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#and her friendships. but this is a major conflict of the book that’s resolved

thenowherejournal · 1 month

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The Death of Healthy Relationships in Portrayed Fictional Literature

An Opinion Article By Nad and Francis (February 2024)

Books are like windows for readers that allow them to see the characters’ lives, experiences and relationships with other people in the story. Through printed texts, consumers of fictional media can be directly affected by what they read. In the modern day, there are numerous genres that one can choose and indulge themselves in.

As of 2022 book sales statistics, one of the popular genres nowadays is romance novels as it makes the majority of readers experience a whole variety of emotions that makes them feel like they are also experiencing it. Through captivating narratives, it evokes us to feel loved, hurt, comforted or ecstatic especially when we witness the connection and bond between the characters. The concerning thing about this is that most contemporary romance novels do not depict healthy romantic relationships between the characters and oftentimes, the conflict between them is not resolved. Considering this, regular consumers of this type of literature can be affected negatively.

Both of us are not keen on being in a relationship with someone, the most we can do is observe other people’s romantic relationships and other people who want to be in one– and as far as we’ve seen it, the more we question what the romance standard really is. A lot of modern romance novels depict so much toxicity that it could affect a person’s perception of what a healthy relationship is. Even though challenges and complications between characters make a story more interesting, the depiction of romance in those stories can be resolved in a healthier way without making it problematic.

Cleopatra and Frankenstein, Coco Mellors’ debut novel, tells the story of Cleo and Frank’s relationship and how they were too emotionally broken from their childhood trauma to even be in a relationship in the first place– and while being married out of circumstances at that. Not to mention, their problematic age gap of 20 years where Cleo is 23 years old, the younger one out of the relationship.

In Sad Girls by Lang Leav, a popular novelist and poet, the relationship was built on a lie. Audrey (the main protagonist) told a false rumor about her friend that caused her to commit suicide. After that, Audrey started dating the girl’s boyfriend. In reality, however, the death was caused by an accident where the boyfriend pushed her off during an argument about the rumor and she hit her head. He panicked, so he staged it as a suicide. The other problem here is that Audrey and the guy still dated after knowing the truth.

Malibu Rising is another popular novel by Taylor Jenkins Reid. She is a New York Times best-selling author and won awards for some of her stories. Her other notable novels are Daisy Jones and the Six and The Seven Husbands of Evelyn Hugo. In Malibu Rising, One of the couples to note here are the parents. In the story, their relationship went rock bottom when the mother ended up being a doormat by the rockstar father– He cheated many times, to the point that he prioritized her less after receiving fame. She then ended up being an alcoholic and eventually drowned. Before her death, and despite all that has happened, the mother loved him too much even if that was the situation.

Then there’s Sally Rooney’s Conversation with Friends– a plotline that involves four characters, cheating, affairs between all four of them, toxic relationships and friendships, interwoven relationships– we could go on about all this. Colleen Hover’s books are also prime examples of romanticizing unhealthy romantic relationships like her novel, It Ends With Us, which glamorizes domestic abuse.

All this to say, these romance novels depict problematic relationships but the same books are also extremely popular because of the controversial stories in them. We watched a popular YouTuber, poet, and author, Dakota Warren, talk about her perspective on these kinds of “romance” literature and she pointed it out perfectly; “Romance does not usually go hand-in-hand with this (toxicity) unless the romance is so toxic and problematic that it should not be called ‘Romance.’”

Having said all that, we’d like to give these books and other similar literature the benefit of the doubt and take into account that the authors may or may not have intended to depict them as a feel-good romance read because somewhere out there, some people are experiencing these stories in real life. Through these books, we can empathize with them and comfort them by saying “I see you, I understand, you’re not alone”. However, as long as people recommend and market it as “a good romance novel”, maybe we should reconsider it.

All things considered, we are not in the position to tell other readers, especially consumers of contemporary romance novels to not read these types of books at all. As we previously stated, there are some things that we can gain from them like making us feel alive, thrilled and enthralled. But just like other things in life, everything should be in moderation. Depictions of “romance” in these types of novels should not be idealized and be considered as the standard of what relationships should be. Instead, we should take these depictions as “warning signs” of what an unhealthy relationship is and try to avoid becoming somewhat of the character who has shown these toxic traits.

#literature #contemporary literature #romance #romance novels #sally rooney #taylor jenkins reid #lang leav #dakota warren #novels #books #booktok #bookworm

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eyesanddragons · 1 year

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Okay I'm prefacing this with the fact that I Do Not Ship Winterwatcher (and to double preface this I ship Qinter) so people won't hound me about this but...like, Moon should of either had a scene turning Winter down and being on good terms or gotten together with Winter. Like follow me here, a major plot point in the Arc is how the Icewings and the Nightwings hate each other and the underlying tension when it comes to Winter and Moonwatcher's relationship was if it will repeat Artic and Foeslayer. So symbolically Winter and Moon's relationship is a question of "Can Nightwings and Icewings really get along or are they just never going to be able to. So...it like makes more sense for either Winterwatcher to happen or have a scene where Moon turns Winter down but they stay friends. Having Winterwatcher get together makes sense, and lovers from opposite sides of a conflict get together is one of the oldest tropes in the book. Even disregarding your personal feelings about if Winterwatcher is a good relationship it makes sense story wise.

Moon turning Winter down but staying good friends does has a lot of merit though. Them staying good friends still shows that Nightwings and Icewings can get along, and they don't need to be romantically in love to bridge the gap. The fact Moon can turn Winter down and Winter still being there for her is also proof of there bond. And doing this would mean Moonbil (and Qinter) is still possible, meaning you can still have the Moonbil ending but gain the benefits of answering the question of if Nightwings and Icewings can get along, the answer being yes.

And look I get the "oh here's each others feelings" scene in Darkness shows that there the same but that's not the same as well...not hating each other. Meaning Moon and Winter's relationship arc getting resolved is actually Really Goddamn Important and Really Should Of Been Resolved. Because it wasn't, Winter and Moon didn't have time to talk at the end and thus this plotline feels like it's been left hanging.

I like the idea of Moon turning down Winter a lot, I think it could of meant a lot for there friendship and Winter's character arc. I think Winter hearing this and Not Reacting Badly would be a neat showcase of how he's grown, I also like the idea of Moon getting the confidence to tell Winter how she feels. I think that's a lot more interesting than them getting together. It's also a neat subversion, the plotline is resolved not by romance but by clear understanding and communication. I just think it works.

I would talk about how Winterwatcher isn't actually Foeslayer and Arctic 2.0 and pretending that is shows a very surface level reading of both characters and story but that means I have to talk about Fandom Flanderization and I Am Not In The Mood To Do That. Just know that While Winterwatcher has a very high potential to end Badly I doubt it would become as bad as World's Worst Couple Over There.

#geniunaly scared to post this #wof #wof meta

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sirescumbag · 3 years

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AA7 thoughts

So I just finished Spirit of Justice and then I heard about Ace Attorney 7 apparently in the works, so my brain decided this is the time to make up potential plot twists to be excited about that don’t actually exist. I know this is divergent from my usual fanart posting but here’s a very long text dump of some new stuff I’d be interested in seeing but will probably not happen because it is all very specific and caters to my own desires, probably not the fandom’s in general:

Phoenix is still there, but not as active as an acting defense attorney, though he’s still key to the plot (as a mentor, or to be used as emotional blackmail). He’s not playable (or if he is, it’s not for long), but more there as a plot point in a Maya sort of way (oh the turntables). This time, he’s the one under threat or danger. Instead of switching around from lawyer to lawyer, I think that Athena should undergo some more development as a main character this time around since Phoenix and Apollo have had their time to shine. The removal of Phoenix and being all alone, I think, would also be interesting in her character development

On that note, bring on the major character angst!! Having a big tragedy occur, with a fairly major character. Usually the tragedy pulled is a murder/death, but how about a different sort of tragedy-- a fate worse than death/on par with it to someone who is still alive? Someone is severely incapacitated, a psychological injury (classic old memory loss, or perhaps a genius who is reduced to a very limited mental capacity), coma, or even a temporary death (like with Petenshy, Edgeworth), or perhaps a kidnapping (not Maya this time, please). If it happens to a major character, it’ll have greater impact, BUT there’ll be fan riots if it’s not reversible. So have the tragedy with the character get resolved, but not in a deus ex machina way-- recovery is slow and angsty but filled with hope.

There’s often a focus on the past haunting you-- let’s try shifting this to the present! Building suspense on a case that is happening in real time-- I am fond of the idea of a serial killer on the loose in the present and the dread of suspense in present time throughout trials as they continue to kill and hinder key advances in solving the mystery.

Very often, there are personal ties in court-- both the prosecution and defense are tied together in some way in the past, resolving their own personal backstory. Instead of oneself, maybe let’s have some focus on a client instead? It might be interesting to see a lawyer get so deep into protecting a single client-- instead of a new client for every case, protecting a single person over multiple cases-- that they get roped into an outsider’s story instead. A little idea in my head is of playing around with maybe witness protection, or say (off the serial killer idea) someone is expected to be the next target for a murder and you are tasked with trying to protect them in real time (and then a tragedy happens to them that moves plot forward, bonus if players gets to build an emotional connection between you and the client).

In SOJ and DGS, the stakes were big on “saving the masses” and government reform-- the stakes can still be high, but instead of something lofty like reforming the world or community, instead it could focus on the relationships with the people immediately around you, protecting them, or just some good old self-preservation.

Newer characters like Athena being really fleshed out! Whether there are new or old characters, really build and explore the depth of their character beyond that of a plot point. Not just slapping on relationship labels that immediately trigger emotion but have no context beyond it (like the killing off “my best friend” Clay in DD, or the classic parental death). I thought the fleshing out of Dhurke and building an emotional relation to him in SOJ was a lot more effective in making it really feel like a tragedy than with Clay in DD.

For introducing any old characters, please show some personality changes due to age. Or, maybe! Even a 180 change from the personality from the original trilogy for intrigue-- what happened to the old person I knew (and have it be integral to the plot)? I know I griped about the old “ah That Event 5/7/10 years ago” past plot thing being used but I wouldn’t mind this being used as a part of plot development either

Maybe try to bridge the feeling of separation between the old trilogy and newer characters’ worlds by, instead of kind of sequestering them into their separate spheres of interaction to preserve nostalgia (like in Turnabout Time Traveler, where the old gang is all together in the same dynamic, Maya and Phoenix and Edgeworth, etc), have old trilogy characters interact with newer ones in significant ways and build their own unique bond. So, not just a passing mention where the old encounters the new, having the old interact with the new and build a bond through going through significant conflicts together (for example, this has already been mentioned but if Athena is the main focus of the next game, there could be an opportunity to explore this if she confronts Franziska in court!).

I know there’s already so many gimmicks added (Apollo’s perceive, Athena’s widget) but if there has to be something new added, instead of making it individual-specific, maybe have be similar to spirit channeling as a concept-- have it be a broad phenomenon in the world that plays a key part in causing a case, rather than a tool for discerning the truth of a case.

Or, if we’re sticking with the same gadgets/tricks, instead choosing to tamper more with the tools of the trade that were supposed to never lead you astray-- this has already been seen in DD, where Apollo’s bracelet led him to the wrong conclusion about Athena, and AA4, where evidence was tampered with. Perhaps instead of adding new gadgets, let’s manipulate, tamper with, lose, have it used against them in new ways!

The use of a civil case in SOJ was very much unexpected but in my opinion a very interesting one! Would be very interesting to see more in-fighting among the prosecutor group or within the defense attorney group and see how that moves the plot along. Messing more with the court system instead of adding new gadgets would also be interesting.

More threats during investigation, not just in court! Remember when von Karma tased you in the evidence room? Let’s have suspense in AND out of the courtroom.

I’m sure there’s plenty of interesting psychological phenomena that could be used to complicate court cases (for example, that use of Justice Minister Inga’s cognitive disorder in recognizing faces coming into play)!

Different approaches for moral ambiguity for clients using psychology-- we’ve seen this with defending clients who are actually guilty, or being blackmailed. I’d be interested in seeing a Jekyll and Hyde situation where 2 different sides of one person commit a crime, but one side is unaware of it-- and how a defense lawyer would handle this!

Exploring the plea for insanity in court! Double jeopardy! Escaped convicts! A murder whose trial to find a good jury has been delayed for a long time and is forced to find its resolution outside of court due to the murderer striking again!

Also, to pull in some stuff I read about elsewhere, after reading about moral psychology in Jonathan Haidt’s book The Righteous Mind and moral triggers that typically pull strong reactions (care, fairness, loyalty, authority, sanctity), I was also thinking about how ace attorney manages to build emotionally compelling cases in relation to this model. Ace Attorney imo so far has done pretty alright at hitting most of these triggers at some point to hype the emotion, but for the final case, it ends up being played in what I see as generally the same way (ex: character development starts from from my duty as a lawyer is my role as the defense/prosecutor into that of my duty is to find the truth, authority corrupt and that is bad, justice should be served fairly, I am loyal to my group of prosecutor/defense, also played with loyalty and betrayal in DD with Apollo and Athena splitting, also triggered sanctity a bit in SOJ with the religion, lots of other examples probably but that’s a few). I’d be interested in seeing these same moral triggers played upon in different manner for some variety! Maybe even pursuing some different themes than justice and truth and duty and all that jazz, but idk what else could be alright to explore cause the courts kinda embody all that and deviating to make a statement about other themes might not fit as well in the courts hmm

Also part 2, I wonder if there’ll be romantic undertone somewhere (or heavily implied) for any new or old major characters. Romantic love isn’t usually used with major characters as a plot point (usually platonic stuff, friendship, family, or duty to the truth is instead) but I’d think it’d be interesting if romance was used this time around as an emotional motivator to drive the plot

#ace attorney #ace attorney 7 #aa7 #i kind of wrote this all at once so it's probably really jumbled ahhhhfhhhh #basically i want that sweet major character angst #i might just end up making an AU with these ideas if they're not in AA7 because i want an excuse to see these in a plot hohohoh #anyway i'm trying not to have expectations but i got myself all excited anyway so here we are

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overheard-at-camp-half-blood · 3 years

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A Rant About Heroes of Olympus Character Arcs.

Just as a warning most of this is negative, but I put the names in big bold letters, in case you want to skip. I do have some controversial opinions in here, specifically towards Percy and Annabeth, and their relationship, but I don’t think I’m negative towards their actual characters... I more so critique how it could have been written better.

I do still love the series, and even though I poke fun at Rick a bit, I still like him as a writer (though I recognize the problematic elements in this story). These are my own opinions on the books, and I’m sorry if I criticize your character in ways you don’t like.

Also, I may do another post about some other problematic elements, so be on the lookout for that.

Percy

Let’s start with Percy, shall we? After all, he is the one who started it all, and he was the one who introduced us to this world. If I’m being extremely honest, and I know I’m going to get hate for this, but I think Percy’s arc should have ended in the first series. He could have still remained a major character in this series, but I think as far as his main arc went, it wrapped up better in the first series, because I feel like this series added nothing to his arc.

I mean, he and Annabeth went through some majorly traumatic shit in The House of Hades, and then nothing was done about it, and I feel like it would just be better had it not happened. Besides I have some major issues with how his relationship with Annabeth played out.

Annabeth

I was really excited for Annabeth, and I did like her arc in MoA. It seemed like a good continuation of her arc in the first series, where Annabeth wanted to prove herself to everyone else, and now she wanted to prove herself to... well, herself. The arc had potential, and I really enjoyed seeing her arc in MoA, but as I said, I didn’t like how her and Percy’s relationship ship played out.

Now, let me preface this by saying that I am NOT anti-Percabeth, in fact, I do post a lot about it on this blog, but I am critical of how Rick writes established relationships. Perhaps it is because I’m older, so therefore my mind is more critical of these sorts of things.

I love Percabeth, but I really dislike their codependency.... I mean Annabeth’s arc in MoA was great because there was a focus on her relationship with Percy, but it was still about her. And yeah, I understand they’ve been through a lot together, but I really don’t like how their development was dependent on each other.

The reason why I put this under Annabeth and not Percy is because for me, it was much worse for Annabeth, because this was our first time getting this from her perspective. We got to see Percy develop through his own eyes, but we never really got the same for Annabeth. Most of Annabeth’s development was through Percy’s eyes, which was why I was so excited that Annabeth was getting her own POV.

And it was great in MoA! But after that, it honestly felt to me that her story was more about her relationship with Percy, than Annabeth herself.

Jason

Jason was doomed from the beginning.

That’s the main issue, is in the beginning, he was literally a blank slate, and while we were worried about the mystery of his character, there was really no way for us to know who he was as a person, because HE didn’t even know. So, as he was introduced at the same time as Piper and Leo, he didn’t get the same development as Piper and Leo. As we learned the other two’s backstories, and how those backstories represent who they are in the current story.

And the thing is, when we finally DID find out who he was, it was too late to do anything with it, because the story ended. I think by the time Blood of Olympus rolled around, and we did learn more about him... a lot of people had no interest in him.

That being said, I love fanon Jason, and I didn’t like how he was treated in the Trials of Apollo series.

Piper

Piper... I have a very complicated relationship with Piper. I kind of wrote this several times, because I couldn’t quite pinpoint my issues with Piper, and she is such a controversial character for whatever reason, and whatever I say will be perceived as me hating on her. That is not the case. I like the idea of Piper’s character, though I can agree she, as well as the other Aphrodite children, are written with sexist tropes, which is another post.

My main issue with Piper is that most of her development happens off the page. In the first few books, she her charmspeak is shown getting her in a lot of trouble, and she often lacks confidence when using it. My issue is the resolution for this happens mainly off the page.

A huge internal conflict with Piper is her lack of self confidence, which is something that I personally can relate to, but we never see her develop that confidence, we’re just told that it happened. Like she worked with Hazel and Annabeth on xyz, so suddenly she is much better and confident in her abilities of xyz. This kind of made her hard for me to connect with her in general, because it seems like most of her struggles happened off page.

This isn’t even just with her overall character; it’s with her relationship with other characters. We do see her friendship with Leo develop to some extent, but that’s because they already had an established friendship before the series started. Her other relationships? Jason and Piper went from barely knowing each other to dating between books. We never saw her friendship with Annabeth develop. She apparently was friends with Hazel, but that happened off the page.

Now, this happened to each character to some degree, but I think Piper got hit the hardest with the “tell, don’t show,” thing. I do think that because a lot of people didn’t like Piper, and imo, most of the criticisms were bullshit, Rick tried to overcompensate by trying to force development on her, without doing the work of showing us her development.

Leo

To be honest, his wasn’t as bad as others, but I feel like more people were disappointed, because he was a relatable fan-favorite. His arc went wrong for the exact opposite reasons as Piper’s, as there was legitimately a lot of development on the page, and he had a good arc set up, but Rick literally forgot everything that initially made his character so likeable to the audience.

So, here’s my thing with Leo’s arc; it was really good for the first three books, as Rick did develop him while leaving room for more development in new books. He also had a consistent arc; in The Lost Hero his arc was about his inferiority complex, which was directly connected to his trauma. He never felt like he had a home, and never felt like he belonged.

This was the direction I was hoping they would go with the “seventh wheel” storyline; meaning, yeah, he’s the only one in the seven who’s not in a relationship, but why does this bother him so much? Because, I don’t think it was the fact that he was in a relationship, I think it was trauma.

I so badly wanted the seventh wheel plot line to be an extension of what happened in TLH, but it became ignored, and it just seemed like a reason to put him in a relationship.

I’m not going to sit here and say that Leo shouldn’t have been in a relationship (though I will say I had an issue with Caleo), but I will say that I hate how a relationship was supposed to solve his feelings of inferiority- when it’s clearly indicated that Leo had those feelings because of trauma. A relationship can’t reverse years of trauma.

I also thought it would be so much more impactful if Leo made his sacrifice because of his feelings of inferiority, then perhaps the resurrection happens through one of his friends.

Hazel

I fucking hate how little Hazel (and Frank) were written into the series, especially considering she was one of my favorite new characters introduced in HoO. I also think she had the most potential, and her backstory was the most intriguing of the seven.

Why the hell was she not in the books more? Rick literally wrote a whole ass book in the series that mostly centered around the two already developed characters of the series, but he couldn’t give Hazel and Frank more POVs?

I don’t have anything to say about Hazel’s arc, because she barely HAD one, at least not after her initial one in SoN. The Sammy arc was made about Leo, which I get to some extent, as they sort of have a connection through Sammy. That being said, Leo never actually knew Sammy, and I feel like the flashback scene would have been so much more impactful from Hazel’s POV.

The biggest issue with that is it didn’t really feel like a way to develop any of the characters, but it was used as a way to justify a love triangle... that was barely even a love triangle.

In conclusion, Hazel was screwed over.

Frank

Frank, oh I have some things to say about the writing of Frank’s character, because my issue with Frank’s writing is a combination of the off-the-page development that happened with Piper, and the lack of POVs issue with Hazel, but to different degrees. Most of my issues with this comes from between Heroes of Olympus and Trials of Apollo

See, I do think his lack of POVs contributing to his lack of character development, you know what pisses me off?

The fire stick thing was a HUGE part of his character arc. It caused him legitimate fear and partially affected his relationship to some of the others (coughLeocough). And the resolution? Happened between series, and it’s literally mentioned in passing. What the fuck, Rick?

I don’t know, to me, it just seemed like a betrayal to his whole character arc, because we saw him struggle so much because of this, and the resolution just happened off page? I can just rant about how annoyed I am by that, because it just felt like Rick realized he forgot about Frank, and resolved his whole internal conflict off the page.

Nico

I love Nico! But, of course, I do have my criticisms of his character.

First of all, I really enjoyed how we got his point of view in Heroes of Olympus, but I really just wish he was part of the seven to begin with, for a number of reasons. First of all, it just makes sense- it’s indicated that he is the only demigod who knows about both camps... so wouldn’t it make sense that he would be part of the plan to reunite them? Don’t get me wrong, he does play a big role in this anyways, but it’s kind of weird that he just knows, and nobody thinks, “Hey, maybe we should include Nico!”

Another huge issue I had, was Nico’s coming out scene was in Jason’s point of view... which I get, because I’m reality, he wasn’t one of the seven... but it just seems fucked up? I mean I like headcanons of Nico and Jason’s friendship, but the unfortunate truth is... they didn’t actually know each other.

In fact, Nico wasn’t really that close to any of the seven- he was probably closest to Percy, and even he didn’t know that much about him at times. It just felt weird, not only seeing Nico come out in someone else’s POV, but in a POV of someone he barely even knew.

Also the fact he was forced to come out... I see the intentions, but it’s just not a good look.

Reyna

Reyna... don’t have any issues against Reyna, other than I wish we had more time with her before the last book. She was such an interesting character and I needed more of her.

#heroes of olympus criticism #heroes of Olympus critical

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jackdawyt · 3 years

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So, Tevinter Nights released a year ago, and you bet I’m still talking about this magnificent book that’s setting up the future Dragon Age title. For those who haven’t read the book, heavy spoilers are ahead as I rundown each story and the major characters mentioned and introduced in Tevinter Nights.

