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hamliet · 3 years

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The Crows Summon the Sun

Or, Hamliet’s review of Shadow & Bone, which gets a 4.5/5 for enjoyment and a 3.5/5 in terms of writing.

The true heroes of this story and the saviors of the show are the Crows. However, the problem is that the show then has an uneven feel, because the strength of the Crows plotline highlights the weaknesses of the trilogy storyline. But imo, overall, the strengths overshadow (#punintended) the weaknesses.

I’ll divide the review into the narrative and the technical (show stuff, social commentary), starting with narrative.

Narrative: The Good

It’s What The Crows Deserve

I went into the show watching it for the Crows; however, knowing that their storyline was intended to be a prequel, I wasn’t terribly optimistic. And while it is a prequel, the characters have complete and full arcs that perfectly set them up for the further development they will have in the books (which I think should be the next season?). Instead of retreading the arcs they’d have in the books, which is how prequels usually go, they had perfect set up for these arcs. It’s really excellent.

Jesper, Inej, and Kaz are all allowed to be flawed, to have serious conflicts with one another, and yet to love each other. They feel like a found family in the best of ways. Kaz is the perfect selfish rogue; he’s a much more successfully executed Byronic hero than the Darkling, actually. Inej is heroic and her faith is not mocked, yet she too is flawed and her choices are not always entirely justified, but instead left to the audience to ponder (like killing the girl), which is a more mature writing choice that I appreciated.

Jesper is charming, has a heart of gold despite being a murderer and on the surface fairly greedy, and MILO THE EMOTIONAL SUPPORT GOAT WAS THE BEST THING EVER. I also liked Jesper’s fling with Dima but I felt it could be better used rather than merely establishing his sexuality, like if Jesper and Dima had seen each other one more time or something had come of their tryst for the plot/themes/development of Jesper.

Nina and Matthias’s backstory being in the first season, instead of in flashbacks, really works because it automatically erases any discomfort of the implications of Nina having falsely accused Matthias that the books start with. We know Nina, we know Matthias, we know their motivations, backgrounds, and why they feel the way we do. It’ll be easy for the audience to root for them without a lot of unnecessary hate springing from misunderstanding Nina (since she’s my favorite). Matthias’s arc was also really strongly executed and satisfyingly tragic. Their plotline was a bit unfortunately disconnected from the rest of the story, but Danielle Gallagan and Callahan Skogman have absolutely sizzling chemistry so I found myself looking forward to their scenes instead of feeling distracted. Also? It’s nice seeing a woman with Nina’s body type as a romantic and powerful character.

Hamliet Likes Malina Now

Insofar as the trilogy storyline goes, the best change the show made was Mal. He still is the same character from the books, but much more likable. The pining was... a lot (too much in episode 4, I felt) but Malina is a ship I actually enjoyed in the show while I NOTP’d it in the books. Mal has complexity and layers to his motivations (somewhat) and a likable if awkward charm. Archie Renaux was fantastic.

Ben Barnes is the perfect Aleksandr Kirigan, and 15 year old me, who had the biggest of big crushes on Ben Barnes (first celebrity crush over a decade ago lol), was pretty damn happy lol. He’s magnificantly acted--sympathetic and terrifying, sincerely caring and yet villainous in moments. Story-wise, I think it was smart to reveal his name earlier on than in the books, because it helps with the humanization especially in a visual medium like film. Luda was a fitting (if heartbreaking) backstory, but it is also hard for me to stomach knowing what the endgame of his character is. Like... I get the X-men fallacy thing, but I hope the show gives more kindness to his character than the books did, yet I’m afraid to hold my breath. Just saying that if you employ save the cat, if you directly say you added this part (Luda) to make the character more likable (as the director did) please do not punish the audience for feeling what you intended.

I also liked the change that made Alina half-Shu. It adds well to her arc and fits with her character, actually giving her motivations (she kinda just wants to be ordinary in a lot of ways) a much more interesting foundation than in the books. Also it’s nice not to have another knock-off Daenerys (looking to you Celaena and book!Alina). Jessie Mei Li does a good job playing Alina’s insecurities and emotions, but...

Narrative: The Ehhhhhhh

Alina the Lamp

Sigh. Here we go. Alina has little consistent characterization. She’s almost always passive when we see her, yet she apparently punches an officer for calling her a name and this seems to be normal for her, but it doesn’t fit at all with what we know about her thus far. Contradictions are a part of humanity, but it’s never given any focus, so it comes across as inconsistent instead of a flaw or repression.

I have no idea what Alina wants, beside that she wants to be with Mal, which is fine except I have no idea what the basis of their bond is. Even with like, other childhood friends to lovers like Ren/Nora in RWBY or Eren/Mikasa in SnK, there’s an inciting moment, a reason, that we learn very early on in their story to show us what draws them together. Alina and Mal just don’t have that. There’s the meadow/running away thing, but they were already so close, and why? Why, exactly? What brought them together? The term “bullies” is thrown around but it isn’t ever explored and it needed to be this season. If I have to deal with intense pining for so many episodes at least give me a foundation for their devotion. You need to put this in the beginning, in the first season. You just do.

A “lamp” character is a common metaphor to describe a bad character: essentially, you could replace the character with a lamp and nothing changes. Considering Alina’s gift is light, it’s a funnily apt metaphor, but it really does apply. Her choices just don’t... matter. She could be a special lamp everyone is fighting over and almost nothing would change. The ironic thing is that everyone treating her like a fancy lamp is exactly the conflict, but it’s never delved into. We’re never shown that Alina is more than a lamp. She never has to struggle because her choices are made for her and information is gifted to her when she needs it. Not making choices protects Alina from consequences and the story gives her little incentive to change that; in fact, things tend to turn out better when she doesn’t make choices (magic stags will arrive).

Like... let’s look at a few occasions when Alina almost or does make choices. For example, she chooses to (it seems) sleep with Kirigan, but then there’s a convenient knock at the door and Bhagra arrives with key information that changes Alina’s mind instantly despite the fact that Bhagra’s been pretty terrible to her. If you want to write a woman realizing she’s been duped by a cruel man, show her discovering it instead of having the man’s abusive mother tell her when she had absolutely no such suspicions beforehand. There’s no emotional weight there because Alina doesn’t struggle.

When she is actually allowed to carry out a bad choice, the consequences are handwaved away instead of built into a challenge for her. Like... Alina got her friends killed. More than once. I’m not saying she’s entirely to blame for these but could we show her reacting to it? Feeling any sort of grief? She never mentions Raisa or Alexei after they’re gone, just Mal, and I’m... okay. They were there because of you. Aren’t you feeling anything? Aren’t you sad? The only time Alina brings up her friends’ deaths is to tell Kirigan he killed her friends when they were only there because she burned the maps. She yells at Kirigan for “never” giving her a choice, but she almost never makes any, so why would he? Alina has the gall to lecture Genya about choices, but she herself almost never has to make any.

Which brings me to another complaint in general: Alina’s lack of care for everyone around her when they’re not Mal, even if they care for her. Marie dies because of her (absolutely not her fault of course) but as far as we know she never even learns about Marie. She certainly doesn’t ever ask about her or Nadia. Alina seems apathetic at best to people, certainly not compassionate or kind.

