONE! DID YALL KNOW THE KICKSTARTER FOR THIS GAME JUST LAUNCHED TODAY? NOW YOU DO! MORE DETAILS AND MORE FUN TO BE HAD!
They’re doing voice acting reveals this month, along with an early bird special to see blushing/flirty emotes!
EDIT THE SECOND:
WE HAVE REACHED FULL FUNDING WITH THE GAME! Which is excellent, because it means that my little hyperfixation is gonna be made!
However!
It would be very nice if we could reach some of the stretch goals (which go into depth here: x). Not only are they fun (MC customization, a switch port, expanded voice-over work, more sprites, mini-games, side stories), but I think they'd spark a lot of serotonin for folks playing (myself included).
If this post has interested you at all, please, please, please check out the Kickstarter above! Thank you!
EDIT THE THIRD
Since this is still getting notes beyond my wildest dreams:
Hello! It's been a while! The Kickstarter ended a bit ago (I did not update this post when it did end, due to being ecstatic to how much the project managed to get: 130% funding!), but development is ongoing and strong! The first two routes are in development right now. Please keep tuned at @moiraimyths for official development updates!
1) “You take people, you put them on a journey, you give them peril, you find out who they really are.” - Joss Whedon
2) “First, find out what your hero wants, then just follow them.” - Ray Bradbury
Coffee bean’s analysis: Letting your characters lead the story can result in an authentic, character-driven story, full of real conflicts and natural emotion.
3) “Turn up for work. Discipline allows creative freedom. No discipline equals no freedom.” - Jeanette Winterson
4) “Show up, show up, show up, and after a while the muse shows up, too.”
- Isabel Allende
Coffee bean’s analysis: In order to write or eventually share your story with the world, you have to sit down and do the work, even if your brain is empty. Once you show up, the creativity has a chance to spark.
5) “All bad writers are in love with the epic.” - Ernest Hemingway
6) "Simplicity is the ultimate sophistication." - Leonardo Da Vinci
Coffee bean’s analysis: Being able to turn a complex idea into simple words is harder than one might think— but can elevate your writing. Not everything needs to be epic or overly flowery.
7) “Perfectionism is the voice of the oppressor, the enemy of the people. It will keep you cramped and insane your whole life.” - Anne Lamott
8) “I went for years not finishing anything. Because, of course, when you finish something you can be judged.” - Erica Jong
9) “Don’t write at first for anyone but yourself.” - T.S Eliot
Coffee bean’s analysis: Perfectionism will kill any chance you have at having fun and finishing your novel. Let go of that pressure of being perfect and do not worry about being judged. Write for you.
10) “Forget the books you want to write. Think only of the book you are writing.”
-Henry Miller
Coffee bean’s analysis: Don’t overwhelm your schedule with trying to write a ton of projects at once. Focus your energy into one (or two) at a time.
11) "A short story must have a single mood and every sentence must build towards it." - Edgar Allen Poe
12) “Every sentence must do one of two things— reveal character or advance the action." - Kurt Vonnegut
Coffee bean’s analysis: Even if you’re writing a novel, this advice is brilliant. Whether it’s a sentence, paragraph or whole chapter... make sure they are meant to be in your story. Keep your scenes tidy and thematic, building towards something.
13) “Don’t tell me the moon is shining; show me the glint of light on broken glass.” - Anton Chekhov
Coffee bean’s analysis: When writing a novel, give your reader details so that they can picture the scene in their head. Don’t do too much telling (though it has it’s places).
14) “It is perfectly okay to write garbage— as long as you edit brilliantly.”
- C.J Cherry
15) “If it sounds like writing … rewrite it.” - Elmore Leonard
Coffee bean’s analysis: Allow yourself to write messily and worry about editing later. Once in the editing phase, if your writing sounds stiff, rewrite it so that it sounds natural.
I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.
Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)
What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.
That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.
So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.
And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.
The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.
Out now! The Fall of Wolfsbane (Ravenglass Legends, book 1)
Hello from chilly Morecambe!
I am beyond excited to announce the launch of my latest novel, The Fall of Wolfsbane, the first installment in the Ravenglass Legends series.
This book holds a special place in my heart, as it brings to life a story that has been brewing in my mind for years.