For those of you who’ve already read the book, well, hopefully I’ve noted and discovered things that, perhaps, you may have missed or forgotten about regarding certain characters in this novel. For the sake of this video’s length, there is an emphasis on major characters, by that, I mean the ones who took centre stage in these stories - appearing most relevant for potential future ties.

With that said, In the book’s chronological order, let’s delve into the many characters that were revealed and mentioned in Tevinter Nights.

“Three Trees to Midnight” by Patrick Weekes

Myrion:

Myrion is a Tevinter mage; not a Magister, from the city Ventus that was recently destroyed during the Qunari Antaam’s invasion in Dragon Age: Deception.

“Myrion of Ventus didn’t know much about Qunari. Until last week, they had been an annoyance, something young soldiers went off to fight while everyone else grumbled about the taxes they paid to defend the Imperium from the savage ox-men.” (Three Trees to Midnight).

Myrion comes from a slave family, and only became an official Tevinter citizen when he started showing signs of magic, as of which, the owner of the factory where he worked adopted him into his family.

“I’m not a magister!” Myrion glared, his eyebrows about the only thing Strife could make out in the darkness, then sighed and shook his head. “Magisters come from important families! My family were slaves. I only became a citizen because after my magic came, the owner of the factory where we worked adopted me into his family.” He swallowed. “I’m nobody. You know the glowing lamps in the streets of Ventus? I light those with magic. That’s my job.” (Three Trees to Midnight).

During the Antaam invasion, Myrion was captured by the Qunari and was sent to chop wood for the Qun in the outskirts of the Arlathan forest - while chained to an elven male.

Strife:

Strife is a tall Starkhaven elf with silvery hair and a strong build. He’s at-least fifty years old and has no vallaslin.

“Then chain me to a man, not this knife-ear,” Myrion said, glaring at the silver-haired elf.” (Three Trees to Midnight).

Strife left the Starkhaven alienage after hitting a guard who was beating elven children, he was living in the woods when the Dalish found him and let him join their clan.

“Hard to believe, I know. I hit a guard who was beating elven children, and he came back with more guards, and I ended up living in the woods. The Dalish found me and let me join up with them. I’ve picked up what I can from them, but . . .” (Three Trees to Midnight).

Strife ended up chained to Myrion, after butting heads, the two prisoners worked together and escaped the Qun’s grasp, they fled into the Arlathan forest and were able to make their way to a Dalish clan with the help of Irelin - Strife’s shapeshifting elf companion.

Irelin:

Irelin is a Dalish shape-shifting mage who saved Strife and Myrion from Qunari imprisonment, and even worse, a potential Qunari lobotomy. Before the Qun were defeated, Strife told her to warn the clans that the Qunari plan on moving into Rivain, she returned later having told the clans, and saved Strife and Myrion. The group then decided to head to their Dalish clan.

“The halla looked at Myrion, his breath heaving and his leg throbbing from the shackle, and then at Strife. Then, with a shimmering sparkle of magic, the halla slid into the form of a young elven woman.” (Three Trees To Midnight).

Saarbrak/The Huntmaster:

The Huntmaster is a Qunari tracker in charge of chasing down and punishing would-be runaway slaves. After he killed one of the Qunari Antaam leader’s known as Bas-taar, the Huntmaster revealed to Myrion and Strife that he's actually Saarbrak of the Ben-Hassrath. He was sent to confirm the rumours about the Antaam in Ventus not acting in accordance with the Qun. After confirming these rumours to be true, he took command of the remaining Qunari, and let Strife, Myrion and Irelin go.

“Now weaponless, the Huntmaster raised his hands, and then, as though they stood at a fancy ball, he placed a hand across his waist and bowed politely, his stoic expression melting into a polite smile beneath the face paint. “I am Saarbrak, of the Ben-Hassrath.” (Three Trees To Midnight).

The Dragon Age Day short story “Ruins of Reality” furthered Three Trees to Midnight’s plot. Set in the Arlathan Forest, Strife witnessed an illusion of himself as powerful magic cursed the forest. Him and Irelin braved the dark magics at play and retrieved a figurine of the elven goddess Ghilan'nain, for whatever purpose.

“Strife was looking at it now. On the other side, so was his double. Both transfixed by a statue of elven goddess Ghilan'nain holding a crystal halla figurine, exactly as the journal described.... Irelin swooped in and snagged the figurine with her talons, tearing it from Ghilan'nain's grip.” (Ruins of Reality).

The short story’s artwork revealed Strife wearing a mysterious cloak with floating triangles that bear similar to the Executor’s logo - “a downward-pointed triangle with two wavy lines drawn through it.”

So, are Strife and Irelin working for the Executors? Or is something else at play here? Hold on to that thought for the future.

"Down Among the Dead Men” by Sylvia Feketekuty

Guardsman Audric Felhausen:

Audric Felhausen was a Nevarran guardsman before he was killed on duty by Lord Penric Karn's possessed corpse, however, he was brought back to life, caught between two spirits: anger and curiosity. A conflicted Audric awoke inside Nevarra’s Grand Necropolis as the Mortalitasi’s Mourn Watcher’s questioned Audric’s attack and began an inquest into the matter.

“Audric would always remember the moment a withered hand grasped him by the shoulder, and a corpse in jangling gold crunched its teeth into his neck.” (Down Among the Dead Men).

With the help of Mourn Watcher Myrna, one of elite guardians of the Grand Necropolis, Audric decided to confront the Pride Demon who possessed Lord Karn’s corpse. He later discovered that the ‘real’ Audric died during this attack, and he is, indeed, caught between two spirits.

“Guardsman Audric Felhausen died of his wounds after Lord Karn’s funeral.” Myrna sounded apologetic. “His body arose the next morning, and went to his old post. Your captain was at a loss. As you were intestate, she sent you to us to ease your passage.” “I’m not dead,” Audric said as he grabbed at the blade in his chest. “I’m myself. I’m not a spirit, I’m . . . I’m me! (Down Among the Dead Men).

In order to find a balance between anger and curiosity - and to resolve his conflicted nature - Audric faced and challenged the Pride Demon that possessed Lord Penric Karn’s corpse.

“You brought me here to watch me,” he said, quietly bitter. “The Mourn Watch assists both the dead and the living. We wish to help you resolve what you are.” (Down Among the Dead Men).

After Myrna helped Audric defeat the demon, he felt a sad relief, like he had fulfilled his purpose. Myrna offered him a choice - Audric could rest in peace with his death, or work under the auspices of a Watcher. With much excitement, Audric was given the position to be in charge of the Necropolis’s library.

“What position were you thinking?” “I thought it was obvious.” Audric felt a slow excitement as he heard Myrna say: “We have a great need for someone to take charge of the library.” (Down Among the Dead Men).

Mourn Watcher Myrna:

Myrna is a young Mourn Watcher mage with pulled-back hair, she is a guardian and keeper of the Grand Necropolis. It has always been the Mourn Watcher’s responsibility to assists both the dead and the living, and that is why she helped Audric uncover his true nature.

“The younger mage, a woman with pulled-back hair and a severe gaze, sipped her own tea and regarded the guardsman silently.” (…) “Within the Mortalitasi was a group of select mages invited into an old fraternity called the Mourn Watch. The Watchers served as elite guardians, keepers of the Grand Necropolis and its sacred repository of the dead.” (Down Among the Dead Men).

"The Horror of Hormak" by John Epler

Grey Warden Ramesh:

Ramesh is a Senior Grey Warden who’s been with the order for over twenty-three years – with his older age, his calling is almost upon him.

“Twenty-three years Ramesh had been a Warden. His Calling was nearly upon him—and if he’d been alone, if only he had felt the palpable sense of dread that filled the woods, he might have thought it was that. It reached every Warden differently. But Lesha had only been a Warden.” (The Horror of Hormak).

Along with a small rescue party, Ramesh led an exhibition into the Nevarran forest to search and find Senior Warden Jovis and his recently missing group. Jovis, in particular, meant everything to Ramesh at one point, however, the Wardens are called to a higher purpose as death walks with every Warden. Grief is often buried beneath their duty, and it’s easier to do that then care for another with love and friendship.

“Jovis had meant everything to Ramesh once, but he’d pulled away. Death walked with every Warden, and you learned to bury grief beneath duty. Easier to do that, it seemed, before grief ’s edge had been honed by love and friendship.” (The Horror of Hormak).

The Warden’s discovered an entrance to the Deep Roads with the name ‘Hormak’ encased in a Dwarven rune. As they explored the thaig, they unearthed entirely elven ruins filled with twisted, mutilated creatures and a massive pool with a viscous gray fluid. The same symbol of the horns of a halla were repeated on each column.

“This, however, was exclusively, entirely elven—there were no dwarven works interspersed throughout, not even any sign of the darkspawn that filled so much of the underground. And this chamber was nearly pristine.” (The Horror of Hormak).

Ramesh approached one of the mutilated monsters, it was an enormous centipede that had hundreds of legs and a humanoid face, he recognised its face as a bloated and broken Warden Jovis attached to this diabolical creature.

“Before him, twisted and broken, was Warden Jovis. It was him from the waist up, but bloated, grotesque, and his flesh flowed into that of the massive creature.” (The Horror of Hormak).

Jovis was able to recognise and communicate with Ramesh, even in this state, he told him that ‘they’ made the Warden’s drink from the gray pool, explaining his twisted nature. He added that they can't let "her" have it again and the pool chamber must be destroyed. Jovis lost control as the creature regained itself and took over.

“Ram . . . esh?” The voice came slowly, as if across a great gulf of memory, and possessed of an almost insectile buzz that tore at Ramesh’s tattered nerves.” (…) “Can’t let this out. Got to . . . bury it. Bury me.” The words came even more slowly, each one being forced through whatever will battled Jovis’s for control of the creature. “She cannot have it. Not again. Locked for a reason.” (The Horror of Hormak).

Grey Warden Lesha from Ramesh’s search party sacrificed herself so Ramesh could leave and warn the rest of the Wardens about the horrors witnessed at Hormak. Ramesh reluctantly escaped, remembering that this mountain he’d brought down, encased with all of its nightmares, was not the only one to which the aravels brought their prey. There had been, before the images repeated, eleven others. His task was clear, warn the rest of the Wardens.

“The rain started to fall—a soft drizzle, the water mixing with the tears that streamed freely down Ramesh’s face. Tears of mourning, of grief. For Lesha. For Jovis. For the rest of the Wardens, whatever doom had taken them.” (The Horror of Hormak).

"Callback" by Lukas Kristjanson

Donal Sutherland & Company:

Last seen in Dragon Age: Inquisition, Donal Sutherland, now a landed knight known as Ser Donal of the Hinters returned to Skyhold with his company to investigate the recent inquiries made by the caretakers about restoring the rotunda’s fresco. Donal’s company included the elven mage mercenary Voth and the human rogue Shayd.

“The three of them had arrived at first light: Ser Donal of the Hinters, Crosscut Brother, namesake of Sutherland’s company; Ser Shayd, Lady of Evesol, bard of secret distinction; and Ser Voth Dale’An, free mage by special commendation.” (Callback).

Upon arrival, the group discovered that Skyhold’s caretakers had been brutally murdered, some dismembered. The culprit of which emerged from the plasters of Solas’s painted mural – a regret demon in the shape of a wolf and dragon.

“What in the—!” yelled Shayd, waking to find a dismembered foot in her lap.” (…) “Regret raised itself unnaturally, its body simply re-forming into a standing position, like a shadow rising without a wall. It looked at Sutherland, but there was no smile this time. It snarled a toothy growl, a sound that—like its shape—was somehow between wolf and dragon. Regret touched the wall, and more plaster from the fresco joined its mass. The wound in its chest remained, but it filled and discolored with new material.” (Callback).

The demon revealed that it was the regret of a god. The unfinished, final panel of Solas’s fresco revealed an outline of a beast that stood over both dragon and sword. This mural was drafted by Solas to represent his exchange between himself and Mythal after Corypheus was defeated.

“But here, unfinished, was the outline of a beast that stood over both dragon and sword. This was not the battle, or the victory. This was after. And the beast was not a dragon. The outline alone might have allowed that assumption, but now, filling with black and red, it was something other. The creature was reptilian, but also canine. The snout was blunted and toothy, but edges came to a point in houndlike ears. As the mass of plaster filled the shape, it began to rise, revealing scales and tail, and paws with talons. It looked like two figures painted on either side of a pane of glass, then viewed together, their forms confused. A wolf that had absorbed a dragon, and now stood crooked over all.” (Callback).

As Sutherland faced the demon alone, he regretted acting alone and using his friends, as the demon drew closer to Sutherland’s regrets, the rest of the company plus Dagna, Rat, Harritt, Morris, Cabot, and Elan Ve'mal attacked the demon and sent it back to the Fade.

“And then it hit walls made of flames and runes and a half-filled cart. Dagna and the others blocked its escape. They were the little people, who supposedly didn’t matter. But inspiration had once made them the heart of Skyhold. And now they were again. Regret stood no chance. The doubt it fed on had evaporated. It flailed and gasped, and its legs crumbled beneath it.” (Callback).

Their victory was regarded by Divine Victoria herself.

“By order of the Most Holy, Her Divine Victoria, you who have served are to be commended. And though the Herald guides you no more, and legion and name are retired, know that you served good and true. Change comes, both to and because of the Inquisition. And we are blessed with the ability to accept and move on, to leave dread and regret behind.” (Callback).

"Luck in the Gardens" by Sylvia Feketekuty

Hollix:

Hollix is one of the many nicknames of a mysterious Lord of Fortune, a new-faction introduced in Tevinter Nights. The Lords of Fortune are a renowned guild of treasure hunters and dungeoneers based out of Rivain.

“One of the famed Rivaini Lords of Fortune. A guild of treasure hunters and dungeoneers, they specialized in pulling gems from the eyes of statues and, for added cost, protecting the softer people who hired them to do so.” (Genitivi Dies in the End).

Hollix, in particular, is a master of disguise and can pass as, pretty much, anyone when needed with their extensive use of make-up, accents and plenty of outfits.

“I’ve been called many things—a liar, a knave, a scoundrel—even a hero, once or twice. I don’t like being called lucky, though. That comes and goes, and it’s best not to be superstitious about it. “Oh ho! A Lord of Fortune, shunning luck?” Very funny, you wits.” (Luck in the Gardens).

While in Minrathous, Tevinter’s capital city, Hollix was hired by Dorian Pavus, last seen in Dragon Age: Inquisition and Maevaris Tilani who was introduced in Dragon Age: The Silent Grove. The two hired Hollix to hunt down a wicked, tentacled monster that lurked in the city’s gardens. The creature was known as the Cekorax because it beheaded all of its victims.

“Dorian produced a map. It was a wonderful piece of work: crisp letters, bright inks, and a master’s eye for details. “There’s been nine people killed so far, here, here, and here. Each was found decapitated. The criers and balladeers have charmingly dubbed our killer the Cekorax, which is a rather suspect kludging of the old Tevene word for ‘headsman.” (Luck in the Gardens).

A young girl by the name of Mizzy witnessed some of the monster’s attacks. With her help, Hollix, Maev, Dorian and Mizzy headed to the monster’s lair in the sewers of Minrathous.

We digested the picture in silence. “So you didn’t see anything?” I eventually asked. “Not much,” she answered. “But I know how the monster got in the house.” (Luck in the Gardens).

The group lured the Cekorax to the city’s garden as the monster peeled open at the top to reveal a ring of dozens of eyeless heads. It spoke in the voices of its many victims.

“There was a ring of heads. Dozens, not just nine. Their eyes were plucked out, their flesh otherwise whole and healthy. Squeezing tendrils ran inside, caressed the cheeks. A crown of the blind, lovingly carried inside that atrocity. When the Cekorax spoke, their silent mouths formed the dripping words. “Come inside and see.” (Luck in the Gardens).

They killed the monster together as Dorian recalled what the Mortalitasi said about beasts of this nature, that it may be past the Veil of the world, neither demon nor spirit.

“I was at a party with one of those necromancers from down south a while ago. Five cups in, she went on about things ‘past the Veil of our world,’ neither demon nor spirit. Perhaps it wasn’t the tipsy nonsense I assumed it to be.” (Luck in the Gardens).

Hollix extended an invitation to Mizzy, if she ever wanted to join the Lords of Fortune, she’d be more then welcome. Bidding their farewell to Dorian and Maev, Hollix set sail for Rivain.

“I had told Mizzy, she might learn something from the Lords of Fortune in Rivain. “I’ve got loads of aunts and uncles and cousins south of here,” she had said reproachfully. “I’ve got to take care of them now that I’m a rich lady. But when I grow up,” she’d concluded, “maybe I’ll visit. Don’t forget me!” Then she hugged me for a moment, and ran into the crowds and was gone.” (Luck in the Gardens).

"Hunger" by Brianne Battye

Grey Warden Evka Ivo:

Warden Evka is a dwarf born and raised in Orzammar, she is a profound member of House Ivo, one of Orzammar’s many noble houses. She’s been living on the surface as a Grey Warden for three years.

“Warden Evka Ivo had grown up in Orzammar. The dwarven city was what it was: stone floors, stone walls, stone ceilings. It never changed much. Her three years with the Grey Wardens had brought her to the surface and she’d found a lot to love about life aboveground.” (Hunger).

Following orders directly from Fortress Weisshaupt to escort new Grey Warden recruits to the Warden headquarters, Evka and a newly-joined elf Warden called Antoine stop in a supposedly cursed village called Eichweill in the Anderfels. Some of the town-folk had suddenly began disappearing.

“After a hasty recruitment in Orlais, Evka was charged with taking the new recruit to a quiet outpost. They weren’t halfway there when the messenger caught them. The summons called available Wardens to Weisshaupt Fortress, the center of their order, located in the heart of the Anderfels.” (…) “Because Eichweill’s cursed,” Mina said. “That’s what people say. And we’re either too far out or too Maker-damned for folks to bother with our bad luck. Or they show up and die, too.” (Hunger).

The two Wardens agreed to help the villagers uncover the truth. They discovered that a wayward son of a noble who was kicked out of the town for poisoning a Chantry brother, starved in the woods, which attracted a demon of Hunger. The noble’s son was turned into a werewolf and had started infecting the towns-folk. Evka and Antoine defeated the werewolf and saved the town.

Grey Warden Antoine:

Antoine is an elf from Orlais who was recently recruited as a Grey Warden. It was Antoine’s belief in the Order’s heroism that compelled him to help the villagers of Eichweill.

“Antoine held his bow loosely in one hand. This was it. His other hand hung by his side, fingers twitching. Ready. The last and only time he’d fought darkspawn, it hadn’t gone well. He’d barely survived and lay near death for days before the Grey Wardens rescued him. He hadn’t been a Grey Warden then, but he was now. And Grey Wardens stopped the monsters first.” (Hunger).

While unearthing the town’s mystery, Antoine was bitten before the werewolf was slain. However, they killed the werewolf soon after his affliction. Antoine and Evka believed that with the werewolf defeated, the curse of the bite was also dead.

“He grinned. He hadn’t died—they hadn’t died. They had beaten a werewolf and Antoine was still breathing. And Evka was standing very close to him. “We should . . .” “Make sure it’s dead?” Antoine touched his shoulder where Renke had bitten him. Ending the night as a werewolf was not how it was supposed to work.” (Hunger).

Having saved lives and resolving the curse, the Wardens headed for Fortress Weisshaupt, this time with no side-tracking or detours.

“What now?” he asked. “Weisshaupt Fortress?” she said. “The part of being a Warden where we report where we’re supposed to and get told what to do without being sidetracked.” “Bien sûr—on y va! No detours!” His grin said he didn’t believe the last part. She wasn’t sure she did either.” (Hunger).

In the hushed whispers of the village, the hunger demon endured - ready to pray on its next victim.

Small, banished. Powerless. But if it waited, it would sense the knot that twisted its victim. The weakness that followed. The opening. The longing. And just before the blackness fell, when they would do almost anything, it would whisper . . . Are you hungry? (Hunger).

The Dragon Age Day short story “The Next One” revealed Evka’s recruitment to the Grey Wardens.

Evka was rescued by Warden Lawrence, she was attacked by a blighted creature with two mouths while in the Deep Roads. Lawrence’s perseverance to save Evka was so insistent that he attracted a spirit of Perseverance to keep him fighting despite his fatal wounds. Evka ordered the spirit to release him, and to tell him that she'd save the next one for him.

“The ghouls were dead. “Who are you?” Evka asked, grip tight on the hammer. “A spirit,” it said through Warden Lawrence’s mouth. “I could hear him.” Drawn to the dying, then. After all he’d done... “Release him,” Evka snapped. She wouldn’t leave him like this.” (The Next One).

"Murder by Death Mages" by Caitlin Sullivan Kelly

Sidony:

Last seen in Dragon Age: Inquisition’s multiplayer component, Sidony is a Mortalitasi mage from Nevarra. She voluntarily became an agent of the Inquisition when she witnessed the Breach first-hand, her sole purpose was to research and study Thedas’s biggest magical mystery of the age for her own advancement - nothing and no one will stand in her way of reaching her full potential as a mage.

“And what better way is there to achieve a great understanding of magic, and thus grow more powerful, than to observe the biggest magical mystery of the age?” (WoT. V2).

After Corypheus was defeated, Cassandra Pentaghast instructed Sidony to return to Nevarra City to investigate claims of a Mortalitasi plot that involved assassinating a member of Nevarra’s already unstable line of succession.

“They could not easily overlook claims that a Mortalitasi—one of the influential and highly respected mages charged with tending Nevarra’s dead—was planning to assassinate a member of Nevarra’s already unstable line of succession. Especially when those claims came straight from another Mortalitasi, one that Sidony once knew.” (Murder by Death Mages).

Reluctantly, considering her hatred for her home country, Sidony agreed to this assignment and headed to Nevarra City. She was handpicked by Cassandra because of her intimate knowledge of the Mortalitasi.

“None of the other Nevarrans have your intimate knowledge of the Mortalitasi,” Pentaghast reminded her.” (Murder by Death Mages).

Upon arrival, Sydony attempted to make contact with her previous mentor, Lord Henrik, the one responsible for warning the Inquisition regarding this plot in the first place. However, Sydony found his lifeless body in a city alleyway.

“The more she looked at them, the more they twisted and contorted until all she could see was the vacant face of Henrik’s lifeless body.” (Murder by Death Mages).

With her former mentor dead, Sidony contacted Antonia, a Mortalitasi mage who Sidony met as a child. Antonia told her to head to a party hosted by Nicolas Reinhardt, a minor family, but one of the oldest in Nevarra. Nicolas, in particular, enjoyed shouting accusations that the death mages were ruling the kingdom through manipulation.

“House Reinhardt: a minor family, but one of the oldest in Nevarra.” (…) A man drunk enough—or stupid enough—to shout accusations that the death mages were ruling the kingdom through manipulation was a man who might let slip rumors about a Mortalitasi assassin’s plan to remove a noble from play . . . if he wasn’t a target himself.” (Murder by Death Mages).