The frustrating thing is that there is potential here. Like, it actually makes a lot of psychological sense for an orphan who has grown up losing to be reluctant to care for people outside of her orbit and that she would struggle to believe she can have any say in her destiny (ie make choices). It’s also interesting that a girl who feels like an outsider views others outside her. But the show never offers examines Alina’s psychology with any depth; it simply tells us she’s compassionate when she is demonstrably not, it tells us she makes decisions when it takes magical intervention to do so. It’s a missed opportunity. This does not change between episodes 1 and 8, despite the episodes’ parallel structures and scenes, which unintentionally reinforces that Alina had little real development.

Inej and ironically Jesper and Kaz embody the concept of “mercy” far better and with far more complexity than Alina does. The Crows have reactions to the loss of people who even betray them (Arken, etc), learn, and course-correct (or don’t) when they are even loosely involved in having strangers die. They’re good characters because they change and learn and have their choices matter. When they kill we see them wrestle with it and what this means even if they are accustomed to doing so. Jesper can’t kill in front of a child. Kaz wonders what his killings do to Inej’s idea of him.

Narrative: The Mixed Bag

Tropes, Themes, Telling vs. Showing

So the show’s themes in the Alina storyline are a mess, as they are in the trilogy too. Tropes are a very valuable way to show your audience what you’re trying to say. They’re utilized worldwide because they resonate with people and we know what to expect from them. The Crows' storyline shows us what it wants us to learn.

Preaching tells, and unfortunately, the trilogy relies on telling/preaching against fornicationBad Boys. It’s your right to write any trope or trample any trope you want--your story--but you should at least understand what/why you are doing so. The author clearly knows enough about Jungian shadows and dark/light yin/yang symbolism to use it in the story, but then just handwaves it away as “I don’t like this” but never does so in a narratively effective way: addressing the appeal in the first place. If you really wanna deconstruct a trope, you gotta empathize with the core of the reason these tropes appeal to people (it allays deep fears that we are ourselves unlovable, through loving another person despite how beastly they can be), and address this instead of ignoring it. Show us a better way through the Fold of your story. Don’t just go around it and ignore the issue.

The trilogy offers highly simplistic themes at best--bad boy bad and good boy good, which is fine-ish for kid lit but less fine for adult complexity, which the show (more so than the books) seems to try to push despite not actually having much of it.

Alina and Mal are intended to be good, we’re told they are, but I’m not sure why beyond just that we’re told so. Alina claims the stag chose her, but in the show it’s never explained why at all. Unlike with Kaz, Inej, Jesper, and hell even Matthias and Nina, we don’t see Alina or Mal’s complex choices and internal wrestling.

Like, Inej’s half-episode where she almost killed the guy they needed was far more character exploration than Alina has the entire show, to say nothing of Inej’s later killing which not only makes her leaps and bounds more interesting, but ironically cements her as a far more compelling and yes, likable, heroine than Alina. We see Inej’s emotional and moral conflict. We can relate to her. We see Kaz struggling with his selfishness and regrets, with his understanding of himself through his interactions with and observations of Inej, Alina, the Darkling, Arken, and Jesper.

We don’t explore what makes Mal or Alina good and what makes them bad. We don’t know what Alina discovers about herself, what her power means for her. We are told they are good, we are told she knows her power is hers, but never shown what this means or what this costs them/her. Their opportunities to be good are handed to them (the stag, Bhagra) instead of given to them as a challenge in which they risk things, in which doing good or making a merciful choice costs them. Alina gets to preach about choices without ever making any; Inej risks going back to the Menagerie to trust Kaz. Her choices risk. They cost. They matter and direct her storyline and her arc, and those of the people around her.

Production Stuff:

The Good:

The production overall is quite excellent. The costumes, pacing, acting, and cinematography (for example, one of the earliest scenes between the Darkling and Alina has Alina with her back to the light, face covered in his shadow, while the Darkling’s face is light up by her light even if he stands in the shadows) are top-notch. The soundtrack as well is incredible and emphasizes the scenes playing. The actors have great chemistry together, friend chemistry and romantic when necessary (Mal and Alina, the Darkling and Alina, Kaz and Inej, Nina and Matthias, David and Genya, etc.) All are perfectly cast.

The Uncomfortable Technicalities Hamliet Wants to Bitch About:

The only characters from fantasy!Europe having any trace of an accent reminiscent of said fantasy country's real-world equivalent are antagonists like Druskelle (Scandinavia) and Pekka (Ireland). When the heroes mostly have British accents despite being from fantasy Russia and Holland, it is certainly A Choice to have the Irish accent emphasized. The actor is British by the way, so I presume he purposely put on an Irish accent. I'm sure no one even considered the potential implications of this but it is A Look nonetheless.

The Anachronisms Hamliet Has a Pet Peeve About:

The worldbuilding is compelling, but the only blight on the worldbuilding within the story itself (ignoring context) was that there are some anachronisms that took me out of the story, particularly in the first episode where “would you like to share with the class” and “saved by the horn” are both used. Both are modern-day idioms in English that just don’t fit, especially the latter. The last episode uses “the friends we made along the way.” There are other modern idioms as well.

IT’S STARKOVA and Other Pet Peeves Around the Russian Portrayal

Russian names are not hard, and Russian naming systems are very, very easy to learn. I could have waved “Starkov” not being “Starkova,” “Nazyalensky” not being “Nazyalenskaya,” and “Safin” not being “Safina” as an American interpretation (since in America, the names do not femininize). However, “Mozorova” as a man is unfathomable and suggests to me the author just doesn’t understand how names work, which is a bit... uh okay considering a simple google search gets you to understand Russian names. They aren’t hard. I cannot understand why the show did not fix this. It is so simple to fix and would be a major way to help the story’s overall... caricature of Russia.

Speaking of that... Ravka is supposedly Russian-based, but it is more accurately based on the stereotypes of what Americans think of Russia. Amerussia? Russica? Not great.

The royals are exactly what Americans think of the Romanovs, right down to the “greasy” “spiritual advisor” who is clearly Rasputin and which ignores the Romanov history, very real tragedy, and the reason Rasputin was present in the court. The religion with all its saints is a vapid reflection of Russian Orthodoxy. The military portrayal with its lotteries and brutality and war is how the US views the Russian military. The emphasis on orphans, constant starvation, classification, and children being ripped from their homes to serve the government is a classic US understanding of USSR communism right down to the USSR having weapons of destruction the rest of the world fears (Grisha). Not trying to defend the Soviet Union here at all, but it is simplistic and reductive and probably done unconsciously but still ehhhh.

However, I’m not Russian. I just studied Russian literature. I’ve seen very little by way of discussion of this topic online, but what I do see from Russian people has been mixed--some mind, some don’t. The reality is that I actually don’t really mind this because it’s fantasy, though I see why some do. I'm not like CANCEL THIS. So why am I talking about this beyond just having a pet peeve?

Well, because it is a valid critique, and because it doesn’t occur in a vacuum. The Grishaverse is heralded as an almost paragon for woke Young Adult literature, which underlines itself what so frustrates me about how literary circles discuss issues of diversity and culture. Such praise, while ignoring its quasi-caricature of Russia, reflects a very ethnocentric (specifically American) understanding of culture, appropriation, and representation. All stories are products of their culture to various extents, but it bothers me on principle what the lit community reacts (and overreacts sometimes?) to and what people give a pass to. The answer to what the community reacts to and what it gives a pass always pivots on how palatable the appropriation is to American understandings and sensibilities. There’s nuance here as well, though.