The Fall of Wolfsbane is set several centuries before the events of The Ravenglass Chronicles, during the…
'I'm in Love with the Villainess' Anime - Episode 1 Review
An astounding and hilarious first outing for the series with the power to revolutionize Yuri
We are finally here, the long-awaited and much anticipated first episode of Platinum Vision’s I’m in Love with the Villainess anime aired on Tokyo MX and is streaming everywhere outside of Asia with a plethora of dubbing options, including English, on day one on Crunchyroll.
The first outing covers most of the events of the light novel’s first chapter, or the first three chapters of the manga, at a rapid but steady and not overwhelming pace. At this rate, the anime should be able to cover much of the series’ first arc, or the first two out of five books, in a single cour. Perhaps a bit less, depending on which of the story’s various adventures it elects to include. This is an exciting possibility, to be sure, as the story is a character-driven, socially mindful, and expertly written and, despite its fantasy setting, an exceptionally relevant tale of romance, socio-economic inequality, and of course, queerness.
While the first arc of Villainess is a triumph, it would be a shame not to see at least some of the developments from the extra chapters that lead into the second story, like (spoilers for the end of volume 2) Rae and Claire’s wedding and their adopted twin daughters May and Aleah. If we are lucky, perhaps they will appear in the final episode or, dare to dream, a second season (end of spoilers).
Now, onto the show itself. For those who, for whatever reason, have not read Inori’s masterpiece, I’m in Love with the Villainess follows Rae Taylor. A salary worker who dies and is reincarnated as the protagonist of her favorite otome game, Revolution. However, Rae has no interest in any of the game world’s three eligible royal bachelors and has eyes only for the game villainess Claire François. Armed with exceptionally magical ability, Rae sets out determined to secure a happy ending for her beloved Claire against the coming revolution and perhaps win her heart in the process.
Now, the opening of I’m in Love with the Villainess is the series' weakest moment in all mediums, which, considering episode one’s outstanding quality, only highlights just how superb the Yuri masterpiece is as a whole. Even with its need to establish the setting, characters, and premise of the series, the premiere managed to be an excellent introduction and set the bar high with lots of laughs, entertainment, and service between our two leads.
I watched the Japanese audio, and Yu Serizawa and Karin Nanami are fantastic in these roles, with Serizawa playing up Rae’s teasing adoration and borderline masochism at full blast, and Nanami explicitly giving voice to Claire’s arrogance and frustration. She even manages to deliver a perfect Ojou-style laugh to seal the character’s elite status and lean into the show’s use of otome tropes. And having the leads sing the excellent opening and ending themes is just icing on the cake.
Speaking of tropes, while Ironi’s original work is a genre-defying masterpiece that broke the Yuri mold, it is never afraid to play with the genre’s iconography and its otome game setting. Every other scene had another allusion, including to the book’s cover. As always, I am likely overeager to see connections, however intentional they may be, but the academy’s halls harken to otome staples, the bells and strings of the first scene's soundtrack conjured blistering memories of Strawberry Panic (perhaps a sacrilegious comparison to make but I digress), and even an areal shot of the campus was another check mark on my “Scenic Yuri” theory.
Now, as mentioned, I’m in Love with the Villainess has to establish the groundwork here, and narratively, these are the weakest moments, often direct exposition, with a few exceptions like Rae’s conversation with her roommate Mash about maintaining Claire’s attention. The narration is at least accompanied by relevant and creative, if perhaps limited, animation. But to their credit, these moments are succinct, existing only as long as they have to in order to provide the necessary information and get out of the way for what matters most: the characters.
Rae and Claire are front and center from the very get-go, and there is little time wasted in showcasing Rae’s intense bottom energy or establishing Claire’s elitism and bewildered anger towards Rae’s excitement in the face of Claire’s carefully calculated cruelty. It is a montage of silly and fun competitions between the two that had me laughing and smiling all the way through, as the Yuri was present in full force, and gives glimpses at the mutual obsession the women have for each other that will soon blossom into a wonderful romance.