At the party, Sydony made acquaintances with Cyrros, a very dapper elf who’s accepted among many members of the Nevarran elite considering he knows everyone’s dirty secrets and scandals. After more nobles were killed, Cyrros and Sidony decided to work together to find the assassin.

“An elf in such finery, mocking and touching a member of old Nevarran nobility, and no one batting an eye—this was someone welcomed with open arms and stacks of gold in circles fueled by secrets and scandal.” (Murder by Death Mages).

Lady Reinhardt, Nicolas Reinhardt’s wife was killed as both Cyrros and Sidony stood over her deceased body. Nicolas walked in to see the two over his dead wife and believed they had killed her. He shouted at Cyrros and claimed that he hired him to kill his rivals and blame the Mortalitasi for their deaths, not to employ a death mage and kill his wife.

“What would you have me believe?” Reinhardt roared. “I hired you to kill my rivals and take the Mortalitasi down with them, and now I find my wife slain by the assassin I employed—and one of the damn death mages herself!” (Murder by Death Mages).

After Cyrros explained that someone must’ve killed Nicholas’s wife before they arrived, Sydony, frustrated at Nicholas’s attempt to blame the Mortalitasi for these deaths, killed Nicholas and Cyrros.

“She thrust her arm forward, tearing away her bonds, flinging the siphoning spell and hitting him square in the chest. The skin on his extremities turned dark purple, then black, as the curse drained the very life from his body.” (Murder by Death Mages).

Sidony returned to the Grand Necropolis to attend Lord Henrik’s funeral, she spoke with Antonia who revealed that she was the one who killed Henrik and Reinhardt's wife in an attempt to give the Mortalitasi control over the Nevarran elite. She used Sydony to expose the corruption of the elite, so the Mortalitasi could rule without question.

“So many people tell me they’re ready for change, for the kingdom to be taken in a new direction, without the uncertainty of the old royal blood and their constant struggles for control. With the line of succession in such disarray, maybe it’s time for the Mortalitasi to intervene . . .” (Murder by Death Mages).

Sidony killed Antonia for murdering Lord Henrik, and later returned to Cassandra Pentaghast having dealt with this Mortalitasi assassination plot.

“And in the time it would take for someone to discover the Mortalitasi’s body, Sidony would be too far from Nevarra City to hear their screams. They had met in an alley, and in an alley, they would part.” (Murder by Death Mages).

"The Streets of Minrathous" by Brianne Battye

Neve Gallus:

Neve Gallus is a human private investigator set up in the streets of Tevinter’s capital city, Minrathous. She is a mage and has a single dwarven-crafted prosthetic leg.

“My one leg may be dwarven-crafted metal below the knee, but that doesn’t keep me out of a chase.” (…) “I channeled a bit of magic, ready for whatever he planned to do, then let it fade back.” (The Streets of Minrathous).

Neve accepted a contract by a man called Otho Calla who wanted her to tail and pursue his nephew, Quentin Calla, to see if he was secretly working with the Venatori. She witnessed Qunetin assassinated in an alleyway by a figure in white and beige robes with a full-face mask of polished bronze. The figure escaped the scene by using blood magic and reflecting one of Neve’s spells onto herself.

“A figure in white and beige robes approached from the shadows.” (…) “The figure that stepped into the light wore a full-face mask of polished bronze.” (The Streets of Minrathous).

Before Quentin perished, he told Neve that It was ‘almost the hour’. Neve returned to Otho Calla and informed him of his nephew’s death.

“It’s almost the Hour,” Quentin said. The words sounded forced, as if they pained him more than the knife. His hand sank back. (The Streets of Minrathous).

She reported the crime to Knight-Templar Rana Sava and the rest of the Templars who shared that Quentin Calla wasn’t the only one who was ominously murdered last night, Lady Varantus was also killed, uncoincidentally another person with connections to the Venatori. Both Calla and Varantus had brutal neck marks as if necklaces were forcibly removed from their bodies.

“No,” Rana agreed. “A person in a bronze mask was seen in the street. The timing works out.” (…) “A thin line of bruising arced across the exposed skin, suggesting a fine chain once sat there—one that had been forcibly removed. I bet Quentin Calla had the same marks.” (The Streets of Minrathous).

To inquire about the necklace’s stolen, Neve met up with a con artist she’d turned in the year prior. His name was Elek Tavor – the two met in a tavern called the Lamplighter. Elek confirmed that Quentin Calla was looking for quiet ways to leave the city, perhaps connected to the antislavery movement, or even for himself - he knew something bad was about to happen and made plans to leave.

“I don’t know who Calla thought he was meeting at the docks,” Elek continued, “but I know why. He turned up a few times, asking about false papers, places to buy horses or hire a boat with no one noticing. That sort of thing.” (…) “The way he’d toyed at the chain around his neck . . . he’d known something was coming.” (The Streets of Minrathous).

Neve left the tavern, and was ushered by a strange, robed Tevinter man with bloodshot eyes who inquired about Calla and Varantus’s deaths, explaining that another was killed last week - someone by the name of Paxus. He shared further that the assassin was called Aelia, and she took round clay discs that were encased in necklaces from their bodies. He then gave Neve one of the discs so she could inspect it for herself.

“The man shook his head. “Paxus was killed last week. No one noticed that one. Well, almost no one.” “This Paxus. Venatori?” I asked.” (…) “Do you want to know what Aelia took?” He’d changed tacks again, this time emphasizing the new direction by shoving a round clay disc into my hands, although he kept hold of the chain attached to it. “Aelia’s the one who killed them?” (The Streets of Minrathous).

As Neve continued her investigation and reported her findings with the Templars, she was attacked by the Venatori cultist Aelia in-between narrow streets of the city’s lower market. Aelia drained power from Neve to unfold the necklace’s enchantment, and fled the scene with parts of the necklace having almost killed Neve.

“Our lives for the glory of Tevinter reborn.” “You’re Venatori,” I said. “Why—?” “Minrathous has forgotten its way,” Aelia said. “It falls to us to put it right. To make it rise.” (The Streets of Minrathous).

With the help of Flavian Bataris, Neve uncovered that the Venatori planned on unleashing a demon that dwelled below the city. The eight necklaces were blood-bound between members of the Venatori, they would be used to free the demon from its prison, restoring Minrathous to the Tevinter Corypheus promised. However, Calla, Varantus and Paxus refused to give their necklaces, thus explaining their deaths.

“Not like this,” Flavian said. “I’m not even sure demon’s the right word. It’s something only a god could summon.” At the look on my face, he added: “If not a god, Corypheus was close enough.” (...) “And the plan was as well. Until Aelia took over. The Venatori still want the Tevinter Corypheus promised, whether he’s around for it or not. All she needed were the seals.” (The Streets of Minrathous).

Neve faced Aelia and her Venatori alone in the city’s catacombs until Knight-Templar Rana Sava and the rest of the Templars joined the fight. They stopped the summoning ritual and Aelia was incarcerated. Minrathous, for the moment, was safe from the evil clutches of the Venatori.

“Minrathous is broken,” Aelia spat at me. “I know,” I said. “But you aren’t the one to fix it.” I left Aelia to the templars. I wanted sleep more than anything, but there was one more stop I had to make.” (The Streets of Minrathous).

Neve returned to Otho Calla and told him that his nephew had left the Venatori, so he could treasure Quentin’s memory. She then walked away back into the streets of Minrathous.

“For what it’s worth, you weren’t wrong to give Quentin a second chance,” I said. “He’d left the Venatori. There’s nothing ‘unsavory’ in his last days either.” (…) “I don’t know,” I said and walked away.” (The Streets of Minrathous).

"The Wigmaker Job" by Courtney Woods

Lucanis Dellamorte:

Master Assassin of the Antivan Crows, Lucanis Dellamorte is the favourite grandson of Caterina Dellamorte - the First Talon. As of which, Lucanis is the heir to the First Talon of the Crows considering he’s Caterina’s favourite. But we’ll talk more about that later on, when we get to the story - Eight Little Talons.

“For years, he’d hated her. But his time as a Master Assassin had since taught Lucanis that Caterina’s cruelty was her way of making sure that he was prepared for this life—that he survived.” (The Wigmaker Job).

Lucanis is lean with dark hair and umber eyes, he’s focused and intense. The kind of man you couldn’t look away from—until he looked at you.

“Both men were lean with dark hair and umber eyes.” (…) “While Lucanis stared ahead, focused and intense. He was the kind of man you couldn’t look away from—until he looked at you.” (The Wigmaker Job).

Along with his cousin Illario Dellamorte, the two Crows were on their way to the Tevinter city, Vyrantium, both contracted to assassinate Ambrose Forfex, Tevinter’s premiere wigmaker and high-ranking Venatori blood mage.

“Ambrose threw down the matted mess. “Lucanis Dellamorte, I presume?” “Sì,” Lucanis answered, knowing even a single syllable of a foreign language would disgust the Wigmaker. It had the desired effect—Ambrose recoiled as if he’d stepped in urine. “Is this your handiwork?” “Sì.” (The Wigmaker Job).

Disgusted with Ambrose’s method of feeding slaves red lyruim to create wigs, Lucanis and Illario executed Ambrose, freed the slaves, and destroyed an elven artefact that allowed spirits of vengeance that once lingered to return to the Fade.

“It was Ambrose’s turn to laugh. “I thought a Crow could stomach anything—for the right price.” Lucanis leveled the Wigmaker with a pointed look. “Not red lyrium.” (The Wigmaker Job).

After fulfilling this contract, and stacking up to around 40 deaths, Lucanis was known by the rest of the Venatori as ‘the demon.’

“Lucanis Dellamorte is responsible.” Crispin licked his lips. “We won’t be able to keep this one from the public.” He and Felicia exchanged a nervous glance. “They’re already calling him ‘the Demon.” (The Wigmaker Job).

The two cousins spoke about Lucanis becoming the First Talon, however, Lucanis didn’t believe that, and instead wanted Illario to become the First Talon.

“Even if it kills you,” Illario whispered. “Death is my calling,” Lucanis stated, matter-of-fact. “Just as yours is to become First Talon.” (The Wigmaker Job).

Illario Dellamorte:

Like his cousin, Illario is a Master Assassin of the Antivan Crows, as well as one of Caterina Dellamorte’s grandsons. He’s lean with dark hair and umber eyes, however, Illario is all smiles. He’s got a calculated handsomeness from his smooth skin to his perfect, white teeth. And, according to Lucanis, Illario has a silver tongue. Illario would love to be the First Talon, he believes it’s his calling however, that is not his call to make. Only Caterina Dellamorte can decide who takes her place.

“Both men were lean with dark hair and umber eyes. Illario was all smiles. His was a calculated handsomeness. From his smooth skin to his perfect, white teeth, everything was contrived to be enticing. As they walked through the crowd, he basked in the appreciative glances he received.” (…) “My talents lie elsewhere,” Lucanis said, gesturing toward the arsenal around him. “You’re the one with the silver tongue.” (The Wigmaker Job).

Magister Zara Renata:

Venatori Maleficar Zara Renata is a Magister of the Imperium who seeks the death of Lucanis Dellamorte along with her Venatori agents, Crispin Kavlo and the sister of Livius Erimond, Felicia Erimond. They plan to exploit everyone of Lucanis’s flaws until ‘the demon’ is defeated.

“Freeing Ambrose’s slaves already tells us this Crow has a heart. He will reveal other flaws. And we will exploit every last one of them.” (The Wigmaker Job).

"Genitivi Dies in the End" by Lukas Kristjanson

Brother Genitivi:

Last witnessed in Dragon Age: Origins, however, his literature has spread throughout Thedas in all games, infamous Chantry scholar brother Ferdinand Genitivi gathered legendary scholars Philliam, a Bard and Sister Laudine together to write a manuscript about their experience finding the true history of the elven pantheon. Each writer used a pseudonym to protect themselves from the Qunari Antaam.

“You want me to find the true history of the elven pantheon, in a piece of a library that doesn’t exist, beneath the Imperium, deeper than the Deep Roads?” Philliam tossed the scroll back to his publisher. “I don’t do fiction.” His host started to laugh, and then didn’t.” (Genitivi Dies in the End).

Philliam, a Bard!:

Philliam Bernard Aloicious Trevelyan, more commonly known as Philliam a Bard is a Free Marcher known for plenty of literature spread throughout Thedas. However, Brother Genitivi thinks Philliam is a thief considering he reduced his five hundred-and thirty-six-page book to a twenty-page collection of cautionary-yet-enticing executions.

“Philliam knew the name before he felt the sting. Five hundred and thirty-six pages of leather-bound Ferelden heraldic history—not including epigraphs and appendices—slapped across his face. It was a book he’d reduced to a twenty-page collection of cautionary-yet-enticing executions. “Thief!” yelled Brother Ferdinand Genitivi, honoured Chantry scholar and respected historian, on the eve of the longest—and last—month of their lives.” (Genitivi Dies in the End).

Sister Laudine:

Formerly a sister of the Chantry, Laudine is a young writer in her late twenties with long blonde hair. She has published many works, particularly about Orlais which have been officially denounced by the Chantry.

“Formerly Sister Laudine, ex of the Chantry, documenter of all things sensual and denied in otherwise falsely prim Orlais.” (Genitivi Dies in the End).

The three scholars ventured on an expedition that took them to the Silent Plains with the help of a hired Lord of Fortune.

Mateo:

Mateo is a Lord of Fortune, he’s a broad-shouldered man covered with many trinkets that he’s discovered throughout his years. He has a genuine appreciation for history, because of which he was hired for Genitivi’s expedition as a driver and delver.

“Their hired driver and delver was a broad-shouldered man called Mateo, one of the famed Rivaini Lords of Fortune.” (…) “The Lords wore their expertise, and the sash around Mateo’s waist was heavy with ancient coins and other trinkets from beneath the plains. He had a genuine appreciation for history, but didn’t claim to know the works of his current charges. Which, all things considered, probably made him the best fit for the expedition.” (Genitivi Dies in the End).

Rasaan:

Tamassran Rasaan was last seen in Dragon Age: Those Who Speak, as a female priest of the Qun, Rasaan’s role has been to determine what is done with captives of the Qun, she will interpret the Qun with regards to how it applies to those outside of it. Rasaan has served directly under the Ariqun and was long ago chosen as the Ariqun’s eventual successor by the rest of the priesthood.

Recently, Rasaan has taken great interest in Fen’Harel and his scheme, as of which, she led the Qunari Antaam unofficially In Tevinter to search for Fen’Harel’s true name. This has been an unsanctioned operation considering the Arishok is the only member of the Qun who leads the Antaam.

“Fen Harel,” she lectured, “is a name given by enemies. Its translation, ‘Dread Wolf,’ isn’t true.” She turned, considering one of the tomes now piled on the slab. “The name given when he lied to us—and to your Inquisition—was chosen by a self-styled martyr. ‘Solas’ is also not true.” (Genitivi Dies in the End).

Therefore, Rasaan revealed to Brother Genitivi that “her” Antaam are in Tevinter unofficially.

“Rasaan stopped him with a raised index finger. “I know your work,” she said. She knelt again, her eyes dead-straight with his. “My Antaam are in Tevinter as officially as you are. Does that change your tone?” (Genitivi Dies in the End).

Rasaan uncovered that Fen’Harel’s true name isn’t Solas, but actually Pride. With this true name, she could track the best and worst of him, find flaws, exploit weaknesses and know what he had failed to be. Rasaan believed that there is no greater advantage than to know an enemy’s true name.

“With this “true name.” You could track a person back through the best and worst of themselves. Find flaws. Exploit weaknesses. Know what they had failed to be.” (Genitivi Dies in the End).

And so, Rasaan’s quest continues to uncover Fen’Harel’s scheme while hunting Genetivi, Laudine and Philliam a Bard!

"Herold Had the Plan" by Ryan Cormier

Bharv:

Bharv is a Dwarven Lord of Fortune. He has spent decades of his life as a treasure hunter, consequently, he has a lot of long scars over his body, and a crooked back. Be that as it may, Bharv enjoys the life of a Lord of Fortune, it has provided all the thrills he’s ever craved.

“The dwarf clawed back up to the dry riverbank and looked around.” (…) “The Lords of Fortune provided all the thrills he craved, but decades in their service left him with long scars and a crooked back.” (…) “Still, despite the pain, he’d always slept better as a Lord of Fortune than as a creeping thief in his younger years. Through decades of treasure hunting.” (Herold Had the Plan).

After a botched robbery job at the Grand Tourney went sideways, Bharv and his elven Lord of Fortune companion, Elim, fled into Starkhaven’s forest. Herold, Bharv’s partner, was killed during the escape. However, they were able to successfully retrieve their target – a powerful and ancient amulet.

“They’d recovered the amulet from the lockbox at the Grand Tourney like sneaking the sugarcake from a child’s lunch. No one spotted them. No one at the tournament even sneered in their direction.” (...) “Bharv shrugged. He was told it was ancient and powerful. That was all he needed to know.” (Herold Had the Plan).

The two Lord of Fortune’s located Panzstott, their hired guard from Tantervale. The Tournament knights caught up and surrounded the group, they claimed that one of them had stolen the Celebrant – the legendary greatsword granted to the winner of the Grand Tourney. Panzstott had stolen the blade on behalf of Lady Lucie, in exchange, Lucie would help find Panzstott’s sister who was headed to the Anderfels to become a Grey Warden.

“We only want the sword.” It was a man’s voice calling. “Though we will take your thieving lives all the same.” (…) “Never.” Even Panzstott’s voice was different. “It’s what Lady Lucie wants. It’s not yours. You got your thing, I got mine. All square.” (…) “Lady Lucie, yes. She’s sure my sister might be found. Says so all the time.” (…) “Lady Lucie says she can find anyone. Her husband is also a warden.” (Herold Had the Plan).

After a rambunctious fight, Panzstotts was killed, Bharv and Elim were fatally wounded, the knights retrieved the Celebrant and Lady Lucie was imprisoned. Bharv only survived death because he wore the mysterious amulet that restored his wounds, however, Elim was killed.

“Collect the sword,” the captain said. “Bind the widow’s hands.” “The thieves, Captain?” The captain clucked disgustedly as he considered the question. “Leave them to die.” (Herold Had the Plan).

Having picked himself up, Bharv made his way to the nearest village downriver, to the place where Herold used to get drunk. He handed a very familiar elven squire the amulet and finished the job.

Vaea:

Introduced in Dragon Age: Knight Errant, Vaea is a Ferelden elven rogue who serves Ser Aaron as his elven squire. Bharv’s partner, Herold had contacted Vaea specifically to take the amulet to Northern Tevinter. Accompanied by Ser Aaron, the two toasted to Herold’s memory with Bharv before setting out on their next adventure.

“Vaea nodded. “He contacted me and said a job of his had turned into a charity run. Asked me to bring the amulet back north with me, to Tevinter. The chaos there has left many in desperate need, a lot of families torn up. He said you’d understand.” (Herold Had the Plan).

"An Old Crow's Old Tricks" by Arone Le Bray

Lessef/”Old Nan”:

Lessef is an old member of the Antivan Crows. She has a kind and wrinkled face, and her eyes are of someone who has lived a long life.

“Kind and wrinkled in the corners. They were the eyes of someone who has lived a long life.” (…) “Lessef of the Antivan Crows has fulfilled the contract.” (An Old Crow's Old Tricks).

In the middle of the Tevinter Imperium; over the Nocen Sea, Lessef made herself known as “Old Nan”, a trading merchant who was known for selling fine wares. However, her actual intention was to fulfil an assassination contract on the Tevinter centuri who recently murdered Dalish children for control of resources in the area. Tevinter solider Chencel had chased down and killed a twelve-year-old Dalish boy under the order of Magister Bicklius, the Oranavra clan purchased Lessef to kill the remaining centuri, as of which, Lessef tricked and suffocated Chencel with a scarf made of halla leather.

“Chencel remembered. On their way to set up camp here, the centuri had encountered some Dalish children from an aravel. Her centurion, Magister Bicklius, ordered the whole group wiped out so that the centuri would have no competition for resources in the area. Chencel had to catch the child who started to run, so that he would not warn the rest. “His mother called him Sil. He was twelve. You held him under the water.” Chencel still struggled, but the older woman’s grip was too strong. “Did he fight back? While his breath left him, and you held his shoulders to keep him still, did he thrash? Kick? Try to scratch or bite?” The soldier’s arms started to go limp. “Did you know that the Oranavra clan also sold their goods? They even made enough to purchase a contract from the Antivan Crows.” (An Old Crow's Old Tricks).

As the Tevinter centuri discovered an Antivan Crow was in the midst, Lessef assassinated Magister Bicklius. She evaded the rest of the army by having Tainsley, her seven-foot, elf-blooded human servant, dress up and pretend to be a Qunari.

“Reaching his full seven-foot height, he stretched his arms and legs, kneading the muscles with his aged hands to start the blood flowing again.” (…) “He knew he might look like a monstrous apparition, seven feet tall and wrapped in wiry, taut muscles, but he still felt every bit of his seventy-six years weighing him down.” (An Old Crow's Old Tricks).

The Tevinter soldiers retreated as Lessef and Tainsley celebrated by eating cookies, revelling in their victory having redeemed the Oranavra clan.

“Onward, to cookies!” (…) “Thanks to his mistress, his uncle’s clan would at least have their halla statue back.” (An Old Crow's Old Tricks).

"Eight Little Talons" by Courtney Woods

Caterina Dellamorte:

First Talon of the Antivan Crows, Caterina Dellamorte leads the Antivan Crows. She has silver-white hair swept up into a bun and an impressive collection of rubies hanging from her ears and neck.

“Her silver-white hair swept up into a bun to divert attention to the impressive collection of rubies hanging from her ears and neck.” (Eight Little Talons).

Her two grandchildren are Lucanis and Illario Dellamorte, however, Lucanis is her favourite – she intends on promoting him to First Talon when it’s his time.

Caterina Dellamorte called for a summit and invited each of the eight Antivan Crow Talons together in one location to discuss the impending Qunari threat. The summit was held in a villa on an island at the centre of the lake called the Verdant Isle.

“To that end, First Talon Caterina Dellamorte insisted her colleagues put aside their differences and attend a summit to concoct a plan of action.” (…) “The summit would be held in a villa on an island at the center of the lake called the Verdant Isle.” (Eight Little Talons).

Dante Balazar:

Second Talon Dante Balazar was eliminated and betrayed by Emil Kortez, the fourth Talon.

“That you were right. Dante was poisoned—with the Quiet Night.” (Eight Little Talons).

Lera Valisti:

Third Talon Lera Valisti was also eliminated by Emil Kortez.

“We know Lera died before dinner, but after her argument with Dante in the garden.” (Eight Little Talons).

Emil Kortez:

Fourth Talon Emil Kortez decided to betray the Antivan Crows. He stuck up a ‘peaceful’ deal with the Qun, Kortez agreed to eliminate all the other seven Talons with the assumption that the Qunari would honour their deal and occupy a peaceful conquest of Antiva and its people. As a trade-off, the Kortez family would be the only house leading the Antivan Crows.