I'm not cancelling the story or thinking it should be harshly attacked for this, but it is something that can be discussed and imo should be far more often--but with the nuance it begs, instead of black/white. But that’s a tall ask.

#s&b #hamliet reviews #shadow and bone #six of crows #kanej #jesper fahey #kaz brekker #inej ghafa #alina starkov #malyen oretsev #the darkling #darklina #malina #aleksander kirigan #netflix shadow and bone #s&b review

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neroushalvaus · 2 years

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Tell us which 5 things you'd change about Downton Abbey and why 4 of them have something to do with how Thomas is written <3

Have you ever considered not roasting your beloved girlfriend in his own tumblr askbox?

As a special punishment for you I will list top 5 things about Downton in general and another five about Thomas specifically. I try to be brief.

Downton in general (note that i'm not talking about the general classism in downton because it's somewhat baked in and i'm not sure what i would change first, anyway yes i hate that tom is a class traitor and matthew should have given his inheritance to charity or spent it in something useful):

5. There was absolutely no reason why Mary had to find a new husband after Matthew. As she said when talking about Rosamund, "All alone with plenty of money and a house in Eton Square. I can't imagine anything better". If I was the writer of DA, Mary would have stayed single after Matthew's death. I'll extend this to several other endgame pairings that were really not necessary. Sometimes characters whose story gets dominated by a forced romance... are worse.

4. The disabilities in Downton should actually matter. Let's see, we have Bates's leg that bothers him in like two episodes, Thomas's hand that only prevents him from working anywhere else, Matthew's disappearing paralysis... Just let these characters be actually disabled. Please.

3. If I could change things, I would either make Edith more likable or make the narrative acknowledge that she is not a nice person.

2. Since the narrative somewhat acknowledges that Carson is not a nice person, I think he should have a redemption arc. Or if not, he and Hughes shouldn't get married, because their values are very different and if his values can not change, I don't think Hughes should marry him.

1. I am writing a more detailed analysis of this one but: Let's write stories where we are capable of feeling empathy for people who've committed crimes, okay? Let Bates be the one who stole the silver Vera stole in canon, or at least tell the viewer why Vera stole the silver. Tell the viewer why Thomas stole the wine. Let Bates be the one who killed Vera. Let Bates be the one who killed Green. Tell the viewer about Peter Coyle and why he wanted Baxter commit the theft she committed. I hate Downton's way of portraying crime as something the Good Characters never do unless there is Something We're Missing, and something the Bad Characters Just Do without any reason.

Thomas:

5. This one is not only about Thomas but where are all the gay characters in service? Anyway, let Spratt be visibly gay. Give us more gay servants now. Please. And where are all the gay characters in general? Let O'Brien be a lesbian. Make Peter Pelham an on-screen character. Make Duke of Crowborough a series regular. Show us Thomas flirting with handsome men and getting positive responses.

4. If the plotline of season six would stay the same, I would explore Thomas's feelings more. Focus on his depression and loneliness and not handwave his suicide attempt away. And not act like he actually needs a "redemption arc" at that point anymore.

3. Please, for the love of God, remove the sleep kiss from season three. I can assure you no gay man in 1920s would have thought "oh yeah i'm not 100% sure if this guy likes me or men in general, better wake him up with a kiss just to make sure". The same scene could happen with Jimmy awake and Thomas leaning in to kiss him before Jimmy can fully understand what's happening, bam! enter Alfred.

2. Look. O'Brien cared about Thomas. Look at her face when he comes back to Downton in s2. Their feud in s3 makes no sense as it is. At that point Thomas should do something really bad to get O'Brien to turn on him like that. I have a whole rewrite of this season somewhere. I think one thing that could turn O'Brien against Thomas in such a radical way could be Thomas implying in an argument that he could tell Cora about the soap thing. Not like he would actually do it, more like the impulsive "aren't you forgetting something; i would [use it against you] if i had to" -blackmail insinuation he gave the Duke. Let that be the thing that finally sets O'Brien off. That would make sense.

1. S5 conversion therapy storyline. The kind of conversion therapy Thomas went through was (and still is) something that was very traumatic for many gay men at that time. Yet it's hardly given any focus. You merely get Thomas looking ill and other characters commenting on it, and straight people explaining to him why he was very silly for thinking he could change his sexuality. The thing is, in the context of the time he is not silly at all to think that. But we don't even get to see him explaining why he wants to do it after being previously proud of his sexuality, we have to speculate or literally ask his actor for his justification for it. So. Yeah. I would really like to change this. Tell the viewer what has changed in Thomas's attitude towards his sexuality. Is it loneliness? Jimmy leaving? And does he have conflicting feelings about the treatment? About trying to "cure" a part of himself he was previously convinced was not foul? Perhaps he just wants to like women as well as men so he could have, for example, the option to start a family? Then, after Thomas's motive has been explained, the trauma of that kind of treatment should not be handwaved away. It should be explored. And as a sidenote, there should be some kind of reason why he needs to ask for help in the end. As it is, him asking for Baxter's help serves as little purpose as him getting help from Bates in s3. Thomas could have threatened O'B with the soap thing himself, Thomas could have walked to the doctor by himself. There should be a reason why he needs help, other than it's important that The Good Characters help The Bad Character. Maybe he is in such bad state he literally can't walk by himself, maybe the doctor needs to be called in, something. And after the treatment is over with, explore it's effects on Thomas's self-esteem and how he acts in later romantic and sexual relationships. Fellowes, focus on Thomas for once challenge.

Send me a fandom/show/book/etc and I'll tell you Top 5 thing I would change about it

#oh no this was. salty. i am sorry.#juniper-pompadour #ask memes #some people steal dogs to cope #everything a goddamn ordeal in area family #edit:// i can't believe i forgot about this but: let Thomas&Sybil and Jimmy&Rose be friends on-screen

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nocek · 3 years

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Don't spare us the long rant! We want to hear your thoughts!

Oh you are going to regret this ;P

So here goes my loooooooong angry rant about Taskmaster and also the Black Widow movie in general.

Let's start with my point of comparison. Captain America the Winter Soldier was a good movie. It's still in my top 3 Marvel movies as I'm sure is for many people. And statistically speaking everybody likes Bucky. He is like the most beloved side character right after Loki. I guess.

Anyway. My point is that Taskmaster and Winter Soldier have bit for bit the exact same building blocks: hypercompetent antagonist that is a serious threat to our hero who just can't win with in one on one combat. But then plot twist: our antagonist was just a victim and puppet without free will in hands of actual villain who is bland bureaucrat.

So why did Winter Soldier worked really really well and Taskmaster was just ehh.. ok?

Well the short answer is that catws was a much tighter movie that had clearer goal (and also that goal/theme was singular: good things get corrupted with time and sometimes you get to start over) compared to black widow which had to jump through too many hoops and still somehow managed it but it wasn't as graceful as it would be if they (as in executives) resigned from one or two hoops and flips and explosions.

And I'm omitting a BIG disadvantage of making a prequel movie about a character that they killed off in shitty way. Though that created one of extra hoops for them to jump through: quickly build up Yelena as a character.