These early story beats have a light tone and focus on the bullying, teasing, and rivalry between Rae and Claire, a dynamic that previously and understandably made a subset of readers somewhat uncomfortable. However, assuming the anime unfolds in a similar manner to the manga and light novels, the narrative will explore meatier, heavier subject matter and a far deeper lesbian romance, all without losing its sense of fun and adventure. The next episode or two will be incredibly telling - as the source material is perhaps the most profound and forthright depictions of LGBTQ identity in Yuri, and that all starts with a pivotal conversation that, if it is included, will be coming up shortly.
Overall, I am incredibly excited for this series. The first episode is everything I had hoped for out of an adaptation of one of my favorite works of all time, save the animation, which is average at best. While there is a lot more to see, and we will have to wait to know if I’m in Love with the Villainess lives up to its incredible potential and source material, I am extremely hopeful. We have one of the funniest, most thoughtful, and queerest works of Yuri transformed into a stunning anime project unlike anything that has come before and offers the chance at not just a new Yuri “gateway” but to continue the work of its source material in revolutionizing the genre.
Ratings:
Story – 8
Characters – 10
Art – 5
LGBTQ – We shall see…
Sexual Content – 3
Final – 8
I'm in Love with the Villainess is streaming on Crunchyroll with English sub/dub.
Review made possible by Avery Riehl and the rest of the YuriMother Patrons. Support YuriMother on Patreon for early access, exclusive article, and more: patreon.com/yurimother
(Edit: using this as a pinned post about all my books for now in lieu of another one. This was formerly for International Lesbian Day but now is a one stop shop for all my books)
For starters, consider checking out
Catnip
Amazon | Itch.io | Alternative Ebook Sellers | Audiobook
For all his life, Sol has believed he's only worthy of affection as long as he's useful--and he intends to prove his ultimate use by restoring a colony on Venus as a new home for his friends and lovers. But upon arriving, he realizes there's more here than he bargained for. For one, the resident artificial intelligence wants to make friends with him. For another, the nanites want to completely change his body... and in the process reveal her true self. Stuck (or perhaps blessed?) with a new form, she must find out what it means to live, to be loved for who she is rather than her work.
Catnip is a cozy space exploration novel about a trans woman's journey to find herself and what it means to be loved for who she is, with the help of her polycule and a lesbian AI.
If Sci-fi isn't quite your speed, you can also check out
The Hatchling
Amazon | Itch.io | Alternative Ebook Sellers
Sarric dreamed of dragons all his life; such flights of fancy captured his imagination at a young age and sustained him through the cruelty of the hunters that ruled the isolated mountain town of Rivermist. One day, a real dragon appears before him, dazzling him with her beauty and an answer to the unease that's afflicted him for as long as he remembers. He's eager to take what she offers--but the greedy hunters, driven by tales of treasure hoards, will do everything in their power to destroy her.
The Hatchling is a fantasy about a trans woman's journey of accepting her identity and her new found family.
If you want something a little spicier, consider reading
Wyrmheart
Itch.io exclusive
A mage without home or family seeks to establish a legacy for herself so that her name might ring out through the ages.
An assassin is charged with striking at the heart of a draconic cult that surely hides some greater evil.
Wyrmheart is a story set in Maria Ying's Those Who Break Chains universe and tells the story of trans women making their way through life in this fantastical world.
You can also take a look at my Patreon where I am currently writing several things, but primarily
Forged in the Light of New Stars
Forged is a t4t lesbian isekai story about a closeted trans woman and a repressed, rotten egg (in the trans sense) who find themselves transported to a vibrant, magical world filled with advanced technology, mysteries to discover, and most importantly: a place where they can their truest selves.
Follow Gwen as she strives to take control of her life, to be the woman she's always known she could be, and find true happiness.
Follow Brian as he struggles to cast off the chains that his family has bound him in, to undo the bigoted messages they poured into him constantly, and find out, deep down, who she truly is.
Watch them fall in love with each other and with the mystical world of Tellara and all the new friends they make along the way. See them uncover secrets about the connection between Earth and Tellara and their purpose as travelers between worlds. Magic, alchemy, and queerness collide in this otherworldly journey.
FEB 1, 2023: KICKSTARTER FOR THE GOOD PEOPLE (NA DAOINE MAITHE) HAS ENDED!