With this machination in play, Kortez killed the second, third and eighth Talon before Viago, Teia and the rest of the Talons unmasked Kortez’s conniving plot, and then defeated their brethren.

“Emil squared his shoulders. “The Qunari are many things—brutal, rigid, merciless warriors—but they are also honorable.” (…) “Under one Talon, we might actually get something done.” (…) “Following Teia’s lead, Viago, Bolivar, and Caterina all raised their blades. The steel glinted in the fire’s light.” (Eight Little Talons).

Viago De Riva:

Last seen in Dragon Age: Deception, Fifth Talon Viago De Riva helped thwart Emil Kortez’s scheme. Viago and Andarateia have since headed to Antiva City to inform the royals of Antiva in preparation for the Qunari war. The Crows also plan to recruit more Talons for their ranks, as they just lost four leaders thanks to Kortez’s scheme.

“To brief His Royal Fatherliness?” She balanced the stick on the tip of her boot. He reached for it. “Why are you asking?” With a kick, she flung the stick onto her other foot. “To see if you had a place to stay.” (Eight Little Talons).

Bolivar Nero:

Sixth Talon Bolivar Nero helped the rest of the Talons against Emil, after killing him, Bolivar was the first to leave the scene. Viago believed it was for the best, Bolivar didn’t have much to offer the war effort.

“Bolivar refused to speak to anyone. He simply grabbed a bottle of wine and barricaded himself in his room until the boats arrived. Viago thought it was for the best. Bolivar didn’t have much to offer the war effort.” (Eight Little Talons).

Andarateia Cantori:

Last seen in Dragon Age: Deception, Seventh Talon Andarateia Cantori, otherwise known as Teia helped uncover Emil’s scheme alongside Viago. She’s since headed to Antiva City with Viago to warn the Antivan nobles and recruit more Talons.

“Is that an invitation?” “Is that a yes?” He reached out again. This time, she let him have the walking stick, but held on to the end. Viago drew her close, until they were a breath apart. “It’s a definite maybe,” he murmured. Teia beamed up at him. “My favorite answer.” (Eight Little Talons).

Giuli Arainai:

Eighth Talon, Giuli Arainai was eliminated by Emil Kortez.

“Dead,” Bolivar spat. “Like Dante and Giuli and Lera—and us if we don’t leave this cursed place.” (Eight Little Talons).

Since Kortez’s agreement was foiled, the Qunari are heading to Antiva with a full invasion in mind after their ‘peaceful’ contract went sour. Should the Qunari decide to attack, the assassins must present a unified force.

The Dragon Age Day short story “The Wake” furthered Eight Little Talon’s plot.

Illario Dellamorte, Viago De Riva and Teia Cantori mourned the loss of Lucanis Dellamorte, the heir to the First Talon.

For reasons unknown, Lucanis has mysteriously died, perhaps the Venatori Maleficar Zara Renata discovered his flaws and murdered him, or perhaps Lucanis is pretending to be dead. Regardless, it seems the next heir to the First Talon is Illario Dellamorte, if Lucanis is truly died.

“He was my cousin, but we were more like brothers, really. Always getting himself into every sort of trouble. And I was always right behind him, you know? Always.” Illario’s voice suddenly grew thick with emotion. “Now there’s nobody for me to follow.” (The Wake).

"Half Up Front" by John Epler

Vadis:

Vadis is a former Tevinter Altus, she left her life of nobility behind to peruse a romantic relationship with Irian Cestes, her father’s elven servant. Vadis has since built a reputation as a crafty thief.

“Altus, not magister. I’d never been a magister—my father filled that seat for our family. And I’d left the nobility behind, so even altus was past tense. “My one rule is no names. You don’t know a damned thing about me.” She arched an eyebrow. “The disgraced daughter of Magister Mareno Vadis. Lover of an elven servant.” (Half Up Front).

In Minrathous, Vadis was hired by a mysterious elven lady to find and steal a relic called “Dumat’s Folly” - supposedly it was a piece of the Black City itself.

“Then you know the significance of Dumat’s Folly.” She gestured at the rubbing I held in front of me. So that’s what it was. “Supposed to be a piece of the Black City itself. A ‘reminder of man’s hubris, and of the unique and glorious divinity of the Maker.’” I snorted. “Seems like a bunch of nug shit to me.” (Half Up Front).

Together, Irian and Vadis infiltrated the Archon’s palace, they discovered a centre case where “Dumat’s Folly” had been, however, until recently, the glass display was empty. They found large footprints and a blood trail that led down a tunnel with Qunari Ben-Hassrath instructions regarding the relic. They pressed on through the tunnel and found a fake model of “Dumat’s Folly” believing that the Qunari had the real relic.

“The center case where Dumat’s Folly had, until recently, sat was empty. The glass in its display case was missing.” (…) “It’s orders—well, instructions. Ben-Hassrath. Locations and names are in code, but it’s telling them to get the item and return home. Not to be seen either.” (…) “I nodded. “The Qunari have the real one.” (Half Up Front).

The pair headed to the Qunari’s new Darvaarad, a ship headed to Rivain. Vadis uncovered the real “Dumat’s Folly” on deck, when suddenly her patron, the mysterious elven lady revealed herself. She approached from the shadows and claimed to be an agent of Fen'Harel.

“I opened the crate. Dumat’s Folly. I smiled. All right. I reached into my satchel and pulled out the rune that my client had given me. I wanted to make sure the artifact was the real thing before I took it back—not that I had any reason to believe otherwise, but I’d promised my client I’d verify first. I moved the rune toward the object and it started to vibrate, to glow.” (Half Up Front).

She declared that she acted freely for the Dread Wolf, to bring back what was once theirs, and what must be theirs again. She wore a simple robe embroidered with an unknown symbol. Her plan was to trick and frame Vadis into stealing a powerful and dangerous artefact that was integral to Fen'Harel's plans.

"The agent replies that she acts "freely. For the Dread Wolf. To bring back what was once ours—what must be ours again.” (…) “One of our agents spoke of Dumat’s Folly. Suggested it was an artifact of great power and danger, integral to Fen’Harel’s plans.” (…) “She’d traded her thick winter clothing for a simple robe, embroidered with an unknown symbol." (Half Up Front).

This relic was in-actuality a magical bomb, that was supposed to be used by Vadis, destroying the Qunari’s Darvaarad. This would’ve created a calamity feud between the Qunari Ben-Hassrath and Tevinter kinsman, if each party had discovered that an Altus thief attacked Qunari lands using this bomb, it would cause immediate chaos for all of Thedas.

“It is an ingenious device. Not a piece of the Black City, like the true Dumat’s Folly, but taken from the same time. It draws magic into itself.” “A Tevinter altus, striking at a Qunari settlement that had yet to enter hostilities? Ben- Hassrath wouldn’t be able to sit the war out anymore. Utter and complete chaos.” I felt nauseous. What I’d almost done, almost been responsible for. (Half Up Front).

Fortunately, this wasn’t the case, the Agent of Fen’Harel committed suicide to avoid future interrogations. Vadis used magic and forced the Darvaarad out to the sea where it exploded, with few casualties. One of the Qunari Ben-Hassrath agent’s took Vadis and Irian to a tavern in Kont-aar.

“I thought I could see the dreadnought, the burning deck a distant speck on the horizon. A moment passed. Another. And suddenly, a flash of light, a second sun on the horizon.” (Half Up Front).

Gatt:

Last seen in Dragon Age: Inquisition, Gatt is an elven agent of the Qunari Ben-Hassrath, he shared the Qun’s knowledge on the agent of Fen’Harel’s scheme with Vadis and Irian. He then asked that if they wanted revenge against the Dread Wolf, they should seek a dwarf in Kirkwall, because he will want to hear what they’ve got to say about the agents of Fen’Harel, even more than that, he’ll have work for the two of them.

“You cannot stay with us. Nor, I imagine, would you want to. But we have other allies. A dwarf in Kirkwall. He will want to hear what you have to say about the enemy. And more than that, he will have work for you. Something more than survival—a chance to strike back. A chance to matter.” (Half Up Front).

Vadis and Irian decided to head to Kirkwall, but first, took a stop to see Val Royeaux together for the first time.

“We’ll go to Kirkwall. Eventually.” I looked at Irian again and my smile widened. “But first, any chance we can go to Val Royeaux? (Half Up Front).

"Dread Wolf Take You" by Patrick Weekes

Charter:

Last seen in Dragon Age: Inquisition, Charter is an elven agent of the Inquisition who worked very closely within Leliana’s spy network.

In Hunter Fell, Nevarra at a tavern called “The Teahouse” (the same name as my private Discord server that you can join if you become a channel member). Charter invited the best spies in Thedas for a roundhouse meeting to discuss the Dread Wolf and his scheme.

A Carta Assassin, Orlesian Bard, Mortalitasi Mage, and an Executor Agent presented themselves at Charter’s summit. The Tevinter Siccari and the Qunari Ben-Hassrath both declined their attendance at this meeting.

“The lamps were dim and the walls bare of both windows and any painting where a peephole might have been concealed, but a fireplace against the wall crackled merrily, and seated around the fire in comfortable overstuffed chairs were four figures.” (…) “As did the Ben- Hassrath.” She grimaced. “The latter is especially disappointing. They had more knowledge of Solas’s movements than anyone else.” (The Dread Wolf Take You).

As each faction-representative shared their slightly fabricated perspectives on the Dread Wolf and his red lyrium idol, the group grew tired of each other’s white lies and false truths, they began to argue until their truths were finally revealed. By which point, the Orlesian Bard had already killed the Executor before they could share their insights. The Bard then froze the Mortalitasi Mage and the Carta Assassin, he took off his mask and revealed himself as Solas.

“That’s a good story,” the Assassin said, cutting into the silence, “but I’d rather hear the truth.” (…) “The Assassin and the Mortalitasi were still where they stood, their skin and clothes suddenly the gray of dead, dull stone.” (The Dread Wolf Take You).

Solas:

In a desperate attempt to understand what the Inquisition and a few other high-profile factions knew, Solas disguised himself as an Orlesian bard. He understands that the powers against him in Thedas are not fools, and there are many who oppose him.

“I wished to know what you all knew,” he said, gesturing at the table. “There are many of you, and you are not fools. As for me coming in person . . . the Inquisition was involved.” He returned to his seat. “Why did you come?” (The Dread Wolf Take You).

When he revealed himself, Solas looked tired and sad. He said that telling the Inquisitor what he intended to do in Trespasser was a moment of weakness. He admitted that he’s prideful, hot-headed and foolish. He then told Charter to tell the Inquisitor that he’s sorry.

“He sighed. “It was a moment of weakness. I told myself that it was because you all deserved to know, to live a few years in peace before my ritual was complete. Before this world ended.” (…) “I am prideful, hotheaded, and foolish, and I am doing what I must. When you report back to the Inquisitor . . .” His voice faltered. “Say that I am sorry.” (The Dread Wolf Take You).

The Dread Wolf:

Whether a separate being from Solas, or his own shapeshifting form, the Dread Wolf appeared in the Fade with wings of fire that resolved themselves into a horde of lesser demons. He’s lupine in appearance, but the size of a high dragon, with shaggy spiked hide and six burning eyes like a pride demon. The Fade is his natural home, and the spirits there serve him willingly.

“It was no elf, no mortal mage. It was a beast unlike any I had ever seen. Lupine in appearance, but the size of a high dragon, with shaggy spiked hide and six burning eyes like a pride demon, and it came to us on wings of fire that resolved themselves into a horde of lesser demons as the Dread Wolf landed before us.” (…) “But whatever fear the name Dread Wolf carries, he has earned. While we might visit the Fade, it is his natural home, and the spirits there serve him gladly.” (The Dread Wolf Take You).

The red lyrium idol belongs to him and he wants it back. The Dread Wolf declared that if anyone ever binds a spirit, then your life is his. This is particularly difficult for the Mortalitasi considering their entire culture is dependent on binding displaced spirits to corpses.

“YOU USE MY IDOL CARELESSLY TO VANDALIZE THE SEA OF DREAMS. NOW FEEL THE PAIN OF WHAT YOU HAVE CREATED.” (…) “FROM THIS MOMENT, SHOULD YOU EVER BIND A SPIRIT, THEN YOUR LIFE IS MINE.” (The Dread Wolf Take You).

From this moment, the Dread Wolf has a ritual in the Fade, binding spirits and using blood magic undoes his work, therefore, he has abolished these types of magic and will eliminate anyone who dares use them in the future.

"And as clear as the Dread Wolf’s anger at what we had done— the Mortalitasi binding spirits he considered his own, the Tevinter mage using forbidden blood magic— was the feeling that we had disrupted his own work." (The Dread Wolf Take You).

For now, his ritual and future plans are largely unknown, in any regard, the Dread Wolf has risen and is preparing his scheme to destroy the Veil and reclaim the elvhen kingdom.

With that, there’s all the major characters mentioned and introduced in Tevinter Nights that I feel are paving the way forward, and may potentially have some involvement in the future Dragon Age game. Let me know your thoughts, which characters did you like the most, who would you like to see in the next game, who appealed to you and has the most plot potential?

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yarrowleef · 3 years

Text

Read Darkness Within all in one sitting last night and then passed out so here are my scattered thoughts i wrote down as i read, (afterthoughts in parenthesis)

Darkness Within Spoilers, obv

UGH GOD THE SECOND HAND EMBARRESMENT FROM SQUIRREL FAKE FLIRTING WITH ASHFUR IT HURTS

Just remembered Sandynose died and got a small boost of happiness (will Hawkwing and Plumwillow ever be allowed to talk again now? I mean probly not b/c they aren’t protags and non-protags don’t rly have friends but I can hope. Sorry, Hawkwhing and Plumwillow’s short-lived friendship in Hawkwings Journey was one of the last times I felt something)

Ghost fleas lol

Mothwing: i’m rude now. (but more importantly, Fuck Tigerheartstar for forcing his son to be around the cat that hurt him so badly, like he HAS to know how upset everyone is regarding Shadowsight and his accidentally helping the imposter, and he’s making him be the sole one to tend to him??? There is NO REASON Puddleshine couldn’t have done it. You think Puddleshine is going to try and murder someone?? )

Oh no don't make this a traveling book, and a ROOTBRISTLE traveling book this is going to be insufferable

BACON AND EGGS

Lightleap Is Good (Hey didn’t Shadowsight have another sister? lets be real we all knew Pouncekit was going to end up as the forgettable 3rd one)

Bristlefrost’s crush continues to feel unnatural to me. It’s like she’s grasping at straws romanticizing the most generic things.....wow....I love how ur just so...bare minimum competent....being polite to the loner we came all this way to ask for help like any somewhat reasonable person would....How admirable...I love the way you just *clenches fist* exhibit some basic traits of loyalty and skill that literally every warrior has (I s2g I’m this close to head canon-ing Bristle as a clueless aromantic who doesn't understand what romance is actually suppose to feel like so she just looks at feelings of low-bar admiration and assumes “oh I guess this is that “romantic attraction” everyone’s always talking about? guess I must be in love???” because both her crushes have felt out of nowhere and like. Idk fake/forced sounding like she’s just telling me that that she’s In Love Now while I continue to not actually feel it at all from her end. I know it’s just that I hate the way Erin’s write female characters in love but this head-canon makes me laugh)

Got scared because I thought they were going to villainize Spotfur for not wanting kits for a minute, but also excited at the concept of maybe exploring a female character that doesn’t want to be a mother, but it turns out she was just pulling a Sparkpelt and actually DID want the kits all along and was only hesitant because she’s sad. Shrug oh well. (the only female character in warriors that was distinctly upset about pregnancy and motherhood was Lizardstripe and as we all know she was eeeeeevil and abusive and “overly ambitious” because why else would you not come around to being happy about motherhood?? YES I’M STILL SALTY ABOUT YELLOWFANG’S SECRET, BAD BOOK) Whatever it’s fine so long as Spot doesn’t lose her rebel leader spirit forever and default to “soft mom” personality for the rest of her life, I gotta have hope because I actually like Bristle and Spot’s current relationship. Also I am actually very grateful they never made Bristle resentful at Spot for getting with her crush, as lots of middle grade/YA media has a very bad habit of demonizing female romantic “competition” and its super gross, so I rly do like that Bristlefrost is so protective and caring towards her instead. )

This series is trying to tell me that Rootspring is actually Big but I refuse to accept that. he has dumb scrawny bitch energy and we all know it

Sunrise: “Thunderclan may be better with a new leader” lol go off (i mean........they right tho...It’s unfortunate that the tension in this whole plot is a bit dampened by the fact that i DO in fact want bramble to die v badly. I don’t even have special hatred for him, I’m just bored of him.)

Yes Lionblaze beat the shit out of Ashfur

*HOLY SHIT THAT’S FUCKED!!!! (I wrote this in reference to the ghost summoning scene, this was all I could manage at the time, that scene was WILD and I am VIBING WITH THE HORROR OF IT ALL)

* Brashfur: Oh yeah? Could Ashfur fake THIS? *stands up with slightly better posture* Shadowsight: oh damn you got me there...... (asdfhhfhhgh im sorry that was really funny, how did that prove anything?? ONLY A ~REAL~ WARRIOR COULD STAND UP STRAIGHT WE ALL KNOW ASHFUR IS INCAPABLE OF GOOD POSTURE!)

End of the book: *LAUGHING NERVOUSLY* WHAT THE FUCK??? (I thought he was just gonna kill Squirrelflight right there holy shit can you imagine the RIOTS that would ensue in the wake of all this Squirrel/Bramble discourse I was so scared for a second.

But it’s fine, she just....went to super hell instead......Warriors has come so far lmao WHAT IS HAPPENING

Final Notes:

*On Mothwing, I don’t think her behavior struck me as “CHARACTER BUTCHERING” as much as it did for other people? I mean.....Warriors fans will say that literally any time a character does ANYTHING less then perfectly nice I think her actions just seemed that much harsher because we are reading from Shadowsight’s POV, and Shadowsight is taking everything 10x more personally right now (understandably so, but Mothwing isn’t inside his head) she wasn’t trying to hurt him. Also... like... Shadowsight DID get his name too early. It’s not Mothwing’s job to put his feelings above everything else, she’s not even his mentor, Puddleshine on the other hand, as his main mentor, I don’t understand what his deal is ignoring Shadowsight, that’s not how you help an apprentice but I suppose I chalk many of his mistakes up to also not being the most experienced medicine cat (he barely even had his own mentor.) Maybe he’s distant because he feels guilty and actually blames himself for not guiding Shadowsight better?? the two of them haven’t communicated about it yet so idk

any way I give Mothwing a pass to be a little short tempered right now as a cat who has had her abilities periodically questioned all her life no matter how hard she works or how much experience she has, just because she doesn’t vibe with the spiritual cult side of the clans, I can understand why she’s a bit defensive of being questioned and frustrated watching so much hurt happen Yet Again due to reliance on StarClan visions over common sense, and I for one still stan her for slandering StarClan and refusing to accept Mistystar’s bullshit banishing like everyone else. Sometimes a character is at the end of their rope and can’t manage to be 100% nice 24/7 and that’s maybe not inherently bad writing? idk just my hot take. At a certain point we all gotta reckon with the fact that our perception of most popular supporting characters in heavily colored by fanon and we can’t always get mad at the authors for not adhering to it

*The sisters magic shit is my fav worldbuilding warriors has had in AGES, I love the way it’s described and it actually feels like it adds something to this world. I love this horror imagery with the ghosts, very excited for that.

*still won’t be thrilled if Ashfur is working alone, because his motive doesn’t make sense right now. I mean the trying to get Squilf thing, sure, whatever, but the “I will make everyone pay for what they did to me”???? cause like?? Who??? they didn’t do anything to him?? Ashfur’s grievance was very specifically JUST Squilf. He has no other cause for revenge, he had no other beef or complaints about the clans to my knowledge? The cat that killed him is dead, and she’s like, the only other one that I could see as having “wronged” him?? I guess he also didn’t like Firestar much according to Graystripe’s Vow (and on account of how willing he was to kill him w/ Hawkfrost) but Firestar is ALSO dead. I don’t understand his angle. Will have to see last 2 books to judge i suppose.

*All in all I am interested to see where this is going!! but also the pacing as I feared is becoming a major issue. It’s better then ending the main conflict on book 3 like Vision of Shadows did, but omg. Hardly anything happened in all these pages. I realized I was over half way through and nothing about the situation had actually CHANGED or advanced at all in all that time. Similar to the past 2 books which I believe could have been combined, this plot felt like it should have been the first half of a book. Discussing whether or not to kill the imposter isn’t much of a standalone plot, it’s just the set up to a plot. Finding the sisters didn’t need to be a whole long thing, the debates about the Imposters fate didn’t need to be repeated 10 times, all those chapters illustrating that “Shadowsight is sad” were also drawn out, repetitive, and interchangeable, we probably only needed 2 or so chapters showing his struggles to get the necessary information across. It felt like a lot of padding, it was really slow and I did a lot of skimming. I am still very interested in the overarching plot and mystery behind the ghosts so that kept me reading but man this “will they won’t they kill him” plot did not justify it’s own whole book. Alas this is a persisting issue that will never be resolved while they continue to force 6 books into 1 series that doesn’t need 6 books. I’m sure the writers are doing the best they can with these unfortunate constraints but still, it’s a wonder this slow padding isn’t more of a detriment to their younger readers that the books are supposed to be marketed to.

#warrior cats #the broken code #darkness within #the darkness within #darkness within spoilers #wc tbc #tbc #is that enough tags #yarrow speaks #wc criticism #long post #the broken code spoilers #warrior cats spoilers

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turtle-paced · 4 years

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A:tLA Re-Watch: Fine-Toothed Comb Edition

Another long recap. Seriously, I doubt they’ll all be this long, especially when we hit some of the season one standalone episodes.

Book 1, Chapter 2 - The Avatar Returns

(0:33) Picking up with the new material in the intro to every episode in the series from this point forward. Aang’s status as the Avatar was shown to the viewer, but not internally revealed (to anyone but Zuko). Now the intro’s just going “yeah Aang’s the Avatar.”

(0:43) Again we’ve got that super-efficient outline of the series’ premise. Fire Nation attacking, Avatar needed, Aang not yet up to the job.

(0:46) But where the first episode panned over that empty spire while Katara said she had hope that the Avatar would return, now we pan up over Aang on top of that spire whille Katara says that she believes in Aang.

(2:34) Aang and Katara return under the still-visible signal flare to a decidedly mixed reaction from the village. While the kids are thrilled Aang’s back, the adults are much less keen.

(3:02) The discussion about intentional signalling of the Fire Navy vs. unintentional signalling of the Fire Navy boils down to the cold hard fact that Aang and Katara did something risky, and now the whole village is in danger.

(3:06) Aang, sweetheart that he is, steps in to deflect blame from Katara.