And character build they did. Because srsly Yelena is awesome and I love her. BUT. That came at a price.

Lets compare to catws. The new character there is Sam (and kiiiiiiiinda also Natasha a bit but that's a topic for a different rant) who is nowhere near as well build as Yelena. At the beginning. Because he had time to be fleshed out and naturally grow in few different movies and then we got a deep dive in the Falcon and the Winter Soldier.

But Marvel can't give Yelena few movies because she will appear in Hawkguy an Hawkeye series and also Marvel is generally dividing their assets into: outer spaaaace, down to earth heros and magic stuff (aliens, androids and wizards ;P). But also they can only create so many things in a year.

So yeah. Yelena offtopic can be summarized that I love that we have her as we have her but it came at a cost of air time of the movie.

So comparing the movies again:

Catws had the theme of good things being corrupted with time. And the theme was underlined 3 times through Peggy, Bucky and then Shield/Hydra. Which are interconnected and also make nice scale from inner conflict of the main character to the outer conflict of the movie.

In Black Widow there is the topic of the past evil that never went away and is still taking away free will from people. And again we have it shown through 3 outlets: Yelena, Taskmaster and Black Widows. But there is also whole family subplot attached to Yelena and there is Red Room attached to Black Widows. So as you can see things are getting crowded. Which in turn make the theme a bit blurry.

I mean, sure, the Red Room should be the Shield equivalent. Even it could take smaller space because good Shield turns out to be evil Hydra is generally more time consuming to explain than Red Room bad. But still combining Red Room and Black Widows make things a bit crowded.

(There is a reason why the surprise subplot of there is more Winter Soldiers was in separate movie and was kinda handwaved and cut to minimum. But they couldn't do that here).

But it's time to stop my ranting about whole Black Widow movie and focus on comparing Taskmaster and Winter Soldier.

Because to be honest both are bare bones of character and more of an carte blanche in the movie. Both have barely any screen time yet there are colossal difference which stems out of:

first introduction: as I mentioned they are hypercompetent and unstoppable threat that you can't win with, you can only hope to run away (both done equally well)

programmable killing machine:

For Taskmaster we just get a scene with her watching other heroes fighting at the screen. For the sake of building up the mystery of character we think that "he" is just watching. Maybe learning or more likely just being creepy. The information about the chip and literal programming is given to us much later in the movie which makes this scene lose the power. idk how it will work on rewatch? Maybe better? Hopefully. right now there is too many new movies in cinemas to go for a rewatch and disney+ still isn't available here -.-

For Bucky we have literal torture scene. You just can't be more blunt than that. It also hammered the next point in.

there is human behind the mask:

Winter Soldier is introduced with full face mask which he gradually loses and then we have the big reveal of not only: that's a human but also that's a human our main hero cares about deeply.

With Taskmaster they fucked up it for chap plot twist. We are learning quite late that oh snap that's Antonia (that we don't really care about) and our main hero kinda feels guilty about her.

I think the big difference is what kind of character Steve and Nat are and also the way they reveal this secret. Steve actively recognizes Bucky by himself and is very openly shocked. Nat is passively told and shown that hey, this is Antonia. And there is no time in the movie for Nat (and for us) to be shocked because that's the 3rd act and we need time for explosions and stuff.

Besides, the problem is that all the big plot twist reveals are boring on rewatch (stil big props for Pacific Rim and giving us the monster reveal in like second minute of the movie, I will never not appreciate that).

Also on related shitty note. We the audience. Bucky is handsome and vulnerable and we can drool all over him (and oh man, we the fandom did a fair share of drooling). Antonia is disfigured and not sexualized in any way. Which I'm actually grateful for but there is no pretending that doesn't make a hell lot of difference. But that's a whole different, ugly and big topic I'm not remotely qualified to write about. I'm just angry ranting here.

they don't have free will:

For Winter Soldier we have amnesia + torture tropes which to be honest have been done over and over again and it shouldn't have worked as well as it worked. Bit it did. In context of Black Widow movie it worked because it was just one guy that actively broke through brainwashing with active help of the hero.

In Black Widow there is a lot of characters that are pasively "woken up" out of mind control over and over again by active protagonist. Unfortunately the repetition kinda cheapens it. Especially in comparison to main gut punch right in the feels scene in the other movie. Which is why it's not fair to compare the two.

So lets talk about lack of free will aspect itself. To be honest the mind control aspect in Black Widow was done really great from story perspective. Evil scientists perfected it to the point it being (bit handwavey but) completely impersonal but also completely dehumanizing to the subject. So I'm buying that it can be completely switched off in equally efficient and impersonal way. Even the way they explained it with Alexei the pig was great and terrifying... to a point. Because then kicked the main problem with this movie. Clearly some execs came and saw it and went whoa... that's too dark for pg13 blockbuster. Let's put some cheap jokes here. And it happens over and over again in this movie :S

humanizing flashback scene that ties them to main hero:

For Bucky, sure we had Captain America First Avenger but a movie needs to stand on it's own legs. That's why we have the flashback scene which shows us that Bucky cared about Steve. Leaving it at the narration in Smithsonian of "best friends since childhood" would be just telling us. And we needed to be shown and we needed a space for the "till the end of line" so it could come back and stab us right in the feels.

Also because we are ignoring previous movie Russos cleverly made us care about Winter Soldier because Steve cares about Winter Soldier. And we already know and like Steve so building up our main character gives us more mileage out of new bare bones character (because let's be honest, Winter Soldier is just that). Two birds one stone thing.

In Black Widow there is no such thing which IMHO is the main reason Taskmaster doesn't work. We just get information about cardboard cutout: insert cute little girl here (only told, not even shown actual cardboard) and all of the emotional connection to Natasha is: I know that my boss that I hate has a daughter, she got in the crossfire. Which means nobody cares.

All it would take is adding a short flashback scene. idk Dreykov is an asshole and doesn't care about Antonia but she is she cutest and most adorable little girl. She treats the Black Widows as older sisters. Hell if you want to make it more horrorish copy of the idea of Thor wanting to be a Valkyrie when he grows up or T'challa wanting to be a Dora Milaje. Little Antonia wants to be Black Widow when she grows up because they are badass and they are nice to her (and are also slightly confused by her) because she is nice to them and is only person that treats them as humans. Hell we could have short interaction between her and Nat. Just a smile between them would be enough.

You could get a lot of character buildup mileage out of such a short scene.

But it couldn't happen partially because the movie didn't have time for that but we didn't get that mostly because it would show us instead of telling that Nat killed a cute little innocent girl for her own personal gain. (well she thought she was destroying Red Room but mostly wanted to get away - vide she didn't check on Yelena or other widows. But I wouldn't hold that against her. It was put your oxygen mask first kind of situation. But still it would make her look bad)

Besides, that would take guts to actually show.

And technically they could have afforded to have that guts. That was last movie with Nat anyway. It would actually make this plotline about her feeling guilty about Dreykov's daughter and red in her ledger work. But well... It was last movie so they wanted to leave us with the most goodest and bleeding hartest and heartwarming mary sue version of Nat with just telling us without showing hey, she got dark past.