Thank you to our 776 backers for allowing us to bring this project to life, and reach our side stories stretch goal! We hope that you love what we have in store! Stay tuned, fateful friends!
The Good People (Na Daoine Maithe) is a lore-rich, choice-driven visual novel inspired by Irish mythology and Celtic folklore. Play as an Irish tenant farmer from the mid-19th century, whose path becomes inexplicably entwined with fairy affairs after getting robbed by the roadside and lured into the mythic and war-torn world of Tír na nÓg: A once unified land, now divided into the Seelie and Unseelie Courts. Will you escape with your stolen belongings? Or does fate have something else in mind?
Our Full Game will Feature:
Six Character Routes: There will be six character routes in total, each one exploring the individual stories of our diverse cast of Love Interests (LIs)! There are two men, two women, and two non-binary folk to choose from. Half of our cast is aspec, as well!
Secret Story Route: If you play through all six character routes, you'll unlock the secret story route! It's designed to tie up the broader narrative aspects of the game, and you can choose which character route is "canon" to your play through!
Flexible MC: Choose your preferred name and pronouns (including neo pronouns) and romance whomever you please! (We even have a stretch goal to customize MC's sprite appearance, too!)
Platonic Options: Not into romance, or don't want to romance them all? Not to worry! All routes can be played platonically.
Multiple Endings: Each route has two endings based on the health of your relationship with the LI, regardless of whether it's romantic or platonic.
English-Gaeilge Lexicon: Our game features translatable Gaeilge (Irish) words and phrases, and in the full game, translations will be voiced for ease of pronunciation!
Voice Acting: The main cast will have limited voice acting in the full game. Check our Kickstarter page periodically for voice actor reveals and samples!
Other Features (Stretch Goals): Side stories in-between route releases.
While we develop the full game, be sure to try out our FREE DEMO out now on Steam and Itch.io! Make sure to Wishlist our game on Steam as well!
Ways to Create More Active / Less Passive Protagonists
Recently I made a two-part post on passive protagonists, so what better day than today to get into some tips to help make protagonists less passive? This post will be relatively short — uni is a big ol' pain right now. Enjoy ~
Tip #1: Remember to give them a goal that matters to them.
What does your main character want? A goal is something that your character wants to achieve. It may not be the only goal throughout, and it usually gets resolved at the end of the story, whether the protagonist achieves it or not. It can be tangible like solving a crime, paying off a debt, reconnecting with a family member, or saving the kingdom. It’s completely unique and personal to that character. Ask yourself (or rather, your character) just how much they want/desire this and would do anything to acquire it. What does achieving this goal mean on a personal level to them?
Tip #2: Identify the driving force that’s motivating your protagonist.
Underneath this want/desire, is the character’s motivation for it. As your protagonists goal(s) is the destination, motivation is the number one fuel that drives them to achieve it. It can be anything from survival tendencies, a psychological need, or made out from something internal such as backstory.
What you can do to make their motivation more felt is by connecting their present ambitions and desires to significant moments in their past. As an example: if your protagonist is driven by a desire for wealth, uncover the childhood experiences that helped shaped his hunger for comfort and achievement— thus allowing readers to sympathize with his coming from a state of lack and revelational need to be content with the wealth he already has.
Tip #3: Think about all the threats and dangers that could arise… and throw them straight into your protagonist’s face.
Hey, life ain’t ever easy. It’s especially not much easier in a novel, whether you’re writing an action-packed thriller, a fantasy saga, a cozy romance, or a light-hearted coming-of-age. Every kind of story has some kind of conflict. You should introduce challenges for the protagonist that not only threaten the protagonist's external goal, but also their internal struggles. Push them out of their comfort zone! Also consider what will happen if they fail and what will change if they succeed. Let those stakes gradually elevate, and force them to confront their fears and darkest truths.
Tip #4: Bring on the domino effect: allow the protagonist to influence the story.
We’d want to ensure that the protagonist is not a passive observer, but an active participant in shaping the narrative. In both the short-run and long-run, your protagonist’s actions will influence and affect the world around them. Their decisions, actions, and reactions should ultimately have consequences that ripple and escalate through the story. By having this sort of chain of events, you not only drive the plot dynamic, but also emphasize the protagonist's agency in shaping the course of events.