(3:20) The conflict between Katara and Sokka from the first episode reappears, since they never actually resolved it. Sokka thinks that Aang’s deliberately drawing the Fire Nation to them, and that the village is better off if Aang leaves. Katara thinks that Aang is not a spy, and objects to the hostility shown to a stranger. And neither of them are still wholly right or wholly wrong.

More broadly speaking, however, we’ve got two major protagonists in a serious conflict. Avatar lets its major characters disagree and argue according to their priorities. Here, doing right by others is a priority for Katara in a way it isn’t for Sokka. Likewise, her desire to find a waterbending teacher is completely alien to her brother. Sokka’s priority is Katara, and his words show how he’s gone about living up to the duty placed on him by their father.

Speaking of, that’s a heavy thing to lay on a kid. Sokka had to pick up adult duties too. Sokka himself might not see it at this point, but this is one of the most serious ways the Water Tribe patriarchy’s screwed him. Rather than the adult women taking charge and letting Sokka learn and grow, it became Sokka’s responsibility to do the man stuff. (Worth mentioning that the problems with the gendered division of labour hit Katara even earlier, but that’s a discussion for season three. It’s messed up whichever way you slice it.)

(3:29) Katara’s arguments (that Aang has brought fun to the South Pole) build naturally on the events of the previous episode, because we’ve seen Aang interacting with the kids in the village and making everyone smile.

(3:47) Gran-Gran, who despite the patriarchy is still clearly an authority figure, does not side with Katara. Thus far, the show’s done a lot from Katara’s PoV. Her PoV is the central PoV to this point, giving us the background, following the disruption to her routine with her brother as she brings her guest to the village. But being passionate and sympathetic doesn’t automatically get people with their own interests to change their minds. And though we’re being put in Katara’s shoes, to sympathise with her over Sokka right now, it’s real hard to totally condemn Sokka and Gran-Gran for wanting the village and Katara herself to stay as safe as possible. At the very least, they’re not arbitrarily throwing Aang out into what they know to be a hostile environment. They’ve got established reasons.

(3:52) Learning to waterbend matters so much to Katara that she’s willing to drop everything and leave home on a sour note and in a moment of temper. It’s worth noting here that she’s the one driving this, literally leading Aang over to Appa.

(4:10) Sokka asks if Katara would really choose Aang over her own tribe and family, and Katara stops, conflicted. One of the sweetest things over the course of season one (and something I’ll discuss more next episode) is how this ceases to be a conflict.

(4:14) And Aang, who is such a sweetheart, doesn’t want to force Katara to make this sort of choice. This is the starting point: no matter how immediate their connection, a friendship of a few days is not worth cutting off family and community for, not in Aang’s mind.

(4:30) “Guess I’ll go back home and look for the airbenders.” Try not to think of the hypothetical where Aang was alone when he arrived at the Southern Air Temple.

(4:45) Appa continues to refuse to fly, and continues to build up to the punchline.

(5:21) Katara’s angry rejection of her grandmother’s attempts to comfort her show in miniature something that’s very important for the storytelling in this series: emotional inertia and continuity. The action of this scene resolved with Aang’s departure, but Katara’s own feelings about what this represented for her desire to learn did not. They carry over to her interactions with other characters and inform her actions until she finally gets the resolution she was after (at the end of the season).

The writers account for their characters’ experiences and longstanding motivations. These things might take a backseat to whatever’s immediately demanding their attention, but it’s there, and it influences how they act and react from scene to scene. This is harder than it sounds with the episodic structure and multiple writers. The writing in this series was a team effort.

(5:50) Aang and Appa take a break in a random ice formation. “Yeah, I liked her too,” says Aang. Sad on first watch, but in context of ‘The Storm’ and indeed the series finale, Aang was feeling alienated from his peers since the reveal he’s the Avatar, and he still walked away from that sort of peer relationship and a high chance of wacky adventures. Because he knew that the course of action Katara was proposing would hurt her.

When Yangchen tells Aang that selfless duty calls for him to sacrifice his own spiritual needs, we know he’s capable of doing so, because right from the start we’ve seen him sacrifice his needs for others. (Though I’ll save discussion of what sacrificing his own spiritual needs actually means for much, much later.)

(6:00) The action in these episodes leading up to this conflict is so simple, but it’s the result of such nice, neat plotting, all informed by what these characters want and what these characters know. To recap:

Zuko was looking for the Avatar. The beam of light from the iceberg caught his attention, but he didn’t have an exact location, so he started looking around more carefully, a thing that takes time. In that time, Aang (who was avoiding information about the war) and Katara (who’s nowhere near as paranoid about Fire Nation attacks as her brother) did something important to them - had fun. In the process they took an inadvisable risk and attracted attention. This gave Zuko the information he needed and resulted in him heading towards the village. Meanwhile, the characters who are more worried about Fire Nation attacks took an action that made sense for them in asking Aang to leave. But since that happened out of Zuko’s sight, he doesn’t know that, and keeps heading for the village.

Not hideously complicated. But everyone’s actions make sense from their own perspective.

Also, shout out to Aang here, who just learned the Fire Nation are the aggressors in a hundred-year war, who just got kicked out of the village, and who, upon seeing the Fire Nation advancing on the village, goes right back to help without a second thought.

(6:07) Brief montage of Sokka and Zuko each preparing for a fight. Aside from the fact that it’s pretty grotesque for these teenage boys to be gearing up for war, the contrast between Zuko receiving assistance in putting on armour and Sokka kneeling alone in a tiny tent to prepare himself is striking. One of these parties has more resources than the other.

(6:44) Sokka stands alone on the wall of the village. Thus far he’s been suspicious and sexist, and arguably takes himself and his duties too seriously, but at crunch time he gives his duties the appropriate weight.

(7:20) Zuko’s ship emerges from the mist, towering over Sokka. The shot and his repeated “Oh, man,” does quite a bit to convey just how futile fighting back is here.

(7:39) She might not be fighting, but Katara’s not sitting around doing nothing. Aside from rescuing this kid from a tumble into breaking ice, she’s also been trying to get the elders in the village out of the way.

(8:29) Zuko and henchmen appear at the top of the gangplank, fully armoured. Very pointy. Most of Zuko’s soldiers throughout this scene have their faceplates down. From the Water Tribe’s perspective, these people are terrifying and mostly faceless.

(8:42) Having faced down a ship a hell of a lot bigger than he is, knowing that this is probably going to be useless, Sokka tries to physically defend his village anyway. He’s quickly and rather comically kicked away into a snowbank.

(8:59) And after that scary introduction, crashing into the village, neatly dispatching Sokka, we get, “Where are you hiding him?”

It’s easily missable, precisely because Zuko’s crashed into the village and is legitimately, intentionally terrifying our protagonists, but. Think about how Azula would have opened her speech here. Zuko’s a scary antagonist here, but he’s still socially awkward, forgetting to mention who he’s looking for, or why, or even who he himself is. He’s gone straight to the point. Social niceties? Never heard of ‘em! (Pro tip: ‘breaking the ice’ is supposed to be a metaphor.) Sometimes Zuko communicates beautifully. Other times…

(9:08) Zuko roughly grabs Gran-Gran and reveals one of his mistaken assumptions. He’s looking for an old Avatar. Not that he’s outright said ‘I am looking for the Avatar.’

(9:24) Sokka makes another attempt at defending his village from the guy who’s crashed into it, assaulted Sokka’s grandmother, and brandished fire in their general direction. Once again Zuko deals with him easily enough, but -

(9:31) As Sokka rolls to his feet and throws his boomerang, it stops being quite so comical. The viewers know what a boomerang does. So does Sokka, we can see that from his expression. Zuko, however, dismisses it.

(9:55) Then, even after Sokka’s been knocked over for the third time in two minutes, the boomerang comes back and clocks Zuko in the back of the head. Giving Sokka a boomerang as his weapon of choice was a great idea. An unconventional weapon for an unconventional thinker.

(10:06) The undignified boomerang thing is followed up by Aang’s dynamic entrance on a penguin, bowling Zuko right off his feet with his helmet flying into the air and landing comically on his butt.

When we get other villains, we’ll see how unusual this treatment is. Avatar has plenty of humour in it, but the threat that its villains pose is a serious matter. The show certainly doesn’t pretend that Zuko did nothing wrong - explicitly points out that he did plenty wrong, multiple times, in fact - but it does use humour to distinguish several of Zuko’s villainous efforts from those typical of other longstanding antagonists.

(10:28) Sokka’s utterly deadpan “Hi, Aang. Thanks for coming” is just delightful to me.

(10:44) Aang makes a show of airbending snow onto the soldiers and asks, “Looking for me?” This is either a remarkably insightful guess from Aang or another minor inconsistency. How does Aang know who or what Zuko is looking for? Has he been in earshot since the nine-minute mark? If so, what’s he been doing? Looking for a penguin?

I tend to run on the ‘remarkably insightful guess’ assumption, which reconciles the potential inconsistency. Aang knows he’s the Avatar, after all. Yet again I’m going to reference what he knows from ‘The Storm’, where he absolutely knew that the monks were getting worried about a war.

(10:49) Zuko finally says the word “Avatar” and connects the two parts of the series’ title for us. The Avatar is the last airbender. And vice versa. It is, however, a reveal to Katara and Sokka. Cut to commercial break.

(10:57) Aang and Zuko start circling each other, Zuko helpfully informing the viewers that he’s been on the Avatar hunt for literal years.

(11:04) When Zuko calls Aang a child, Aang does not take offence. (Like I said last episode, Aang knows he’s a kid.) He does, however, point out that Zuko’s a teenager. So. By this point, the viewer knows that Zuko has been looking for the Avatar for years. The viewer knows how long the Avatar’s been missing. The viewer knows that Zuko expected the Avatar to be an extremely powerful master of all elements. The viewer knows that Zuko needs to capture the Avatar, that his honour depends on it.

Halfway through episode two, the viewer’s got the bare bones of what they need to start asking some pointed questions about Zuko’s backstory.

(11:13) At this point of the show, Aang is clearly uncomfortable fighting in earnest. He doesn’t strike back and simply defends.

(11:17) The potential of fire to hurt people nearby through accidents is clear as Aang hears the villagers behind him scream at his deflection. So Aang finishes dissipating the fireball and then offers to go with Zuko, on condition that Zuko leaves the village alone.

(11:28) Zuko nods. He stops attacking and leaves without another word to the villagers or another threatening gesture, Aang in custody. This is very initial setup for Zuko’s eventual heel face turn. He’s scary and destructive, his goals are not friendly to the people trying to fight invaders in their homeland, and he doesn’t seem to see the issue with roughing people up a bit and breaking their stuff in pursuit of his goals, but he is, at least, true to his word. He isn’t actively malicious.

The setup’s also more for the viewer than for Aang, Katara, and Sokka right now. Together with the PoV of Zuko that we’ve already had, we’re starting to get the picture of an awkward, angry, teenager crashing into things both literally and metaphorically, hurting others and himself, in the unhealthy pursuit of something that may or may not be just the Avatar.

(11:45) I love that Aang asks Katara to look after Appa for him. He thinks of Appa’s wellbeing and trusts Katara with it.

(11:48) Zuko’s order to set a course to the Fire Nation, with the accompanying line “I’m going home,” is yet another thing that hurts more on the rewatch.

(11:58) Aang’s brave face visibly fails as the gangway draws back up after him. Commercial break #2!

(12:10) Establishing shot of the damage done to the Water Tribe village. There’s the hole in the ice shelf. Hole in their one actual building. Knocked-over tents. We cut to the villagers doing a bit of manual labour to get their homes and structures back in working order.

(12:31) Katara looks out to sea and says that they have to go after the ship and free Aang. The ship that just crashed into their village. To fight the guy who just kicked Sokka’s ass. Because it’s the right thing to do.

Meanwhile, in the background, Sokka’s walking back and forth with stuff in his arms.

(12:45) Katara continues to argue that they owe Aang for his help, and that she and Sokka should both go. Which is when the punchline kicks in - Sokka’s been loading a canoe so they could. While he and Katara are on the same page as far as saving Aang goes, this is probably the first instance of Sokka’s developing “plan guy” tendencies. Practical stuff.

(12:53) Episode two and already there are “he is not my boyfriend!” jokes. It’s also something that makes Katara and Sokka’s relationship feel like an actual sibling relationship, with the genuine and open affection transitioning into giving each other a hard time in seconds.

(12:59) Gran-Gran comes up behind Katara and Sokka and pulls exactly the same joke as Sokka did seconds ago. Surprise, she doesn’t disapprove! She wants to help her grandchildren rescue Aang! Looks like everyone was convinced that Aang wasn’t a spy, and that everyone broadly accepts Katara’s argument that the tribe owes Aang.

(13:26) Then there’s the whole Avatar thing. As Gran-Gran says, the Avatar is the world’s only chance. This is now an issue bigger than their village. “You both found him for a reason. Now your destinies are intertwined with his,” she says.

Narratively, the same principle applies to Zuko as well. He could have been sailing anywhere, but he’s right there in the South Pole, looking in the right direction at the right time.

(13:37) Katara points out that there’s no way they’re going to catch a warship with a canoe. For the vast majority of the series, transport is a consistent concern as the characters travel from place to place. The advantages and disadvantages of flying show up. The difficult of walking places shows up. Right here we start with the fact that the canoe’s just not going to cut it. Which is when Appa shows up from after his nap.

(13:53) “This staff will make an excellent gift for my father,” Zuko says. Which is our first indirect reference to Ozai. It also shows that Zuko is thinking of pleasing his father.

Note also that Zuko calls it a staff and Aang does not correct him.

(14:07) Zuko rather rudely shoves Aang’s glider at Iroh with a brusque order to take it to his quarters; Iroh rather more politely asks the nearest soldier to do it instead. Again, Iroh doesn’t go along with Zuko’s poor treatment of him - Iroh’s not there to fetch and carry for Zuko.

(14:25) “I guess you’ve never fought an airbender before.” Aang can get his head around the fact that there aren’t many airbenders around any more. He was planning to go look for more airbenders earlier. He used his airbending to prove his identity to Zuko. But what he hasn’t grasped just yet is why there are no airbenders left.

(14:31) Aang bets he could take both Fire Nation guards out with both hands tied behind his back. He can! But what we see in the next minute or so is Aang’s real forte - evasion. He knocks both guards over with an airbending-charged sneeze and runs for it.

(14:53) As we see, the guard Aang knocks over is back on his feet in seconds, none the worse for wear. This is a kids’ show, you can’t be having the protagonists killing people right and left, but this is integrated into Aang’s fighting style and character to the benefit of the story as a whole. Right now it’s making for a tense fight scene, one Aang versus a shipful of Fire Nation soldiers.

(15:09) Katara is very much the positive reinforcement sort of person. Rather than Sokka’s cynicism, she tries to encourage Appa into flying, both because Aang needs them and because she believes in Appa.

(15:29) Meanwhile, Sokka recalls the one prompt Aang gave Appa to fly, more than a day ago. Good listening, Sokka.

(15:38) Appa flies!

(15:42) And cynical Sokka shouts with excitement. Sokka does have that sense of wonder Katara does, but a bit more deeply buried.

(15:46) Katara gives him an excellent told-you-so look (siblings!). Even though Sokka tries to play it cool for her after his loss of composure, he still gives another little smile and eager look down for the viewer afterwards. Commercial break!

(16:08) Aang’s response to armed men facing him down with swords in a narrow corridor is to ask them if they’ve seen his staff (he’s still calling it a staff, no hinting at the glider function), and then to avoid fighting them even as he pursues his objective. Ditto the firebender who tries to blast him. The most Aang does is knock people over.

(16:34) Aang bursts in on Iroh’s quarters, where Iroh is asleep. Sure is convenient that the best fighter on the ship by a large margin is taking a nap right through this alarm and all this shouting in echoey metal corridors, isn’t it.

I mean, I don’t know that Iroh is faking. It’s just awfully coincidental, that’s all.

(16:39) Check the angle on the door here. Look at how little space there is behind it.

(16:47) It turns out that Zuko was in that tiny, tiny space the viewer couldn’t see. He also shuts the door to limit Aang’s ability to evade.

(16:58) We get a decent shot of Zuko’s quarters here. He has a nice table for meditation. He’s got some hangings, a reed mat on the floor, and some hangings. And right on the edge of the shot, he’s got a pair of swords.

(17:09) Aang still hasn’t thrown a punch or made any sort of attempt to strike back. Again, he knocked over those first two guards with a sneeze, not an actual blow.

(17:33) Ah, the counteroffensive from Aang. Wrapping an opponent in a wall hanging. Zuko burns through it - the first thing in his room that he’s actually set on fire, by the way, despite throwing a lot of fireballs around over wall hangings and flammable floor coverings.

(17:41) Aang finally actually counterattacks, launching a mattress at Zuko to knock him into a wall. Twice. And then he runs again while Zuko’s stunned and prone. It looks to me like Aang is not at all comfortable with hitting people directly.

(18:03) Hope spot as Aang launches his glider to escape.

(18:05) Literally brought down by Zuko leaping out into the air, well above the metal deck of his ship. If Zuko hadn’t caught Aang, he was going splat. Complete disregard for his own safety. And somehow not the most ridiculously unsafe thing he does in the process of chasing Aang this season.

It’s one thing to tell us that Zuko’s been hunting the Avatar for years. It’s another to show us Zuko jumping out of what, the third storey? in order to get a single hand on Aang’s heel as he flies away.

(18:26) Socially awkward Zuko rears his head again as he actually gets distracted for a second by Appa’s appearance.

(18:49) Repeated fireballs from Zuko succeed in knocking Aang into polar waters.

(19:00) Mysterious glowing kicks in, as well as the theme music, and Aang comes to the surface waterbending.

(19:20) And in the Avatar state, Aang simply knocks all the soldiers off the deck. Doesn’t look like the kid whose most aggressive moves in the past three minutes were sneezing and throwing a mattress, does it?

(19:45) The mysterious glowing taps Aang right out of energy, leaving Katara, Sokka and Appa to finish the rescue here.

(19:58) Sokka goes to pick up Aang’s staff and runs into Zuko, who wasted no time getting out of the cold water and climbing up the side of the ship. This time, however, Sokka’s got the advantage. He pokes Zuko in the face with the end of the staff and knocks him back again.

(20:17) Katara tries waterbending in combat for the first time. It doesn’t go so well, accidentally freezing Sokka to the deck. She turns to try the move she just worked out on the Fire Nation soldiers rushing her with spears, because she’s got some real strong nerves.

(20:44) Now that everyone’s on the bison and there are no soldiers on deck, Iroh wanders out. First thing he does is go help Zuko back onto the deck.

(20:56) Iroh matches Zuko’s fireball in an attempt to shoot Appa down.

(21:05) And who could have foreseen it, but Aang deflects it! Right into the side of a glacier.

(21:25) If Iroh was trying to impress on Zuko that Aang’s just a child, he missed the mark. (Given Zuko’s relationship with Azula…) Zuko points out that kid or not, Aang just buried their ship. We leave our antagonists as Zuko orders the ship dug out and the Avatar followed.

(21:43) Meanwhile, somewhere in the sky, Katara has questions for Aang. Her first relate to waterbending, how? Aang, however, has no conscious knowledge of waterbending. So even though he’s the Avatar, he’s on similar footing to Katara when it comes to that particular skill.

(21:55) More seriously, Katara wants to know why Aang didn’t tell them he was the Avatar, and Aang’s answer “because I never wanted to be” is an important one. We’ve seen his courage and his selflessness. We can reason out that it’s not the actual saving of the day that he minds.

Aang doesn’t want the responsibility. He wants to be free.

(22:17) Katara gently points out that the entire world needs the Avatar to end the war. Aang doesn’t know how he’s going to do it. He’s got no idea how to tackle this problem (nor much emotional preparednesss to do so).

(22:23) In response to Aang’s despondence, Katara sets out the general outline of what Aang needs to do, and therefore the plan for the rest of the series. Aang has to master water, then earth, then fire. The plan for the rest of the season is to learn waterbending.

(22:31) “We could learn [waterbending] together!” Aang says. Again, the full context of this is that Aang (very much an extrovert) was abruptly excluded from airbending games by his same-age friends when they found out he was the Avatar. That’s the other thing Aang doesn’t want about being the Avatar - being set apart from others. We can start to see that in his eagerness to learn with Katara.

(22:33) As for Sokka, what he gets out of the trip is basically some fighting. Unlike Aang and Katara, he doesn’t have a clearly defined end goal here. Nor a clearly defined role in the group as yet.

(22:50) Aang insists that they stop a few places before going to learn waterbending. Mostly these places involve riding large animals. Again we’ve got the good and the bad here - Aang needs to make time for himself and it’s good that he makes time for himself, but he also can’t duck his responsibilities forever. Whether or not he wanted those responsibilities in the first place.

#a:tla #fine toothed comb edition

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welllpthisishappening · 3 years

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Welllp These Are Books: the January 2021 Edition

Tumblr’s gif search leaves a lot to be desired, so there’s no actual gif of her slamming the book shut, which is—y’know, disappointing. Still, the continued ability of the public library system to send books to my Kindle ensures that I continue to read every romantic comedy and fantasy story I can find. Of which I have plenty of thoughts and opinions. But, like, what’s the point of having thoughts and opinions if you’re not putting them on the internet? There isn’t one, obviously. Books and links and feelings and more ridiculous headlines all under the cut.

BEST BOOK AWARD WINNER OF A VERY WEIRD JANUARY THAT HELPED DISTRACT FROM A VERY WEIRD JANUARY

The Wrath & the Dawn by Renee Ahdieh Every dawn brings horror to a different family in a land ruled by a killer. Khalid, the eighteen-year-old Caliph of Khorasan, takes a new bride each night only to have her executed at sunrise. So it is a suspicious surprise when sixteen-year-old Shahrzad volunteers to marry Khalid. But she does so with a clever plan to stay alive and exact revenge on the Caliph for the murder of her best friend and countless other girls. Shazi’s wit and will, indeed, get her through to the dawn that no others have seen, but with a catch . . . she’s falling in love with the very boy who killed her dearest friend. She discovers that the murderous boy-king is not all that he seems and neither are the deaths of so many girls. Shazi is determined to uncover the reason for the murders and to break the cycle once and for all.

This was so good?!?! I finished the first book and them immediately started the sequel, like no break whatsoever?!! I wish they weren’t teenagers?!! But seriously I wish they hadn’t been teenagers. Like, I get it. It’s YA. That probably sells better, something about markets that I don’t understand. I don’t care. It was weird that they were teenagers. Also, some of the plot points just kind of...happened? And I’m not entirely sure they were ever resolved. (Although there are a bunch of short stories, so. Maybe I just haven’t gotten there yet.) Despite that, the writing was gorgeous, I remain as prone to swooning over sad boys patent pending as I was when I was sixteen and Shahrzad was a fantastic heroine. Nine out of ten (would have been ten if they weren’t teenagers) and have already put holds on other books Ahdieh has written.