On the other hand if we had the rumored Endgame plotline of Nat running an orphanage. Damn that would tie to this plotline so well. We could tie the loose widows also. Dam we were robbed here I tell ya >.<

Ok I'm overdoing offtopic about Nat. Sorry

design

So yeah. Design wise Winter Soldier is like great. For Taskmaster, she sure looks cool but also kinda generic? If in 10 years you'd show me her and say it's antagonist from GI Joe or something I'll believe you :S (not touching the debate that in comics something something because unfortunately I don't know Taskmaster from comics. Although I hear that few recent ones were quite good so I'll check them out sooner or later)

snapping out of mind control

I mentioned before. It would be unfair and there is no point comparing main emotional scene of the movie versus means to an end that were repeated several times through a movie.

Natasha freeing Antonia even if she thought that Antonia will kill her because that would fair was great. What I'm annoyed is a cheap fakeout that went with that. It was just after the bombastic finale with explosions and all the cgi shit. Even without looking at the movie runtime it was obvious there will be no extra fight scene.

In catws it worked because the cgi pew pew extravaganza was a background noise and was part of a continuous fight. In BW helicarriers fell already, there was a second of dust settling and then Nat throws away the shield (uses that capsule). Tension just fell from highest place in a movie (quite literally lol), trying to rise it again for such a short moment just doesn't work.

But that's the general problem with Marvel movies. Bombastic CGI fest as grand finale that probably is "outsourced" and then actual director comes back and needs to end movie super quickly.

disappearing act at the end

So in catws there is mystery of what will Bucky do. We are given some hope since he dragged Steve out of river and visited the museum but thats all. I mean there is this annoying Marvel thing of skipping over the interesting ending of last movie and starting with next plot point. We were hoping for the grand roadtrip/hunt for Bucky but nope. We must run ahead with all the plotlines (same way I'm sure that the Spiderman is Peter Parker and he killed a guy thing will be already dealt with in the beginning of the next movie -.-) But that's bonus mini rant.

In BW they needed to wrap up to many plot lines too quickly so Antonia wakes up and that's all. We don't get a suggestion what she may do. The problem of the chip she still has installed is omitted. There is nothing. She just fucks off to lalaland with other Black Widows the end. Because we needed ending for Nat's actual family which was ok but also kinda rushed.

As I mentioned waaaay before (god, this rant is pretty long) too many hoops to jump through.

Which really sucks because if they added that one flashback scene just for Antonia and spared few more minutes for the overall ending it would work so much more better.

And I even know where they could have saved few minutes (besides the explosions thingies). The supply guy. One extra character in a movie with too many characters. In catws the supply problem (with wings) was solved with nbd shrug. If you wanted to show that Nat has her own web of contacts it should be more than one guy. IDK in Budapest there could be 10 second scene with neighbor saying hi nice to see you again we reinforced the walls after last time. In Norway we could see her visiting some special secret supply stash run by some rando before getting to the mobile home.

But oh she was on the run so that would be too many people. Then cut the people entirely. The shitty helicopter can be worked around with joke that I'm not on speaking terms with Stark rn and that's the best we can have on short notice.

Eh.. side rant again. Sorry.

So to wrap it up. I actually really would love to see what will happen with the loose Black Widows and Antonia because here they were really underdeveloped. And while widows were more of a group hero and we have Yelena as a representative so in a way it balances out but Taskmaster needed so little extra care to make her character so much better and I'm a tiiiiiiny bit salty about it.

#text post #long post #very long rant #black widow #black widow spoilers #black widow movie #black widow 2021 #taskmaster #antonia dreykov #i kinda doubt we will see her again #but one can hope #if anyone actually read through all of this congratz!#and thank you #let me hug you #(and I'm sorry it's so long)

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booasaur · 3 years

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One of the best Dramatic writing of a f/f relationship in a serie or movie and a pretty decent ending #vigil

It was pretty perfect from my POV! I could watch these kinds of series all day, even without f/f and hell, without female leads. I just like the genre.

But we DID get female lead and with this very like...the two working together across land and water and with an existing relationship with the flashbacks and just able to come out of this able to be together, it was written to be so romantic!

And another anon:

Poor kirsten, She just needed to hear Amy say those words "I love you" to change her features from worry and fear to relief that the woman who took her breath from the first moment is not ashamed of their relationship , but just finds it difficult to express her feelings for a woman who has emerged in her life as a light at the end of a dark tunnel. Such a great love story

Yeah, I really like that the balance between the storylines let us see Kirsten's side of things as much as it did. Just as much as we saw her fault in what went wrong as well, as she realized herself too. But the end relationship arc was definitely about Amy being more open and it was indeed what Kirsten was waiting to hear.

And another anon:

What do you think about the idea of s2 of vigil? For me nope . Just let be a iconic 6 eps.

Ah, well, given how they were treated this season, I can definitely see why people would want another season, and I kind of do too! It'd be nice to see more of them happy together, and continuing to be the leads.

But aside from the possibility of them being ruined, I'm just not sure how there could be another season of plot. The show is literally named Vigil, there's no way there's going to be another incident and if there is, it's even more unlikely that these two will be involved.

Well, I suppose I could see them being brought in because it worked so well this time, I just don't see the other thing, a submarine incident, civilians brought in, Amy agreeing to go, Kirsten and Poppy letting Amy go, I just don't see it. And it would have to involve a submarine, them just investigating stuff on land that has to do with the Navy wouldn't fulfill the premise the same way.

Although I guess, thinking on it, they could continue on land if were specifically to continue this investigation into Vigil. My friend @wonkots42 was rewatching and noticed that in ep 2, when the thugs break in to Amy's place to steal whatever it is Kirsten found at Burke's (the USB stick), we're meant to think it's the Navy or MI5 because they know she took something from the room, but we later find out it's the Russians. So how'd they know, at that point? Can probably be handwaved away, but if they wanted, they could make it into another mole.

But really, I'd expect them more to continue with the investigation actually in a submarine, so maybe even a different cast with a different sub? Maybe they'll focus on the theme of investigations into random impossible places so it'll be an Antarctic station or space next, lol.

#replies #femslash related stuff #sent on 20210926 #sent on 20210927 #Anonymous #vigil spoilers #bbc vigil #vigil 1x06 #amy x kirsten

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naynay5155 · 3 years

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Sometimes I despise C!Tommy, god. Sometimes I remember how shitty of a person he is in canon and I just wanna implode. Because he never really gets punished for regularly being a shitty person.

The punishments he goes through are never because of his bad actions. He never gets it pointed out to him how was and still is, lowkey abusing C!Tubbo. He never gets called out on the general anti-socialness he displays around pretty much everyone. He never gets called out for his frequent mistreatment of Jack or Niki or Fundy. He just... gets away with that.

The "punishments" he does get are never because he's being an asshole and because he needs to become a better person. They are just straight up abuse at the hands of serveral trusted adults in his life. And this abuse doesn't actually help him anyway because it's abuse of course it wouldn't.

So, when he gets put through bad shit, and anyone has anything to say in regards to him being really shitty as a person, the fandom won't understand, because C!Tommy has the Halo Effect after a full year of gaining so many shields.

The First shield is the fact that he's the protagonist in a Action & Adventure story, making it so that the audience automatically wants to root for him.

The Second shield is that he is framed as being the underdog, and has been from the start. This is as a result of the roleplay originally starting as basically a Hamilton Parody, where C!Tommy was framed as this "Spunky and larger than life eager young man". And he still is veiwed like that by the audidence, even when he's grown past that and arguably doesn't count as being and underdog anymore.

The Third shield is him being played by a 16 to 17 year old Minecraft Youtuber, which gives people the excuse to play the age card to handwave all his actions. If Tommy, who is playing him, is 16 or 17, than to a lot of people that's all the reason they need to assume C!Tommy is also 16 to 17. And I can't say I blame them, the timeline is nonexistent.

The Fourth shield is the fact that he is the most popular Content Creator in the entire series, due to the viewer count he gets, the dedicated audience of young people, and the regular spotlight the writing gives him. He is, 100%, the most popular character, with only maybe like, C!Ranboo and C!Wilbur and C!Techno beating him out of that. That is like, three out of the 30+ who canonically exist on the server. When you can pull 630,000 Live Viewers on Twitch.tv of all places over Minecraft, you are fucking huge. That creates a very loyal fanbase.

The Fifth shield is him being an abuse victim. Similar to him because mostly seen in the fandom as a minor and as a result getting away with a lot, C!Tommy being an Abuse Victim and Mentally Ill coded makes it so that his shitty actions can be handwaved away. No matter how severe his shittiness is, or what exactly has happened you can just say, "Well, he's clearly traumatized cut him some slack!" This can be done even when Tommy hasn't properly taken it upon himself to play C!Tommy as traumatized consistently.

The Sixth shield is also, arguably, the fact that C!Tommy is portrayed as a Straight, White, Cis Man. You cannot tell me that if C!Tommy was canonically a girl, that the gaming community wouldn't have dogpiled on her and made fun of her and called her annoying for no reason. Not with the way Niki is treated. The character gets given so much more importance and respect in comparison to some other people, like Eret, Niki, Ponk. And I don't think that's just a coincidence.

The Seventh shield, is that CC!Tommy's entire brand is being funny. To the point where it leaks into his roleplay portrayal, and means that a lot of the shitty things that C!Tommy does end up being framed through the lens of humour. Which means the impact and effect of his bad actions do not hold weight and are taken way less seriously than when something happens to C!Tommy himself. There is a reason why most people don't think much of C!Jack Manifold because being basically just a clown to be mocked.

All this stuff prevents a lot of very obvious stuff in this roleplay from getting talked about. So many people would rather focus on headcanons and made up lore, that when the time actually comes to point the finger at C!Tommy and say "Hey, this guy is a bad person," so many people get confused or up in arms because they weren't thinking that C!Tommy being a bad person was possible.

When it gets to the point where you have people thinking C!Tommy and Ghostbur were totally friends with no issues at all, you know you have a problem. Because C!Tommy canonically treated Ghostbur like shit and was not really treating him well at all. C!Tommy regularly trigger and upset Ghostbur, blaming him for the actions of C!Wilbur even when he knew it was pointless and hurt him. He hung around him a lot, but its obvious he clung to Ghostbur as a way to still maintain the memories of "Good Wilbur" rather than because Ghostbur was good on his own merits. He would regularly guilt trip him, and seemed completely indifferent to how his actions and words hurt Ghostbur for a long while.

This is not good, there were a lotta problems there, and they should be addressed as the problems they are, otherwise you miss out on proper understanding of C!Tommy's character.

And this misinterpretation of Tommy's character is as much a fault of the writing of the DreamSMP as it is the biased Fandom's.

Because how are the audience supposed to know that C!Tommy isn't really a good person, when he never faces narrative consequences, his issues are never handled and talked about, he gets away with everything, and we're too busy focusing on the "Worse" people, like C!Wilbur and C!Dream, to actually talk about C!Tommy?

#dream smp critical #dsmp critical #negative #negativity #dreamsmp #dream smp #dreamsmp roleplay #what the hell dreamsmp writers #c!tommy #criticism #critical dsmp

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chalkrevelations · 3 years

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And finally, here we are, Episode 36 of Word of Honor, and I have some FEELINGS. Let me show you them.

There also will be Episode 37 here, btw, because I’m not gonna do a separate reaction for a three-minute episode, no matter how grateful I am that we got it.

(Spoilers, so if that’s not what you want right now, scroll on by and come back after you’ve watched it. Them.)

Let’s get to the meat of the episode right away: THE HAIRPIN. And Wen Kexing knowing Zhou Zishu would have it, because he’d definitely take it with him if he was going on a suicide mission! Y’all. I really have to yell about this for a minute: That’s how secure WKX has become in his knowledge of what he means to ZZS! After all that time angsting and hiding the truth of his identity and worrying that he’s not worthy of ZZS and that he’d be rejected if ZZS knew the truth about him! But now, WKX has finally reached a point where he understands and knows (zhiji, the one I know) he’s so important to ZZS that ZZS would never ever go off to die without taking his most precious possession, the hairpin that his husband gave him! I can’t. My heart. This is like a declaration, after all that time saying they were zhiji, that WKX finally is able to truly see ZZS as that, to know him in his bones, and all of this is also delivered in the middle of WKX in a strop, irritably chastising his husband as an evil brat for running away from home to get himself killed, with Gong Jun’s little >:( face in full effect, and I am so filled with love for this show and this couple at this point that I have to pause Youtube just so I can roll around on the sofa, clutching at my chest and scaring the cats with my inarticulate noises. This is so good, y’all. It’s everything I’ve ever wanted. Also, now you know how it feels, WKX, you asshole. Which I suppose is why you even confess that it will would be more painful for the one who survives when if the other dies. And you were prepared to do that to him a second time? I cannot believe you, you asshole. You get to sleep on the ice couch for a month.

And then there’s some Six Cultivation Power mind-melding and what looks to be an INCREDIBLY STUPID and HEARTBREAKING ending that would leave us Burying One of Our Gays, so it’s a good thing Episode 37 (all three minutes of it) exists. It would be nice, though, if the connective tissue from 36 to 37 made any sense. Or existed whatsoever. Just, like, throw me a bone, here, show. Some kind of explicit hand-waviness that actually gets mentioned for why Ye Baiyi apparently was not as smart as he thought he was and didn’t really know what he was talking about when he was doomsaying about how one of the pair will surely, oh surely perish. None of this “Sooooo, they managed to figure out the technique and master it?” from some random shidi who never actually gets an answer. I mean, the door was left open for fanwankery on this one, with what looks to be a very last-minute conceit of all this being a story told by grown-up Chengling to his disciples, which begs the question of how much of what he’s telling them is totally accurate, given any number of issues, including the spottiness of human recall, the possibility (based on the fact they’re still on the mountain in Ep 37) that Chengling never actually saw either of them again to get the full story, and the way Gao Xiaolian basically calls bs on the whole thing. But this is still a gossamer-thin thread on which to hang Ep 37. Ep 37 basically functions as reassurance because of the mere fact of its existence, because they’re clearly both alive, right there in front of your face, regardless of the other fact that it doesn’t actually make any sense, based on Ep 36. It ultimately doesn’t matter if there is no Step 2, because Step 3: Profit! is … right there. In evidence. Happening. On your screen. No matter how vaguely unsatisfying the lack of Step 2 may be.