OBLIGATORY RAGE-INDUCING ROM-COM

Head Over Heads by Hannah Orenstein The past seven years have been hard on Avery Abrams: After training her entire life to make the Olympic gymnastics team, a disastrous performance ended her athletic career for good. Her best friend and teammate, Jasmine, went on to become an Olympic champion, then committed the ultimate betrayal by marrying their emotionally abusive coach, Dimitri. Now, reeling from a breakup with her football star boyfriend, Avery returns to her Massachusetts hometown, where new coach Ryan asks her to help him train a promising young gymnast with Olympic aspirations. Despite her misgivings and worries about the memories it will evoke, Avery agrees. Back in the gym, she's surprised to find sparks flying with Ryan. But when a shocking scandal in the gymnastics world breaks, it has shattering effects not only for the sport but also for Avery and her old friend Jasmine.

I stopped reading it. Honestly. I got, like, 46% of the way through, kept complaining to Justin about how goddamn annoying Avery was and how no one had any personality and I wanted them all to fall off the beam and he was like—stop reading it, then? And I was like—I can do that? And then I did! Also, I understand it needed conflict, but the “shocking scandal” in the description is a sexual assault that was not only NOT my cup of tea, but felt like a massive attempt to be topical by using what happened at Michigan State without actually saying it was about Michigan state.

PEOPLE WHO DON’T KNOW SPORTS WRITE SPORTS AND DO IT OK

Evvie Drake Starts Over by Linda Holmes In a sleepy seaside town in Maine, recently widowed Eveleth “Evvie” Drake rarely leaves her large, painfully empty house nearly a year after her husband’s death in a car crash. Everyone in town, even her best friend, Andy, thinks grief keeps her locked inside, and Evvie doesn’t correct them. Meanwhile, in New York City, Dean Tenney, former Major League pitcher and Andy’s childhood best friend, is wrestling with what miserable athletes living out their worst nightmares call the “yips”: he can’t throw straight anymore, and, even worse, he can’t figure out why. As the media storm heats up, an invitation from Andy to stay in Maine seems like the perfect chance to hit the reset button on Dean’s future. When he moves into an apartment at the back of Evvie’s house, the two make a deal: Dean won’t ask about Evvie’s late husband, and Evvie won’t ask about Dean’s baseball career. Rules, though, have a funny way of being broken—and what starts as an unexpected friendship soon turns into something more. To move forward, Evvie and Dean will have to reckon with their pasts—the friendships they’ve damaged, the secrets they’ve kept—but in life, as in baseball, there’s always a chance—up until the last out.

I am admittedly a sports snob. Writing about sports is my thing and I’m super particular about reading about it. But this sounded good and for the most part it was good. Emotional, too. Like, “jeepers, that was intense” kind of emotional. But also some of the things Dean talked about were just...not how sports work and that drives me nuts. Also another story that was, as mentioned, super emotional only to get tied up in this nice little bow. Which, cool, but also...not? Just felt rushed at the end.

IN WHICH SHIPPING IS QUESTIONED AND I JUST LIKE BEN BARNES

Shadow and Bone by Leigh Bardugo Soldier. Summoner. Saint. Orphaned and expendable, Alina Starkov is a soldier who knows she may not survive her first trek across the Shadow Fold—a swath of unnatural darkness crawling with monsters. But when her regiment is attacked, Alina unleashes dormant magic not even she knew she possessed. Now Alina will enter a lavish world of royalty and intrigue as she trains with the Grisha, her country's magical military elite—and falls under the spell of their notorious leader, the Darkling. He believes Alina can summon a force capable of destroying the Shadow Fold and reuniting their war-ravaged country, but only if she can master her untamed gift.As the threat to the kingdom mounts and Alina unlocks the secrets of her past, she will make a dangerous discovery that could threaten all she loves and the very future of a nation. Welcome to Ravka . . . a world of science and superstition where nothing is what it seems.

I wanted to like this so much. So, so much. And sometimes I did. Sometimes I did not. At all. World building is my weakness and this has got it in spades, but the characters are kind of—boring? I couldn’t really bring myself to care about Alina and I wanted to kick Mal in the shins sometimes. The only interesting one was The Darkling who’s like the embodiment of all evil and I am not here to ship-shame anyone, but it’s kinda weird to ship him and Alina. I pictured Ben Barnes the entire time. I’m still excited for the show. I’ll read the sequel at some point, probably.

BEING A JERK IS NOT ROMANCE, YOU’RE JUST A JERK

Would Like to Meet by Rachel Winters It's Evie Summers's job to find out. Because if she can't convince her film agency's biggest client, Ezra Chester, to write the romantic-comedy screenplay he owes producers, her career will be over. The catch? Arrogant Ezra thinks rom-coms are unrealistic—and he'll only put pen to paper if Evie proves to him that it's possible to meet a man in real life the way it happens on the big screen. Cynical Evie might not believe in happily ever after, but she'll do what it takes to save the job that's been her lifeline . . . even if it means reenacting iconic rom-com scenes in public. Spilling orange juice on a cute stranger? No problem. Leaving her number in books all over London to see who calls? Done. With a little help from her well-meaning friends and the adorable father-daughter duo who keep witnessing her humiliations, Evie is determined to show Ezra she can meet a man the way Sally met Harry. But can a workaholic who's given up on love find a meet-cute of her very own?

I love cliches. Love ‘em. Want to read about ‘em, want to write about ‘em. Here for happily ever after. Much less here for the overused and antiquated cliche of dude doesn’t believe in love like girl does, dude ridicules girl’s belief, dude was secretly in love with her the whole time. It’s super dumb. And we should stop writing it. Also really done with rom com girl can’t figure out her life! she’s overworked! she doesn’t have time for her friends! Super duper dumb. I don’t know guys, this book happened.

FAST-PACED ROMANCE ISN’T AS WEIRD WHEN IT’S WELL WRITTEN AND THERE’S A MOOSE INVOLVED

The Tourist Attraction by Sarah Morgenthaler He had a strict "no tourists" policy...until she broke all of his rules. When Graham Barnett named his diner The Tourist Trap, he meant it as a joke. Now he's stuck slinging reindeer dogs to an endless parade of resort visitors who couldn't interest him less. Not even the sweet, enthusiastic tourist in the corner who blushes every time he looks her way...

Two weeks in Alaska isn't just the top item on Zoey Caldwell's bucket list. It's the whole bucket. One look at the mountain town of Moose Springs and she's smitten. But when an act of kindness brings Zoey into Graham's world, she may just find there's more to the grumpy local than meets the eye...and more to love in Moose Springs than just the Alaskan wilderness.

This story of Alaska marries together all the things you didn't realize you needed: a whirlwind vacation, a friendly moose, a grumpy diner owner, a quirky tourist, plenty of restaurant humor, and a happy ending that'll take you away from it all.

I’m not one for slow burn, but I also have a hard time believing romances that happen in, like, a blink. Not the case here! It was so goddamn cute! There was a moose! Graham kept calling Zoey darlin’ and it made my heart try to explode in my chest! Stars Hollow-levels of small town with lots of side characters and a good plot and a restaurant that everyone always went to! You guys know I’m trash for everyone always going to hang out in the same restaurant! I’m reading the sequel now, so that’s how much I enjoyed it.

AMAZON BOOKS THAT CONTINUE TO BE WAY BETTER THAN THEY SHOULD BE

Elodie of the Sea by Shari L. Tapscott (part of the Eldentimber Series) Eight years have passed since the marriage tournament that decided the fate of Princess Pippa of Lauramore and strengthened alliances between the kingdoms of Elden. The competitors have moved on with their lives. Some have found adventure; some have found love. Prince Bran of Triblue, however, has put his life on hold, preparing for his father's crown. Two days before Bran's winter coronation, just when the prince cannot afford distractions, a girl washes onto the Triblue shore. She has no memory of her past life, no clue who she is or where she belongs—nothing but a ring on her finger and a peculiar marking on her cheek. And the newly crowned king has more than a mysterious girl to worry about. The sea has become unpredictable. Storms claim ships in the dead of night, and sailors return with horrifying stories of monsters from the deep. It soon becomes clear the girl and the bizarre events are connected. The girl came from the sea... and the sea wants her back. But Bran isn't willing to give her or his kingdom up without a fight, even if it means he must request help from every corner of Elden.

Listen, sometimes you have to read about a mermaid who lost her memory and the soon-to-be-king who’s, like, immediately in love with her. I mentioned Tapscott’s books in the 2020 post and the sentiment remains the same. You ever read a book that reads like fic? Lots of banter, some romance, steady pacing. That’s what her books are like. There are five in the Eldentimber series, all about a different princess in a different kingdom, but they all connect so characters pop up again and again and then they kiss. It’s real good.

#book reviews #the wrath and the dawn #laura reads books #i'm making my way through some of the recs you guys sent last time around too #but don't hesitate to send more #seriously i am down to read anything #welllp these are books

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violethowler · 4 years

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The Elephant in the Room

In my previous essays, I have covered how the Kingdom Hearts narrative follows Maureen Murdock’s template of the Heroine’s Journey, as well as how various characters and story elements tie in with the overarching themes of the framework. Before I can continue to dig further into other themes and archetypes, there is something I need to address first. While I have avoided directly touching on the topic in my previous essays, I have now reached the point where it is no longer possible to talk about the Heroine’s Journey in full without acknowledging the elephant in the room:

Romance.

In ongoing serialized stories such as TV shows and video games, conversations about potential relationships in canon are often treated as inconsequential to the overall story. Something that is separate from the main plot. At worst, I have seen fans who openly center a ship in their analysis and theories be dismissed and criticized as biased - or worse, delusional. They are treated as being so obsessed with their pairing that they try to make everything about their ship and jump on any excuse to declare that it’s viable in canon.

Among the Kingdom Hearts fandom in particular, this has often taken the form of someone trying to dismiss other fans’ hope for a ship to be canon by saying that the series is about friendship, not romance.

While friendship is absolutely an important theme in the Kingdom Hearts series, to insist that this is mutually exclusive from depicting the development of romantic relationships ignores the continued presence of canon Disney romances in almost every game in the series. In each “main” game where Sora is playable, he has directly or indirectly been involved in getting those Disney couples together in the KH universe. So it’s not out of the realm of possibility for the series to turn the tables and give some attention to his romantic interests for a change.

A story having other major themes is not mutually exclusive from showcasing the development of a romantic relationship. There are many popular movies, shows, books, comics, and video games in which a romantic relationship plays a central role in the narrative but there are still other plotlines going on that are equally as important as the romance. This is especially true for Disney and Square Enix.

The reason why it’s impossible to fully talk about the Heroine’s Journey without acknowledging romance elements is best encapsulated by this quote from She-Ra showrunner Noelle Stevenson about her show’s endgame pairing in an i09 interview after the release of the final season:

“The show’s not a romance show. It is about a lot of things. It’s about choice, destiny, fighting, tyrants, you know, all of these other things. I grew up with so many stories—like sci-fi and fantasy—that I was so passionate about. And it would be considered no big deal to have the hero get the girl and to have a kiss at the end, without it suddenly becoming a romance or ‘Oh, the shippers got what they wanted.’ It was just a part of the story. And to actually see it be a central part of the plot and to fulfill the arcs of the characters in a way that felt satisfying. I really want to take it beyond ‘Oh, the shippers got what they want.’ Like, it’s not just a ship for me. It is a plot point. It is the necessary conclusion of each character’s arc, separate and together.[1]”

While not every story known to follow the Heroine's Journey features a romance for the main protagonist, those that do make the romance an integral part of the narrative. It’s not something thrown in at the end to please shippers, but a central component of the story. Therefore, when analyzing a Heroine’s Journey story, it is vital to acknowledge and discuss textual support for potential romantic relationships in order to have a full understanding of the narrative.

Even if one is not aware of the Heroine’s Journey, Sora’s repeated interactions with Disney romances indicate that there is a high probability that he will be in a romantic relationship himself by the end of the series. Every story I know of that follows the Heroine’s Journey broadly adheres to a pattern in regards to how the romantic relationships of a main character are set up.

By examining the series through these patterns, we can narrow down who Sora’s endgame romantic partner will be.

Because the themes and character dynamics emphasize resolving internal conflict through balance, the Heroine’s Journey lends itself extremely well to Beauty-and-the-Beast, rivals-to-lovers, and enemies-to-lovers relationship dynamics. A major component of the Heroine’s Journey is the main character learning to accept themselves, and since the Animus as a Shadow figure can represent the parts of themselves that they haven’t accepted yet, it is simpler to symbolize that self-acceptance via a romance with the Animus rather than attempting to build a separate relationship on top of the existing story framework.

For these reasons, the Animus is more often than not the main character’s endgame love interest, their feelings for each other made into critical aspects of their respective character arcs. The only Heroine’s Journey stories with romance that I know of where this wasn’t the case are ones where executive meddling resulted in the finale being rewritten to kill off the Animus despite established narrative set up for them to have a happy ending together[2], while the protagonist was either forced into a relationship with a different character or left single.

And like I said in previous essays, the one character in the series who fulfills all criteria for the Animus role within this storytelling framework….

Is Riku.

[Image Description: Sora supporting Riku as they walk toward the ocean on the Dark Margin at the end of Kingdom Hearts II. End Description.]

As mentioned in my earlier analysis, this narrative framework emphasizes the importance of balancing contrasting attributes, which fits in extremely well with Kingdom Hearts’ focus on balance between light and darkness. For stories that follow the Heroine’s Journey in a visual medium, that dichotomy is often incorporated into the characters’ look. Height differences are common, while their color schemes and outfits are designed to make them complement each other. Further adding to the focus on balance between light and darkness, the visuals of the story frame the romantic leads with imagery associating each one with light or darkness to create Yin-Yang symbolism when they are finally in balance.

In Re: Chain of Memories, Vexen openly calls Riku the “Hero of Darkness[3]” as a counterpart to Sora’s role as the “Hero of Light”, and their combination attack in Kingdom Hearts II utilizes moves that reflect both elements. In the Ultimania for the original game, Tetsuya Nomura said that Riku’s look was intentionally designed to balance Sora’s[4], and the contrast between their respective color schemes is maintained in each of their new outfits. In Kingdom Hearts II and Dream Drop Distance, Riku wears white and blue, while Sora in those same games wears black and red. Two different pairs of contrasting colors. Kingdom Hearts III has them both in outfits that are primarily black and grey, but still emphasize the blue and red that have been part of their respective outfits since the first game.

In a Heroine’s Journey, the love interest is typically an active character in the story and usually serves as the deuteragonist. This fits with Riku having been a mandatory playable character in multiple games since 2004. In addition, series producer Shinji Hashimoto said before the release of the HD 1.5 Remix collection[5] that the main focus of the series is how Sora and Riku develop both as individuals and as a pair, which fits with how the central conflict of the Heroine’s Journey revolves around the dynamic between the Protagonist and their Animus.

A common viewpoint held by many fans of the series is that Kairi is Sora’s love interest, and it’s not hard to see why people get that impression. He has sacrificed himself to save her in two separate games now. He’s charged enemies head on in order to rescue her whenever she’s been captured. He even got down on his knees and begged for her freedom when Saix demanded he show how important she was to him. Multiple characters have talked about how special she is to him, and Roxas refers to her as “that girl he(Sora) likes.”

However, there are multiple elements in the narrative that point to them not being the endgame romance. Kingdom Hearts III foreshadows the final shot of them sitting on the paopu together at the end of the game with Sora disappearing from the cover of the 100 Acre Wood storybook, textually framing Winnie the Pooh as a parallel to Kairi. While many fans regarded their sharing paopu fruits in the base game as the beginning of a relationship between them, he still only refers to her as a friend in Re:Mind, and even compares his bond with her to the bond between Ventus and Chirithy.

Sora also does not treat his promises to her with the seriousness he would if they were going to end up together. The promises to return her lucky charm and to come back to her that he makes in the first game are never treated as anything urgent when he awakens in Kingdom Hearts II. Instead, he declines the opportunity to return to the islands and check in with her in favor of searching for Riku. When Kairi says in The World That Never Was that they’ll be together every day, Sora agrees, yet he was content to spend the rest of his life on the dark beach at the end of the game as long as he was with Riku.

Meanwhile, the most consistent theme regarding Kairi in relation to the Destiny Islands trio is the idea of childhood friends drifting apart as they get older[6][7]. This is particularly highlighted in Kingdom Hearts III, with Kairi writing letters to Sora that she never sends, thereby keeping her thoughts to herself. Merlin also emphasizes this when he talks about forging new connections after Sora’s visit to 100 Acre Wood. This parallel frames the ending of Re:Mind as the two of them recognizing they’ve drifted apart and choosing to put in the effort to renew their friendship by spending time together.

On a structural level, her portrayal does not fit with how love interests are typically depicted in the Heroine’s Journey, both as an individual and in relation to the main protagonist. There is no contrast between her and Sora’s designs or roles the way there is between his and Riku’s. Her color scheme is predominantly pink, which does not have the same contrast with Sora’s red as Riku’s blue. Because she’s a Princess of Heart, there is no dark and light contrast, and the combination attack she shares with Sora in Re:Mind only utilizes light-based moves. It took 17 years after her first appearance in the series for her to be made a playable character, and even then, playing as her is not mandatory. They are never portrayed as equals, and she is not an active force in his emotional growth.

The Heroine’s Journey was crafted for narratives revolving around identities that have been Othered by society for one reason or another. Murdock designed her template as a tool to help women deal with being shamed by society for expressing and pursuing their desires. In a similar way, LGBTQ+ people also face stigma from society for expressing and pursuing their desires. So it makes perfect sense that a framework for narratives of people overcoming internalized stigma against important parts of themselves would be ripe for stories featuring LGBTQ+ protagonists of any gender.

As mentioned in previous essays, stories that follow the Heroine’s Journey challenge the biases and blind spots of the audience. A relationship between Kairi and Sora does not challenge anything because she has largely been regarded as the endgame love interest by default since the beginning. Meanwhile, a romantic relationship between Sora and Riku challenges players to recognize heteronormativity within themselves and in the media around them. It challenges people to examine the lens through which they perceive the story and rethink how they look at what’s happening in the narrative.

In summary, the portrayal of Kairi and her bond with Sora is not consistent with how love interests are commonly depicted in the Heroine’s Journey, while the portrayal of Riku and his bond with Sora is. If Sora’s story is going to continue on this storytelling formula to the end, the structure of the Heroine’s Journey narrative leaves Riku as the only thematically viable candidate for the role of endgame love interest.

Now, as some people bring up in conversations about Soriku, there is a potential obstacle in the form of corporate executives. It is entirely possible that Disney will drag their heels and try to force the development team to downplay or remove any open same-sex relationship the series may try to depict. They do not have a strong track record of LGBTQ+ representation that isn’t a minor character who only appears for one scene. Given that their last IP to follow the Heroine’s Journey - the Star Wars sequel trilogy - crashed and burned at the end, executive meddling is my greatest fear for this franchise.

But the thing to keep in mind is that Tetsuya Nomura is stubborn as hell. One of the reasons the long gap between Kingdom Hearts II and Kingdom Hearts III was because he was holding out for permission to include Pixar movies in the game, outright refusing to start work on KH3 until they were given that go ahead[8]. If you want further proof of how stubborn he can be, this is how he described the meeting where he first pitched the series to Disney in a 2012 interview with the late president of Nintendo[9]:

Iwata: Their ideas were different from yours, naturally…

Nomura: Yes. They appeared to believe that we would make whatever they wanted us to make and came up with rather specific requests such as, "We'd like the game to feature this character." They were really excited, explaining their ideas... To be honest, though, I wasn't really interested in any of them. (laughs)

Both: (laughter)

Iwata: You wanted to borrow Disney's characters in order to make a new game that could compete with Mario 64, and you already had a vision of what this game would look like. I suppose their ideas didn't fit in with this vision.

Nomura: They didn't, no. In the end, I actually stopped a presentation halfway through. We didn't have that much time, and it looked like it was all going to get taken up by various Disney presentations. So, I interrupted them and told them the conclusion by saying, "I won't make such games."

Talk about nerves of steel. This man basically said “we do this my way, or we don’t do it at all” TO MOTHERFORKING DISNEY, AND. HE. WON. If there is any human being with enough force of will to make the Mouse House cave in and allow the depiction of an openly LGBTQ+ relationship in the Kingdom Hearts series, it is Tetsuya Nomura.

I cannot say with 100% certainty how things will go. But everything I know about storytelling patterns and narrative structure is telling me that Kingdom Hearts is a textbook Heroine’s Journey with a romance between Sora and Riku at its core. A relationship between the protagonist and the Animus does not truly begin until the “Integration” stage at the end of the Journey, and we are rapidly approaching the point in the narrative where the two leads traditionally become aware of and acknowledge their feelings in order to be on the same page for the finale.

Sources:

[1] “She-Ra's Noelle Stevenson Tells Us How Difficult It Was to Bring Adora and Catra Home” May 18, 2020

https://io9.gizmodo.com/she-ras-noelle-stevenson-tells-us-how-difficult-it-was-1843419358

[2] “Death of a Dark Youth, Desecration of the Animus”; December 20, 2018. https://www.teampurplelion.com/death-of-a-dark-youth/

[3] Kingdom Hearts Re: Chain of Memories. Square Enix, 2007.

[4] “A Look Back: Kingdom Hearts Ultimania Gallery Comments Part 1″; August 30, 2019;

https://www.khinsider.com/news/A-Look-Back-KINGDOM-HEARTS-Ultimania-Gallery-Comments-Part-1-15519

[5] “How Kingdom Hearts III Will Grow Up With Its Players;” September 24, 2013.

https://www.ign.com/articles/2013/09/25/how-kingdom-hearts-iii-will-grow-up-with-its-players.

[6] “E3 2018: Tetsuya Nomura on If Kingdom Hearts 3 Is the End of Sora's Story”; June 14, 2018.

https://www.ign.com/articles/2018/06/14/e3-2018-tetsuya-nomura-on-if-kingdom-hearts-3-is-the-end-of-soras-story

[7] “Character’s Report Vol. 1 Translations”; Jul 16, 2014

https://www.khinsider.com/forums/index.php?threads/characters-report-vol-1-translations.195560/

[8] “Edge Magazine Features Kingdom Hearts III Cover Story”; January 9, 2019. https://www.khinsider.com/news/Edge-Magazine-Features-Kingdom-Hearts-III-Cover-Story-14331

[9] “Iwata Asks: Nintendo 3DS: Third Party Game Developers, Volume 12: Kingdom Hearts 3D [Dream Drop Distance], Part 2: It’ll definitely be fun”; April 2012.

https://iwataasks.nintendo.com/interviews/#/3ds/creators/11/1

#kingdom hearts meta #kingdom hearts theory #kh speculation #kingdom hearts analysis #kingdom hearts and the heroine's journey #soriku

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semper-legens · 3 years

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126. The Archive of the Forgotten, by A J Hackwith

Owned: No, library Page count: 365 My summary: After the destruction of many unwritten books under her care, ex-librarian Claire has been estranged from ex-muse and current librarian Brevity. But upon the discovery of a strange ink, everyone begins to realise that there are more to the unwritten books than they first assumed. Can they find the true nature of the ink before everything is torn apart? My rating: 3.5/5 My commentary:

I didn’t think I’d pick up the sequel to The Library of the Forgotten, a book I read earlier this year. To be fair, I’m not sure I knew there was a sequel out there yet. But I saw it in the library and thought eh, why not, so here we are. Overall I found that I connected with it a little more than the first book - that happens, when I’m more ‘inside’ a world and know the characters better, the book can spend less time establishing and more time just being. I’m still not super into it, but on the other hand I can see why someone would be. More of a personal preference than a value judgement, is my point.

Claire continues to be compelling - she’s stoically resolved to unravel the mystery, no matter what it takes, but she still wants to help and protect her friends. In a lot of series her kind of character might become a misanthropic lone wolf type, so I really like that while she’s isolated throughout the book, she still likes and values the others and has good intentions, even when her experimentation takes her down dodgy roads. Her quiet desperation at being unable to save all of the books is heartbreaking, and I enjoyed being along for the ride.

Brevity, meanwhile, gets a bit more serious in this one. She’s got some real responsibilities, but the main conflict for her is that her sister-by-choice Probity has shown up, and has some ideas on what Brevity should do with her new discovery. To be honest, I didn’t really love her side-plot, and that’s mostly because the fact that Probity’s up to something dodgy is so clear from the start. I spent the whole time waiting for the other shoe to drop, and when it did it was interesting, but not particularly satisfying, if you get me. This might be another preference thing though.

Meanwhile, Hero and Rami, a villain escaped from his book turned library assistant and fallen angel turned archival assistant respectively, do the questing-style legwork for this one. I gotta admit, I really love Hero, and that’s because he’s exactly my type of character - sad man hiding under bluster and snarkiness, with a kind of tsundere attitude to the concept of friendship. His arc, seeing him becoming more and more of his own person and accepting his place in the universe, is wonderful, as well as seeing him get closer and closer to Rami. Rami, meanwhile, is a good contrast to Hero - straightforward, wise, experienced. He’s a gentle giant type, but a clever one. Seeing them slowly get together is, frankly, adorable, and I gotta give major kudos to the author for not having them have a sexuality freakout or anything. They’re just two dude who love each other a lot, and honestly I think that’s beautiful.

A lot of this narrative is caught up in the nature of books and stories - makes sense for the framing, but I do wonder about what it classes as a story. In a tale about how stories have lives of their own, the setting of a library necessarily foregrounds the kind of stories that are written down, but of course the oldest and most pervasive stories come down to us from oral traditions. No mention of that, though to be fair that is explained by the whole ‘library’ thing. The idea that books themselves have souls is...obvious, which is more irritating than not thanks to the fact that the book treats it as a reveal. I know, I usually eat this kind of stuff up, but here it just failed to stick the landing for me.

That’s all here - next up, time for some strange short stories.

#The Archive of the Forgotten #A J Hackwith #bookblr #book blog #book blogging #3.5

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historic-old-guard-lover · 3 years

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The emperor has to be god-king Andy. Also like since nicky and Joe obv have to have the lovers why not have andy and quyhn kissing as the empress.

Another related ask (potentially by the same person):

Also since the fool is a journey's beginning I'd almost want to pick Nile for it. As well there are four characters who commonly have swords (or an axe but close enough) and cards have four corners. So one sword each corner, nicky, joe, andy, and quyhn.

So. Someone has good ideas. Here’s the post that prompted these asks. This made me pull out my tarot deck and go through the cards. Below the cut is a break down of the entire tarot deck. There will be an explanation of the (standard) interpretation of the cards, good then less good, and then my associated headcannon (or more than one if I couldn’t decide). The source is my experience with tarot. I’m trying to minimize repeats, but historic and modern Old Guard members are counted separately. Enjoy.

The Major Arcana (aka the cards most people have heard about)

0. The Fool - the seeker. Naivety. Courage. Living in the moment. Journey’s beginning. All paths available. Folly. Apathy.

Nile. Anon convinced me. Though Booker has got the folly, apathy, and madness down, Nile is ultimately the beginning. She’s naïve but headstrong, and quite frankly a perfect match.

I. The Magician - the trickster. Power, skill, talent. Mastery, self-control, willpower. Subtlety. Divine connection and inspiration. Self-reliant.

Modern Nicky. Definitely Nicky. Just. He’s a formerly very religious man who just says these things. Also sniper.

II. The High Priestess - the moon goddess. Intuition, wisdom, foresight, divination, prophecy. Enlightenment, understanding, intelligence, education. Pride, emotional instability, unforgiving.

Historic Quynh. Her name means “night-blooming flower”, which is very moon goddess vibes to me. Also, I’d say over 500 years in a box turns understanding and enlightenment into emotional instability and unforgiveness.

III. The Empress - the queen. Feminine power, matriarch, mother. Fertility, pleasure, beauty. Success, evolution, movement. Marriage, wealth. Overattachment, domestic upheaval, delay.

Quynh. The counterpart to Andy’s emperor card.

Nile. Let’s be honest, she’s going to take over from Andy some day.

IV. The Emperor - the king. Masculine power, patriarch, father. Authority, leadership, proficiency. Wealth, stability, effectiveness. Perseverance, logic, endurance, experience. Lack of ability, weak character, immature, rebellious.

Modern Andy. She is the leader who’s short-comings effect her entire team. And who doesn’t love a little gender bending? (and her film look is already soft butch)

V. The Hierophant - the religious leader. Tradition, convention, ritual symbolism. Ceremony, religion, morality, philosophy. Mercy, goodness, forgiveness, humility, vulnerability, Impotence, Religious tyranny.

Historic Nicky. I mean, former priest (enough said).

Historic Andy. “I was once worshipped as a god” (enough said).

VI. The Lovers - the lovers. Love, attraction. Compatibility, harmony, choice. Triumph over trials, vacillation. Entanglement, enmeshment. Infidelity, moral lapse, vice, separation, quarrels, inadequacy, failing tests.

Andromaquynh. *peeks out from behind barricade* I know that most people would just put Kaysanova as this card, but look at all the negatives it is associated with. Sounds a lot more like our immortal wives can really cover the gamut. They have the range....I am a sucker for Kaysanova, though. Even though the beginning of their relationship is rocky, I’d like to think it’s been fairly constant over the years. But let’s reverse the uhaul lesbians and fickle gay men tropes! Sorry, Book of Nile fans. That ship just isn’t established enough for this, I’d say. Maybe one day?

VII. The Chariot - the journey. Ordeal, obstacles, competition. High stakes, ambition, discipline. Conquest, victory, greatness. Right action prevails, overwhelming odds, sudden defeat.

Merrick and/or Dr. Kozak. I mean, this is literally their characters in a nutshell. Merrick is the journey/ordeal for the old guard. He is driven by his ambition, thinks he’s won over impossible odds, and then has a sudden defeat.

VIII. Justice - the balance. Equilibrium, equality, symmetry, harmony. Integrity, honor, fairness, neutrality, moderation. Vindication, self-righteousness, bigotry, prejudice, favoritism.

Nile. This is the woman with a sword card. She brings a balance to the team, she clearly moderates conflict, and I’d love to see BLM art of her in this style. Just sayin.

IX. The Hermit - the seeker-sage. Wisdom, inspiration, contemplation, discretion, understanding. Safety, protection, spiritual quest. Seeking truth and justice. Self-denial, timidity, fear.

Historic Joe. The idealized warrior poet? Definitely just a form of the hermit. Helps explain why a Magrebhi trader/artist fought at the Siege of Jerusalem: spiritual quest. I also like the idea of Joe having a secret reserved side.

X. The Wheel of Fortune - cycles of life. Destiney, evolution and progress, advancement. Manifestation, unexpected events. Success, sudden luck. Ups and downs.

Modern Quynh. There is nothing that better encapsulates her storyline than the wheel of fortune. One day you’re roaming the world with your immortal wife. The next, you’re drowning for over 500 years. The next you’re in Booker’s shitty Paris apartment.

XI. Strength - fortitude. Resilience, courage, resolve, confidence. Integrity, moral victory, endurance. Energy, action, vitality. Power, force, violence. Abuse of power, disgrace, impotence.

Lykon. Do I love this character beyong measure and reason? Maybe so. We have so little to go on about him, however, that the only things we do know bely his strengths. Also, he becomes ultimately the weakest when he dies and encapsulates both “extremes” of the card.

XII. The Hanged Man - the tested. Delay, sacrifice, abandonment, rejection. Betrayal. Reversals, restrained or bound, limbo, trials. Falseness.

Booker. If the fact that his first death was by hanging didn’t convince you? Read that description again. His character arc is literally working through being the hanged man.

XIII. Death - the loss or parting. Alteration, transformation, transition. Boredom, depression, stagnation, failure or disaster. Bereavement, recovery, immobility.

Lykon. He literally represents the fear of death to the remaining immortals. It is HE that they invoke when they discuss it. Also, I’m still mourning my favorite underdeveloped character.

XIV. Temperance - the moderation. Self-control, economy, patience, coordination. Consolidation, harmony, friendship, recuperation. Unfulfilled desires, discord, stubbornness, hostility, clashing of interests. Time, seasons, and climate.

A Safehouse. I don’t think any of the people really capture the tempered essence of this card, the constancy throughout all seasons of life. An actual physical building that rises and falls with (regular) humanity, though, seems to do the trick.

XV. The Devil - the arcane. Magic, strange occurrences, prophecy, fate. Catastrophe, downfall, negative attitude, Temptations, sins, obsessions. Enslavement, bondage, misplaced loyalty, violence, fatality.

Honestly? I’m so torn. I feel like a major commentary of the movie is that our demons are the way people react more so than the people themselves. Maybe the armored van?

XVI. The Tower - the House of God. Disruption, expulsion from an earthly paradise, divine wrath. Punishment (of pride), loss, destructive rivalry, plans ruined. Need to start again, bankruptcy.

The Iron Coffin. While this doesn’t capture the religious undertones quite right, the coffin is the Tower for Andromaquynh, It is (divine? or very human?) wrath brought on by pride since the two probably thought that they would be fine. It is loss and painful new beginnings.

XVII. The Star - the bright promise. Hope, faith, light of the spirit. Recovery, symbols of immortality. Gifts, good prospects, new dawn, frustrated expectations.

Nile. The new immortal, enough said.

Historic Andy/Lykon. In a way, the first immortal would also be a great choice of representation.

XVIII, The Moon - the hidden forces. Twilight, illusion, deception, trickery. Dishonesty, danger, uncertainty, terror. Developments, particularly somewhat concealed. Errors, powerful feelings.

Copley. I know, I know. “He’s the moon when I’m lost in darkness” and all that jazz. But look at this card’s interpretation and notice it’s pretty negative. Copley’s entire role is to pull the strings behind the scenes. He makes headway on problems in secrets, he lies and deceives everyone in the film at some point.

XIX. The Sun - the work’s rewards. Daylight, co-creation, union “of male and female”. Peace, joy, pleasure, love, contentment. Accomplishment, achievement, success.

Joe. Not only is he the sun, he also fits this card perfectly. He is creation and happiness. Enough said.

XX Judgement - the rebirth. Judgement, sentence. Rejuvenation, renewal, resurrection, call to the new from the old, rehabilitation. Creation, promotion.

Historic Booker. I feel like his backstory with his family helped highlight the theme of rebirth for the Old Guard. They must be willing to give up what they have left behind to move forward. Also, there’s the more literal play as well since Booker was a conscripted criminal.

XXI The World - the long journey. Perfection, completion, conclusion. Power through intelligence and wisdom. The universe and the material world.

A group photo, of course! Beyond that? Who knows.

Historic Andy? She’s seen so much of it. Like just her eyes portray the history of the world.

The Minor Arcana (aka the rest of the cards)

Since most people are only familiar with the major arcana, I’ll just briefly explain it. The minor arcana are actually the majority of a tarot deck. There are four suits associated with the four elements. Each suit has ten number cards and four court/face cards (traditionally modelled either based on one person or different interpretations of similar costuming). Each number or face has its own meaning, each suit has its own meaning, and their combination mostly explains what the card should be interpreted as. Quite frankly, the minor arcana are vastly underrated in popular understandings of tarot.

Suit of Wands - fire. Spontaneity, action, passion, adrenaline, life force, stroke of genius.

Guns? It’d be a bit of a niche take, but I associate guns with fires.

Staffs? More traditional in shape.

Suit of Coins - earth. Solid growth, material interests, possessions, profit, business, labor, slow and considerate.

Historic currency. Enough said.

Suit of Cups - water. Heartfelt involvements, imagination, spirituality, love, friendship, family.

Fountains around the world. Enough said.

Suit of Swords - air. Worry, trouble, boundaries, objectivity, the power of truth.

Obviously, their weapons of choice. I would go into more detail about who best represents each number, but I don’t want to bore you.

Court of Kings - mature men. Leaders, authority, status-quo, taking responsibility.

Again, most tarot is very gendered. But members in tuxes?

Court of Queens - mature women. Reflective and active, concerned with security/foundations, supportive, focused.

Members in dresses/gowns/anything that glitters?

Court of Knights/Cavaliers - young men. Dynamic, adventurous, intensive, revolutionary.

Tactical gear. Or historical armor. But it’s easier to do tactical gear right than accidentally draw a 15th century helmet on a 14th century suit of armor.

Court of Knaves/Pages - younger women, teenagers, and children. Students, apprentices, trainees, messengers, new opportunities.

Casual clothes.

#asks #lovely anon #tarot #reference #niche headcannons #major and minor arcana #i really thought this would have more kaysanova #but tarot is for wlw i guess? who knows

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a-student-out-of-time · 3 years

Text

Connections Review Part 2

This isn’t your average Love Hotel Event, this is an ADVANCED Love Hotel Event

Here we go people, we have returned and now it’s time for the next part of the review of Connections! Last time was quickly reviewing stuff that didn’t warrant its own part and all the time travelling discoveries into the Ultimate Seer Mikako, she is the Ultimate Seer now, not the Ultimate Exorcist, and some interesting visions. And in this part, we cover the stuff that everyone likes to talk about which is Harems! Whether it be Cuddle Puddle, Hotel Akane or Makoto’s currently unnamed Harem. Point is this Blog is a goldmine for Poly relationships and let the looovvveee spread! So, time for some fluffy reviews~

I’ll start with the only established harem at this point in time which is the Cuddle Puddle! Hotel Akane is planned for but still in development and we don’t even know if Makoto will be willing to go for a harem. So, the big major event which happens here is Hajime fixing the issues with Hiyoko’s family. She has serious issues with her grandmother as she forbids her from seeing her parents, and while Hiyoko can’t give a rat’s arse about her mother, she very much cares about her father, and as heir of her clan, Hiyoko has to marry a man of suitable status which Hajime doesn’t fulfil. So, with Izumi summoning Hiyoko back home to have a talk, Hajime joins her in order to try and get the racist boomer to approve of their relationship, and allow Hiyoko to see her parents, or her father to be more precise. This was a welcome relief mission because having fought two serial killers, busted a human trafficking ring and about to fight a cult, just talking to a racist problematic member of one of his girlfriend’s family is a very light mission for Hajime. Plus, because we all don’t like boomers having a boomer being called out for their racist and out of touch ways is catharsis at best. It helps that not all of the Sannoji family is completely terrible as Monoko and Teru, relatives of Hiyoko were more open minded, and agreed with Hiyoko and Hajime’s sentiments and if they weren’t there, I don’t think the meeting with Izumi would have gone well.

Thankfully, Hajime & Hiyoko, with the help of Momoko and Teru, were able to get Izumi to bless their relationship and since Sannoijis marry young, as soon as Hiyoko graduates, or ‘graduates’ because remember Hopes Peak Academy will only remain open for as long as Junko lurks and as soon as she’s defeated, Nikei’s article on why Hope’s Peak Academy is twisted and corrupted will be put up and the school won’t last long, she wants to marry Hajime. This brings up a legal problem with the Cuddle Puddle as Poly relationships are illegal in Japan, in fact I think they’re illegal in a lot of countries. Novoselic which is Sonia’s kingdom its legal, but Sonia can’t ask for everyone to uproot their lives and move there. The temporary solution is for everyone not named Sonia and Gundham to legally change their last name to Hinata, Hajime marries Hiyoko and when Kiyotaka becomes Prime Minister and he legalizes Poly Marriage, marry the other girls then. That’s a long-term solution though.

As for the rest of the Cuddle Puddle, they are bonding well. Gundham got a bit of focus on this Arc and I’m glad for it. The biggest issues with the Cuddle Puddle as it is very Hajime-centric but we don’t see how the girls interact with each other or even Gundham as he’s the other male in the harem as well. Gundham himself doesn’t get many interactions aside from Hajime and Sonia, so seeing him open up to Hibiki about his past and she comforting his worries about Storm is heart-warming. I always knew that Hibiki had a strong liking for Gundham as even back during the Concert Arc when Sonia and Gundham met the Otonokoji twins on their independent mission to find the ‘stalker’ of them, Hibiki took a liking to Gundham’s Chuunibyou nature almost immediately, and given all the growth that Hibiki has gone through since then, she is now in a position to comfort others much like how she was comforted by them. Gundham’s backstory is the usual brand of familial outcast and a devoted mother who gave her life into Gundham that too many people in the Quantum Crew have. Kodaka did say one of the pillars of being a Danganronpa character is having a broken family and it shows.

While the Cuddle Puddle got some development, it won’t be the only harem this blog has so let’s look at the founding of a new one, which is Hotel Akane. It’s an unofficial rule that the protagonists of the Killing Games get their own harems, but Sora doesn’t want a harem as she is content with having a relationship with just Yoruko so she transferred her ‘harem rights’ to Akane, who being one of the horniest members of the cast, is more then happy for that. Akane is seeing Ayame at the moment but they haven’t officially started dating yet, its still in the friendship phase at the moment. This will develop into romance at some point though, but Akane is considerate enough to go things at a gradual pace. Yuki makes his first appearance in this arc as well as he shops at the new supermarket that Akane is working for, and we get to see Sora’s conflict over Yuki. Due to Sora’s purpose in the Killing Game, being created to protect Yuki until Mikado could break him, she is worried as she doesn’t know how much of her affection for Yuki is of her free will or due to the protocols that Mikado programmed into her. Akane reassures her that her love for Yuki is of free will as when Sora broke free from Mikado’s programming shackles, her first act was to protect Yuki from Mikado, and the two did genuinely bond over the course of the Killing Game. As such Akane meeting and potentially getting romantically involved with Yuki is A-OK in Sora’s books. But of course, that’s not the relationship you guys care about. You care about Servant’s Column AKA the relationship between Akane and Nikei. And quite a lot of progress was made there as we get to see how conflicted our poor reporter is. Due to Nikei’s highly disturbing backstory, he is unsure on what his sexual ordination is. The other Voids know where they swing but Nikei despite his best efforts doesn’t know what his type is. This isn’t a situation that is going to be resolved quickly as victims of sexual abuse do struggle with sexual identity and I could see a situation when Nikei winds up being asexual as a result of the whole thing. We know that Nikei has a habit on crushing on anyone who is remotely kind to him, something I relate to on a personal level, and that he’s okay with PDAs, but anything sexual is completely off limits to him as it would give Nikei traumatic flashbacks to his past. Given the strong likelihood of Miaya getting involved next arc, he really needs to speak to her as she could help him with getting to gripes with his past and sexual identity and allow himself to heal. And Nikei does need to learn how to be comfortable with himself before he can be okay with entering a relationship with Akane.

And now for the last harem and the only one without a name and that is Makoto’s harem. Thing is though, this is the harem I’m the most on the fence about. Because…is it going to exist? Cuddle Puddle are a thing, Hotel Akane is going to be a thing, but Makoto hasn’t made any noises about wanting to get into relationships with other girls, he’s may just be content having a relationship with Iroha. Granted he hasn’t even met the other girls who would be part of his harem and he won’t for a while so maybe attitudes change once the other girls become aware of him and he starts talking to them. The big event regarding this is that Makoto Naegi’s Worst Day ever happens during this Arc, which is the highly elaborate chain of events which leads to Makoto entering Hope’s Peak. I won’t talk much about this; it goes like it does in canon and just read it up online if you want details. Iroha wants to help Makoto during this but due to the enormous butterfly effects resulting from it, no interference can be done and it’s probably the only time we allow the Ankle Effect to make its noises. The results shows that the Ankle Effect isn’t an inherently evil force, it just wants history to stay the same. Unfortunately, history is tainted and the world would end if it is prevented so the Quantum Crew do have to meddle. The one thing Iroha CAN do with Makoto on his worst day ever is to comfort him and make his night memorable for all the right reasons. He is going to be a character though who would become more centric to the plot as soon as Junko enters the scene…unless things happen and he gets in sooner. I could see Makoto getting tangled up with dealing with Mikado as he has some association with the Voids now, and I think Makoto will NOT sit ideally if Mikado tries to mess with the Voids. As for Storm…I dunno.

And that’s all the harem developments, Hajime resolves Hiyoko’s family issues, Gundham exists in the Cuddle Puddle, Sora has Yuki identity problems, Nikei really needs as much hugs as possible and Makoto has an awful day, but he gets to be in line to being the hero of civilization and makes out with Iroha so all is good! At this point I would normally make my rankings but then a certain Motherfucker decided to get more screen time and thus he needs his own part. When we come back, I will discuss the most problematic part of the Arc, which is Maverick Storm. Until then byeeeee! - Review Anon

#danganronpa #a student out of time #submission

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mochuelovelli · 3 years

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Lilith for the character ask?

Oh boy, a controversial character! Gotta say, I stan James Charles /J

How do I feel about this character?:

On a real note, I do like Lilith as a character. When we first meet her, she's pompous and proud. Oozing with entitlement, she's easy to route against and you like to see her get worked up and "brought down" to Eda's level as the wild which so eloquently put it. Later on, but not too much later that it feels disingenuous, we really get to see her show that she cares for her sister. One might believe it is *Eda* being ridiculous, as far as the audience is aware, Lilith's offer holds little downsides. Eda would be cured and be afforded the luxuries of the upper class AND keep her magic. All she had to do was be the Emperor's soldier.

As to not get off track by talking about Eda, (im sure Lilith herself would loathe that lol) Lilith's reveal to have cursed her sister over a spot in the emperor's coven was...controversial to say the least. I don't think it's unpopular to voice that, yeah. It could've been communicated better to the audience since I saw plenty of commentators and regular fans themselves either thought Lilith cursing her sister was *needlessly* petty and not at all thought out (which yeah it kinda was).

From where I stand on that issue is, yeah, Lilith's whole reason to curse her sister could've been avoided by just talking to her sister and asking her to let her have this. BUT, I think a lot of people forget that the Emperor's coven would want to limit the number of powerful witches in their coven. Sure, Belos would want to be protected by a bunch of loyal soldiers, but he wouldn't want too much of the population to ever have a much power as him. So limiting the number of members in not just his coven but possible in the other major covens, would aid in controlling that population.