I do feel like there’s an interesting meta thing going on here, in that the entire show has been about – let’s be honest, it was never really about the plot - queer-coding this couple in ways that supposedly fly just enough under the radar that people can handwave them as Just Good Friends and Brothers (I mean, I guess) with a Bury Your Gays tragic ending (ugh) for good measure. And Chengling is telling a story in-universe that seems to conform to some of this same formula. And yet, we all know well and good that these guys were husbands. (I mean, barring anything else, they’re a couple in the original source material, so checkmate, censorship.) So, are we supposed to carry the same assurance out of the show, on a meta level, that what appears to be happening at the end of Ep 36 - what we discover we’re learning through Chengling’s story-telling - isn’t really the truth? Just, look: While we’re getting the Good Friends and Brothers push, there’s stuff like obvious voice-over work that doesn’t match the much more queer version of what the actors actually said, which is apparently blazingly clear to any viewers who know Mandarin and can manage to lip-read. The show has literally put de-queered words into these characters’ mouths. You can’t trust what you hear. But apparently the show has also made this obvious enough that, if you’re a good enough speaker of the language the show is being told in, and you have a good enough eye, you can see what is actually going on. Are we being taught to trust our eyes more than our ears, are we being told that what we’re being told - by the end of Ep 36 on a meta level, by Ye Baiyi-through-Chengling’s-story on an in-universe level, and by what we learn about what happened from Chengling’s story, itself, also on an in-universe level - is inherently untrustworthy, but that if we “speak the language” of this show well enough, and have a good enough eye, we can decode it and see what “actually” happened and is later made explicit in Ep 37? Is Ep 37 canon? Does it matter, when “what is canon” is already so slippery on this show, where you can apparently lip-read something that’s different than what you’re hearing, and it functions as canon because of the mere fact of its existence, because it’s clearly … right there. In evidence. Happening. On your screen.

Anyway, just some thoughts on all that, which I guess is my own fanwankery work to join up the end of Ep 36 with Ep 37, which was, of course, delightful. No matter how much I might bemoan the lack of Step 2, I had a stupid, dopey grin on my face all the way through Ep 37 and might have even teared up a tiny bit at the very end. You can’t prove anything. Lemme tell you, though, it’s a good idea to have 37 on hand when you run into the brick wall of the end of 36, because while WKX’s willingness to sacrifice himself for love is theoretically great, it is not something I actually want to see come to fruition, given the pall it would cast over the entire joyous experience that the ZZS/WKX relationship is throughout the rest of the show. Sure, there’s always fic, but there’s a heaviness that hangs over the Bury Your Gays trope, and it’s retroactively ruined shows for me before. So THANK YOU, to those of you who hooked me up so I could immediately move on to Ep 37.

What else? Other things:

OK, so, first, I have to get this out of the way: Did we actually already see all of those “flashbacks” we get in the first part of the ep, during the conversation between Zhou Zishu and Jing Beiyuan, when all the political stuff is supposed to be finally falling together to give us the big picture? I would have to go back and scrummage through those eps to be sure, and I’m not going to spend time doing that (yet) when I still need to do some keysmashing about Zhou Zishu and Wen Kexing OH MY GOD, but I do feel like some of this was new information, not just stuff that I’d glossed over because it didn’t seem important at the time? If so, not on, show. I will be keeping an eye out for that on re-watch. I am, however, perfectly willing to accept – if it turns out to be true – that you utterly distracted me with the failboats-in-love storyline, to the detriment of my focus on, you know, plot or whatever. It’s happened before. (It’s one of the reasons I need to go back and watch The Untamed again, at some point.)

OMG FAKE KEY! And as ZZS points out, this has been foreshadowed for us from early on, with WKX’s fake Glazed Armors plot. :bangs table with fist: YES. This show is going to reward re-watching SO MUCH.

Duan Pengju, oh my god, this asshole. The look on his face when the Armory didn’t open was so gratifying. Also, ha. I wondered when ZZS was finally going to be done with his shit. In fact, so much gratification in this whole scene. Xie Wang’s face when he realizes WKX double-crossed him – what, did you think you were the only tricksy one in that little alliance, Xie’er? And, holy shit – I cannot believe that Xie’er actually words this as WKX failing him, taking us back around to this theme one more time again. I would maybe feel a little worse for you if you hadn’t been a hairsbreadth away from killing him before ZZS stopped you in the last ep, Xie’er. Also if you hadn’t helped get A-Xiang killed. So I think the fail in this relationship is going both ways. Unfortunately, it doesn’t look like you’re going to get the time WKX had to start untangling yourself from the ways your abuser has fucked you up and over.

It once again becomes blindingly clear why ZZS has been my ride-or-die during this whole thing: Under the grumpy, irritable, day-drinking yet somehow eminently practical exterior, he’s actually an idealistic do-gooder who just wants to make the world a better place for people and sacrifice himself for great justice. Never let it be said that I don’t have a type. Also, I mean. Zhang Zhehan’s FACE. Let’s don’t discount the power of that.

Final word: Don’t miss Ep 37. All three minutes of it. They are perhaps the most important three minutes of the entire show.

(I mean, not FINAL final word. I expect to be going back for a re-watch and posting more things, particularly on eps from before I started typing up 1000K-word reactions this first time around.)

#zhou zishu #wen kexing #zhang chengling #ye baiyi?#sure why not #ye baiyi #xie wang #duan pengju #word of honor #word of honor episode reax

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blackjack-15 · 3 years

Text

Adoration to Ashes, Dust to Just — Thoughts on: Alibi in Ashes (ASH)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK, TRN, DAN, CRE, ICE, CRY, VEN, HAU, RAN, WAC, TOT, SAW, CAP

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraphs above, along with my list of previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: ASH; mention of a whole host of previous games with the Hardy Boys in them; mention of SCK; mention of STFD; mention of FIN; mention of DED; small spoilers for SPY; unflattering mention of the Nancy Drew: Girl Detective series; brief mention of erotic-shifter-romance book Bearllionaire.

The Intro:

Welcome to the Nancy Games, lads!

Before we begin, since we’re at the beginning of a new “section” of games, let’s go over exact what the “Nancy Games” entail. Unlike the other games, this section (which runs from ASH through SPY) of games is most concerned with Nancy’s personality, growth, and showing her through a different character foil each game.

These games not only give us a better picture of who Nancy is, but also how she fits (or doesn’t fit) into the world around her and with the people that she meets. Rather than solving the case, these games are made to make Nancy react to things; rather than ‘where is Nancy Drew’ or ‘what case is Nancy Drew tackling’, the preeminent question for ASH and the four games after it is simple: ‘Who Is Nancy Drew?’.

Though only possible because of the nature of the miscellaneous games (WAC, TOT) and the Faerietale Games (SAW, CAP), the Nancy Games have been sorely needed since the series graduated past the first few cases. For a lot of the series, the games weren’t really concerned with the main character of the series, preferring her to be a blank slate that players could superimpose themselves onto…which, as recent media (such as Twilight, and Twilight But With Bondage This Time), isn’t a good basis for a character outside of a dime-store bodice ripper.

But these games aren’t Bearllionaire, they’re detective stories, and detective stories need a strong main detective to carry the story — not to mention the stakes.