This might be pure hogwash but like, there are a ton of other "lesser" covens. So in my mind, it's more likely that the general population of witches gets sorted into one of the various miscellaneous. If you think limiting yourself to only practicing Illusion magic sucks, imagine only practicing whatever the fuck the "swag coven" does.

Lol gonna add a page break this shit is getting too long

Romantic Ships for this character?:

Hm, it's only s1 and we haven't seen her interact w/ many characters outside of her fam/Belos/actual children. I kinda jokingly ship here with Steve lol. Kikimora and her also have a funny dynamic but in all actuality, I don't ship her w/ anyone rn.

Non-Romantic Ships for this character?:

Her and Hooty lol. I mean Eda is an obvious answer but like, Hooty fucking with Lilith is too funny to not want to see. Her and King would be great too, probably get some good B plots out of it. It would be a good contrast since they both can be petty but in different ways and I think that would help flesh out their characters a bit more and maybe cause some introspection (at least on Lilith’s end lol)

Unpopular opinion about this character?:

Lol. I feel like she is such a divisive character in general that most opinions about her aren’t too out of the main stream. I guess a more meta take is that when she’s portrayed in fanworks, usually fanfic but not exclusively, very...one note lol. She’s usually a pretty flat, boring character in an attempt to highlight the contrast between her and Eda. She’s the straight-laced, “responsible” sibling who has a chip on her shoulder. In fanon, that equates to her characterization to either be like, completely and utterly apologetic to the point where it becomes unbelievable for any person to do. Her apologizing or making amends is usually quickly forgiven by Luz/and or Eda. Sure, Luz is very forgiving person naturally but like?? She’s wasn’t mad in canon too much about THEIR well being (almost getting impaled), she was specifically pissed about Lilith betraying Eda.

So, if Lilith is a big part of your story (and it’s working in the realm of canon), then this should be a problem which doesn’t get resolved by just ONE big action. I also feel like her being on better terms with Eda would come BEFORE Luz since Eda’s main gripe with her would be about her being annoyed by Lilith’s controlling nature and the fact that she didn’t trust her enough to talk about her feelings back when she was first cursed (also her using Luz against her but I feel like that would probably be a hurdle that wouldn’t really be over come until Lilith in turn would be willing to sacrifice herself for Luz while also making an effort to care for Luz as a person not just see her as a “pet”). Hhhh this section is so long and its kinda bleeding over in the next question so-

Something I wish will happen or would have wanted to happen in canon?:

yall if you are still reading I am so sorry sksk

I want Lilith in general, not to be forgiven by either Luz or Eda. Eda probably early on stating about how she is unsure if she could EVER forgive her sister for what she has done. BUT, critically, Eda would see that Lilith is trying and she is willing to work with her (with a unhelpful dose of teasing) because at the end of the day she still loves her sister. For the relationship they had before everything with south, for knowing her side of the story even though she believes it doesn’t justify her actions. She understands and sympathizes, she’s grown a bit softer thanks to Luz, which is very funny since I want Luz to be the one who is the hardest to convince Lilith actually had a change of heart but more on that later.

Before I move on to what I want her path towards forgiveness with Luz looks like, I want to bring up a parallel that I haven’t seen many people make. Fans always talk about the parallel between the Clawthornes and Luz/Amity, and rightly so because there is a lot to extrapolate there, but I think another interesting dynamic that might be interesting to see in s2 would be an episode that focuses on lost friendship/sisterhood with the Clawthornes and Amity and Willow. It’s kinda funny that Amity and Willow’s friendship was ruined because Willow was too “weak” while Eda was too “powerful”. In a potential episode, it can show the progression both Eda/Lilith and Willow/Amity are making in rekindling their relationship with each other. For Eda and Lilith this would be a lot more rough around the edges since it both be either the first or one of the first attempts at doing so while Willow/Amity would maybe be further along yet still have some major/minor hang ups with one another. With Willow/Amity, their relationship would either be rounding the bend of fully moving past the “idk how to feel about you stage” or it is stated outright that Willow forgives Amity, (and by forgive, I mean in the “we both know what you did, you’ve actually changed. we won’t have the same relationship that we once had but I’m okay with trying again”). In contrast, Lilith and Eda would reach a understanding and come up with some ground rules on how to handle each other (Eda’s main take away from this “episode” would be what I previously stated in the last question), ones that will be more like guidelines cuz its Eda lol. Also what separates the Clawthornes conflict from the Willow/Amity one (besides the obvious) is that the Clawthornes both know how the other works. Which buttons to push and all that so both of them are going to have to learn to resist doing that, at least a bit, in order to actually progress.

ANYWAYS, I also want Luz to be the one to regard Lilith the coldest. Luz refusing to let Lilith teach her anything despite probably having more practical/book smarts knowledge on magic theory than Eda because she doesn’t trust her. If they are gonna use that masked dude as a spy, I want Luz to assume Lilith is somehow a coconspirator. This plot thread doesn’t have to be going at 100% the whole time, (in fact I would want it to be a temp thing maybe lasting a couple eps at most or like, just something that is hinted at but not dived deeply until the second half of the season). Really, Lilith has a hard time because Luz straight up doesn’t give her the opportunity to really express her regret/remorse. Lilith probably won’t at first give her a ton of reasons to forgive her as she usually attempts at coming back at Luz’s snide remarks with her own quippy comebacks. Sksk a really angsty end to an attempt could include Lilith saying something to Luz after going on a small talk with her (where yeah Lilith has improved but still needs noticeable work) that she “reminds her a lot of Eda” and Luz bites back with something like “Oh yeah? You going to curse me too? You want another person you can force to do what YOU want?”.

Hell maybe “parental problems” could have Lilith poke at, either on purpose or accidentally, Luz’s feelings about going back to the human world and Camila. Lilith reminding her, maybe unknowingly, reminds her a lot of her mom and that causes her to blow up on her. Luz would hate that comparison, thinking about how similar her mom and Lilith are to one another. That because she still has such a strong dislike of Lilith, it bleeds over into how Luz views Camila and vice versa. In that, both Camila and Lilith value respect, an adherence to the rules, have a great sense of wisdom (arguably for Lilith lol /hj), and (eventually for Lilith once she gets to know Luz better) a genuine want for Luz to succeed and belief in her even though they are critical of her actions at times. Sure Eda reminds her of that more, motherly protective kind of love, in which she would do anything for her to be happy and healthy. Lilith can be the other side of that, the worry and slight doubt. That familiar way they each go about trying to understand and get close to Luz yet not quite getting it yet would still do whatever she’d ask for her sake. Luz at first would take Lilith being disappointed in her actions as an accomplishment. As they grow closer and the more Lilith reminds her of her mom, it becomes scary. The disappointment hurts and in an effort not to feel like that again and to not want to think about the comparison between Lilith and her mother she will snap back at her. Eventually Lilith would then have to change again and reassure her that she cares and by extent, her mother cares to. It is here Lilith is willing to let go of being so constantly controlling and learns to encourage first (or do some form of the compliment sandwich) and Luz comes to peace with her feelings about her mother and understands her position better. To be able to love herself even if she knows that she will always try to do her best.

oh my fucking god you made it im so sorry i guess i had a lot of thoughts. fffffff

#TOH #lilith clawthorne #the owl house #character ask meme #luz noceda #edalyn clawthorne #yall im so sorry #this is very fanficy an long rip #if you read all this you are a champ but also no i cant cover your insurance lol

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srta-peppa · 4 years

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The writing problem of season 4 so far explain by a Literature major in the making (second/third year if someone wants to know) A few disclaimers, One English is not my first language, so please excuse any mistake I made. Second, while one part of the post is facts on how to write something, the other part, it’s my opinion based on my knowledge, as I said before. Third and most important to me, these writing issues made a story terrible and not enjoyable, but we have more significant problems during this season than those I talked about here. PLEASE! GO AND READ POC’S OPINION ON IT!!! TALK AND SHARE THEIR FEELINGS, THEIR POINT OF VIEW, AND THEIR VOICES! This post only means to be an answer to the general writing of any literature story. (In this case wtfock season 4)

Okay, so bear with me…

To write a story, you need first to establish what you will/want to say with this project, why people want to read/watch your story, and how you will do it.

I’m pretty sure most of you had learned in school that stories have a beginning, a conflict/breaking point, and an ending (outcome). This structure is the most commonly used in plot lines for “real life” teens shows. Take Eva’s season as an example.

We have the begging of the season where the writers tell us who Eva is and how her life is now and how it was in the past.

After this, the writers start to build the conflict: Eva feels lonely after losing her old friends, she feels insecure and jealous because of Jonas and Ingrid. She thinks that he cheated on her, and because of that, she ends up cheating on him instead, and now she also has to lie to the boy she loves. All of that is the building of the central conflict in her story.

When all of that is settled, we get to the “knot” of the story. All of these problems that we (the character and us) had until now ended up becoming a conflict that leads to the breaking point. (Jonas finds out about her, and Chris P and some of her new friends don’t support her.)

If we were reading a stand-alone book, movie, or like skam one season x main after the breaking point comes the problems’ resolution. (Eva talks with Jonas, apologizes to him, and opens up about how she felt lately and why she felt like that. She also talks with her new friends and decides she wants to be alone and focus on her friends and being a teenage girl.) And that was the outcome, the ending of the story.

To summarize, we have the beginning (what and why are we watching this story), the built-to of the conflict, the knot and breaking point of the story, and (in regular teen shows) the ending growth of the story. That’s basically how you write a plot.

The next step is the characters. (I’m going to focus on the main characters to make it short)

First, you need to create the characterization of the main character (yes, I know, Haha) To do this, you need to answer these questions:

1) How do they look? 2) How is their personality? 3) What are they interested in? 4) What is their context? Family, friends, their home, the school they go, the place they work, their social-economic situation, their sexuality, etc. (You don’t need to talk about everything. You would write about the ones that matter for your story and your character.) 5) Which is their past, their present, and or their future? You don’t need to answer all of them. (You can, e.g., write about the present of the character and their possible future because the story it’s about someone that fights in their present to get what they want in the future. Or you can write about their past because that is what makes your character do what they do, and be who their are in the present.) Not write about one of these timelines could mean that it’s not essential for the story (e.g., The future on Eva’s season it’s not mentioned because it’s not part of her story), or you can choose not to write about one these timelines because you want the reader to find out at the same time they read/watch the story (e.g., You know the past of the character and their desire for their future so you can discover how it’s their present). To summarize again, you need to create at least two of these timelines moments for your character (have in mind that the future doesn’t need to be five year for here; it could merely be next month, even next week. Same goes for the past.) You write as much as the story needs, and from there, you can write more if you want but never less.

Do you think we finished with the characters? Well… No! That was only the characterization of the main character.

Now you need to write the plotline for your character: Who are they at the beginning, what would happen to them, what its the conflict/breaking point of their personal story, how are they going to solve it, and what growth would they have at the end.

That schema is what most “real life” teen shows, movies, and books have. It’s pretty rare to see the main character having some type of involution at the end, except that we were talking about shows with multiple seasons, more than one movie/book. Even in those cases, if they involution as a character at the end of the season/book, they will have proper growth by the end of the whole story.

How essential or strong your character plotlines is would depend on what your show is telling to the audience. E.g., in action movies, characters’ personals plotlines could be simple and even plain because the main plot is the story itself (also keep in mind that the final growth of the character doesn’t mean they become a better person. It means that what happened in the story changed the previous life of the character in some way. E.g., they end up making new friends or finding out they want to be a firefighter) That was a simple schema for a plotline, commonly used for teen projects. But in some real-life teen shows where the story plot is the same as the character plot (skam), you can find slightly different structures. Take Noora’s season as an example; she has more than one conflict and breaking point during her season. One the relationship with William, and Two the sexual assault. (you could find so much more narrative structures in other kinds of literature)

You would need more or less the same things to write characters such as the love interest, the antagonist, and the villans. Since they are not the narrative point of view, there would always be information that we, as viewers or readers, don’t know about them. (And it’s okay because they are not coprotagonist. They are part of the main character story) Yet these characters are also responsible for what happens in the story. They usually motive a lot of the protagonist’s actions. (e.g., Eva kisses Chris P because she thinks Jonas has cheated on her) To make these characters as attractive as the main, you need to write and create them as much deep as possible (always trying not to outshine the main). The things we don’t know about them should be because the main doesn’t know either (e.g., Isak doesn’t know that Even had bipolarity) and not because of the writer’s lack of creativity.

Okay! Now that we have the plot for the story, the characterization of the central characters, and their personal life plotlines, it comes the most challenging part of writing. And to be honest, having problems with this doesn’t make a story terrible as much it makes it less enjoyable.

Second characters and places where the story occurs need to have a purpose in the story. And that’s all I’m going to say. These people and places need to have a point in the story. It could be positive, negative, comedy, convenience for the plot, mood-changing, different pov for the protagonist, confident, safe space, conflict, mistake, friendship, and sooo sooo much more. The most important thing is that. Secondary characters and locations were the stories occur should not, by any means, be pointless to the plot.

I know I kinda went all over the place, so if you still here, Thank you! Hahaha. As you just read, that was a summary of how to write a simple real-life plotline—commonly used for comedies, romance, teen shows, kid shows, etc.

If you read everything, I think you could already tell which are the problems with this season. First, what is wtfock trying to tell with this story? We still don’t know. Yeah, sure we have theories, but you CAN’T have your audience making theories about the story you are trying to tell at episode five/ of ten. The hypotheses should be of how you will end this story and not about what it is about.

What do we learn at the beginning of the season? And what are the conflicts they built upon these past five episodes that would lead to the knot/ breaking point of this season? So far, all the problems we saw have been resolve for better or for worst. In this case, for worst, Moyo’s conflict was resolve without any explication. (how Moyo finds out where she dances? Why did he want to apologize? Why did she say no? why did he fall for her? Why did she fall for him? we don’t even know if she actually falls for him or if she’s using him. She is your main character; these things shouldn’t be a mystery to your audience except that they were a mystery for the protagonist, which in this case made no sense) Zoe’s conflict is already solved too, and how? Why? Was really that little call-out at the party everything that Zoe need to ask for forgiveness? Jens’s mysterious look at the girls. Why? How? If they wanted to create something with that, why didn’t they show us more little details like that one? So we are at the middle of the season, and we don’t know what kind of story we are watching, what is the big conflict we built up all of this time, or which is the climax/breaking point we need to overcome next to our protagonist. And if we would be having all of these questions about a love interest or an antagonist wouldn’t be sooo bad, but WE ARE IN HER POV! Why don’t we know all of these things?

And that’s only talking about the plot! Because what comes now it’s even worse!!! We are in episode six, and we know nothing!!! Nothing!! About the main character? We are in her point of view; there’s no reason why we know so little about the narrator’s character’s life, personality, interests, context, past, future, present. Kato is so poorly written, her characterization so plain that even when we are in her mind and eyes, we know nothing about her. Some people joke about how boring her life was because she was only in four places. Her home, school, work, and dance studio. Why are we only in those places when we are watching a teenager supposed to be an influencer? It wouldn’t be boring if we KNEW why, but do we? no, and I won’t stop saying it; she is the main she should know; therefore, we should know too. (and I don’t even want to think of the possibility of these four places not having an actual reason)

We are in the middle of the season, and Kato’s character, life, and her motives are a mystery, and that should not happen while we are Kato. BUT even if she is a mystery, she’s not an interesting one. And not only because we don’t like her, but also because there is no built-up on her surroundings that led you to be excited to find about it. We barely have other characters asking her question about her personal life and being intrigued by her as a person. If it’s not Kato the influencer or Kato the hot new girl, we had nothing (Really wtfock?)

I could go on and on, but I think the point is that we, as viewers, can’t answer any of the questions needed to write a good story.

Pointless places, pointless characters, pointless conflicts, pointless clips, all of that plus a crazy amount of unknow information makes me actually question how this season could have been approved? How could writers, producers, directors, beta readers, and some more read this and think, yeah, that’s it! Honestly, it confuses me so much that I thought of doing this at the end of the season when we would have the final project because I keep thinking that it’s not possible that somewhere we would find a catch. But, I also think we have seen enough of this season (we are already halfway the end). Season 4 lacks so much of the writing process that I explained above in this post that I can already afford to say this:

Season 4 is horribly written, says a simple second-year literature major. If you have any more questions, you can write me a comment, send me an ask or text me privately, the same if you want to left your opinion. The only thing I would ask for is, please, if you share this, do not do it on the tag where we should be only talking about the racist white cis-hetero main we got instead of the moc character that we all deserve.

#wtfock writing for this season is poor to say at least #srta peppa's talks about shit she knows a bit haha #kisses to all of you

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mediaevalmusereads · 3 years

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A Duke in Disguise. By Cat Sebastian. New York: Avon Books, 2019.

Rating: 3/5 stars

Genre: historical romance

Part of a Series? Yes, Regency Impostors #2

Summary: One reluctant heir

If anyone else had asked for his help publishing a naughty novel, Ash would have had the sense to say no. But he’s never been able to deny Verity Plum. Now he has his hands full illustrating a book and trying his damnedest not to fall in love with his best friend. The last thing he needs is to discover he’s a duke’s lost heir. Without a family or a proper education, he’s had to fight for his place in the world, and the idea of it—and Verity—being taken away from him chills him to the bone. One radical bookseller All Verity wants is to keep her brother out of prison, her business afloat, and her hands off Ash. Lately it seems she’s not getting anything she wants. She knows from bitter experience that she isn’t cut out for romance, but the more time she spends with Ash, the more she wonders if maybe she’s been wrong about herself. One disaster waiting to happen Ash has a month before his identity is exposed, and he plans to spend it with Verity. As they explore their long-buried passion, it becomes harder for Ash to face the music. Can Verity accept who Ash must become or will he turn away the only woman he’s ever loved?

***Full review under the cut.***

Content Warnings: sexual content, epileptic seizures, mentions of domestic violence and childhood neglect

I picked up this book because I was really excited about the premise. A bisexual female heroine? Who runs a print shop? That prints racy and borderline seditious books? And has a friends-to-lovers arc with the hero? Sounds like a dream! While there were definitely some things that I loved, I definitely wish there was more work put into making the plot more angsty or high-stakes. Personally, I found the main conflict to be shallow, as the tension was not in the matter of the hero's hidden identity (which was resolved relatively quickly and without much drama), but in the protagonists' feelings and principles. That in itself isn't a bad thing, but in the case of this book, it seems like most of the conflict could have been resolved with a good sit-down-and-talk. I prefer my conflicts to be a little more external - such as social class being a barrier - so that the drama feels a bit more out of the protagonists' control. Thus, I can only give this book 3 stars. I liked it, I just wished there was *more*. Writing: Sebastian's prose is pretty much what one might expect in a romance novel. It's straight-forward and doesn't involve a lot of rhetorical flourishes, which allows the plot to move along quickly and clearly. I don't have a lot to say other than that, and I don't mean it as an insult. The prose does its job, and I didn't have any trouble imagining what was going on. Plot: It's perhaps misleading to say that this book is entirely about the hero's hidden identity. The matter of Ash's parentage and title doesn't start in earnest until some 130 pages into the novel, and before that, we mainly follow Verity as she tries to save her brother from being arrested. In my opinion, these two plots could have paralleled one another much better; Verity and her brother are radicals in that they support equal rights between the sexes and social classes, so I think the matter of Ash being a duke could have been a significantly more threatening strain on his relationship with the Plums. As it stands, it felt like Verity's brother was easily disposed of within the first 100 pages or so, and the matter of sedition and politics didn't play a major role in the plot involving Ash's parentage, making it feel like filler. I would have much rather seen more drama, such as Ash's new family not wanting him to associate with the Plums, having the Plums' politics threaten Ash's court case, etc. That way, Ash would have had to make more difficult choices regarding whether or not he wanted to claim his title. Once we got into Ash's conflict, I do think Sebastian did some things well. I liked that Ash was accepting his place out of concern for his aunt's safety rather from any sense of familial duty or desire to be rich. The tension between blood vs found families was a good one, though I think more pressure could have been put on class issues. I also think Sebastian could have crafted her overall narrative a little better, as I didn't exactly feel like the story was suspenseful or the scenes built on one another. Aside from brief moments, it felt like plot points were happening at random and I didn't really have a sense of where the story was going. I would have liked to see, for example, instances of Ash gathering evidence for his case or Verity's advice column mirroring what she was going through - something that gives us a clearer arc and entwines the printing/sedition storyline with the hidden identity/duke storyline (rather than seemingly have one happen after the other). Characters: Verity, our heroine, is a bisexual woman who is afraid of showing weakness or asking for help. She runs her family's bookshop and prints a number of different things, from raunchy novels to a (weekly? monthly?) paper containing essays and advice. Aside from her bookishness, I liked that Verity was flawed; she was stubborn and stuck to her beliefs even when they caused conflict with the people around her, which felt real and multi-faceted. I also liked that she was direct when asking for what she wanted from Ash, and that she was committed to retaining her independence as a woman and printer. The one thing I didn't like about her was that, at times, she seemed to have a not-like-other-girls attitude. She would often turn her nose up at things women did that she considered frivolous or profess to not understand why people acted in certain ways (despite some of those actions being societal norms). Ash, our hero, was also a refreshing character. Aside from being epileptic, he is very kind and caring, and he respects Verity's boundaries without being gruff and broody. I prefer these types of men in my romances because I like heroes who are emotional and vulnerable without being violent or abusive beforehand. Supporting characters were hit or miss, but on the whole, most of them were complex and interesting. Nate, Verity's brother, is idealistic and stubborn, so he was a nice compliment to Verity's character. Portia, Verity's former lover, was perhaps my favorite; despite being Verity's ex, she was kind and supportive, putting their friendship over romantic feelings when it was clear that Verity needed someone to lean on. The rest felt more or less like archetypes (such as Ash's uncle) or characters used solely for plot reasons (Ash's aunt, Lady Caroline). Amelia, Portia's daughter, could have been interesting, but her plot line doesn't really enhance the main story. Romance: Verity and Ash have a friends-to-lovers arc that, in my opinion, doesn't have enough drama or angst. This isn't to say I want more violence or petty conflict; rather, I would have liked to see the couple contend with external forces that put pressure on their relationship, such as social class. While class is certainly an issue, it doesn't seem like a great threat to the HEA ending, as everyone around Ash approves of the idea of marriage to Verity. As a result, the drama in this book was mainly driven by the characters' inability to talk about their feelings, and even when they do, the romance doesn't evolve or grow that much. There aren't really many milestones, such as them opening up about some past trauma (which I guess wouldn't be an issue, if they'd been best friends for so long) or navigating a crisis together (which they kind of do, but also don't). Everything is resolved when Verity and Ash just decide to get over their reasons for not being together, which to me felt cheap. TL;DR: A Duke in Disguise provides some much needed queer and neurodivergent representation to the romance genre, but relies on a shallow plot without much angst or drama. While I did appreciate the focus on female independence throughout the novel, I also wish the characters had been made to contend with more external forces that threatened their relationship and that the romance had grown and evolved a little more.

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