That’s where these games come in. Building obviously to the story in SPY, each game explores another facet of Nancy’s personality, and shows what she could become — or could have become, in a few instances — should she let the more negative sides of her personality take over, or if she trusts the wrong kind of people and makes the wrong friends.

How better to illustrate than by showing exactly the kinds of people that Nancy’s friends are? That’s what ASH is primarily concerned about — showing who Nancy is by showing the reactions of people who have known her all her life to a crisis. The only difference between Nancy and her Foil in this game is the fact that Nancy has good people — good friends — fighting for her. It’s how she gets herself out of jail, and how she manages to solve the crime.

And it’s a fun (if a bit clunky) game mechanic as well.

This is why this story can only happen in Nancy’s hometown. Not only is it delightful for fans to see (modern-day, as we saw the old version in CLK) River Heights for the first time and get to explore a bit around the town, but hometowns in media are quite significant when looking at who a character is.

Almost always, a hometown is used as sort of a microcosm for the character, giving us a bit of a cheat sheet into who they are as a person just by showing their environment. Think about it — how many times in cop shows (which are the most blatant offenders by far) are we told that a character is from a small town, and thus they’re intent on proving themselves, probably a ridiculously hard worker (to get out of “that place”), and a bit more innocent than their inner-city colleagues? Or that a character grew up overseas to justify their interest in international crime, establish them as a bit of a wildcard, and handwave them knowing about 16 languages? Or that they grew up “on the streets”, justifying a hidden juvenile record, skills in hand-to-hand combat, and a soft spot for Youths Just Like Them?

(But enough about Criminal Minds. I’d rather focus on something that actually has thought put into it.)

The same thing is happening here in ASH; from River Heights, we can extrapolate that Nancy is well-off, straight-forward, comfortable largely around adults (think about it — ignoring the usual phone characters, we only meet one person around Nancy’s age in RH, and she hates her), and has a drive to be Somewhere Other than her small town.

Another interesting point is that River Heights is chosen as the backdrop for something that has only happened twice in the series, and only once been done well: a personal revenge story against Nancy herself. Sure, RAN attempted it, but RAN’s story is — if you haven’t read that meta, spoilers — hot, flaming garbage, and the personal revenge plotline is bungled to the extreme, resulting in it not putting across that theme very effectively.

ASH is different; from the very beginning, it’s obvious that whoever is doing this is working off of a person grudge against Nancy specifically — and burned down the town hall in order to implicate her, so they’re not playing around. It’s the reason that the culprit search is so focused, which really benefits the games as well. The question isn’t really “who would want to get rid of Town Hall”, it’s “who hates Nancy enough to burn down a building to get her in trouble”. It makes questioning so much more interesting — and very full of mines, which is Great — when it’s the person, rather than the specific crime, that matters.

The last thing I’ll touch on in this introduction is a question that the fandom has posed both seriously and jokingly many times over the last….almost exactly 10 years (10 years!!! I need to lie down my land!!!) since the game first came out: where are the Hardy Boys? Surely, if there was ever a game where they made sense to appear, it would be this one; their friend is in prison and needs the help of practiced investigators — you’d think that even if Carson wouldn’t think of hiring them (which, as desperate as he was, he totally would have), that Nancy would have given them a call, if only to see if ATAC had anything on the suspects.

There are two reasons why the Hardy Boys don’t appear, from a storytelling perspective (ignoring the issue of how much money it would cost to include them or any other technical considerations), no matter how much I would have liked them here, or how much sense it would have been to at least name drop them, if not make them phone friends.

The first is to keep the game centered on River Heights. Everyone in the game — both suspects and allies — is from River Heights and is a part of the town’s makeup. Our suspects reporter, a politician-slash-ice-cream-store-owner, an ex-detective-turned-antiques-dealer, and a college student born and raised in RH. They represent different facets of the town — the media, the political, the business, and the rising generation — and so each represent a part of the town. Nancy’s allies all fall under the “rising generation” — the “Future of the Town”, if you will — or under the justice system category, with Carson. Even the Chief represents another facet — the law — that can both hurt and help Nancy in turn. By keeping all suspects and allies tied to the town, the mystery and the story can focus on exactly what’s going down in River Heights, without any distractions.

The second reason that the Hardy Boys don’t appear is a little less obvious and a little less cut-and-dried plain fact, but I find it compelling enough to mention here: Ned is present. Other than as a foil in CAP (and an oddity in CRE/VEN), the Hardy Boys don’t appear in the games where Ned is present — it tends to be an either/or thing as far as phone characters are concerned. The why of this is, admittedly, conjecture, but I do find it fascinating that the two (three, technically) don’t intersect — and when they do, it’s to compare them.

Also there are not enough fics of the time Nancy sent Ned to hang out with the Hardy Boys like their house was a vacation kennel and Joe broke Ned’s car. Just saying.

Ned represents River Heights, safety, security, constancy, and comfort — the same things that the other River Heights phone friends (Carson, George, Bess, Hannah) do, albeit to a slightly lesser extent. The Hardy Boys, on the other hand, represent excitement, danger, the unknown, new discoveries, and growth — as do, in different extents, the non-River Heights returning phone friends (Hotchkiss, Savannah, Prudence).

Nancy sits squarely in the middle of these two extremes; she’s from River Heights, but she’s not exactly of River Heights, if you get my meaning. As the games have progressed, they’ve shown Nancy moving further and further away from safe, small, friend-related cases to professional jobs with more than a few people actively trying to kill her. For me, that’s the reason we don’t see the Hardy Boys and Ned mostly in the same games; they represent different spheres of Nancy’s life.

And, had competent writer(s) stayed and the games not, well, imploded due to Penny being one of the worst business people I’ve ever encountered, it would have been interesting to see that push-and-pull dynamic being expressed in Nancy’s relationships. As it is…thank Heaven for AO3, am I right?

Now, let’s refocus on ASH in specific, and talk about its composite parts, shall we?

The Title:

Other than being catchy and evocative (and telling us exactly what crime was committed here — that of arson), Alibi in Ashes is also a notable title for its flexibility in meaning. Like CAP, there are so many different connotations for “fire”, and all of them apply neatly to this game.

First, we’re dealing with the literal fire that sends Town Hall up in smoke, and the inciting incident for our mystery (and Nancy’s jail time). Next, we have the word “fire” standing in for “emergency” — as in “where’s the fire” — and there seems to be a new emergency every five minutes in this game — the fire, Nancy’s arrest, Bess breaking the vase, Carson’s absence, etc.

After that, we venture even further down the abstract hole, and dive into the political — whistleblowing, which is often referred to as “setting a/the fire”. This is partially what Nancy does, and is also what Brenda likes to do, no matter the accuracy of the report. Finally, we stay with Brenda for the term “media wildfire” – which is exactly what Nancy’s arrest (due to Brenda’s machinations) causes.

The title in total — “Alibi in Ashes” — also works in a few different senses. Literally speaking, Nancy’s alibi — and the evidence to prove it — is in the ashes of Town Hall, waiting to be discovered. More metaphorically, due to the work of the culprit, Nancy’s alibi (aka her innocence) is in pieces, in ashes — it’s been destroyed. Finally, in a literary sense, Nancy’s situation can be shown in the “ashes” of a past life — in the “wildfire” that destroyed Alexei’s life and career as a detective.

Its acronym being “ASH” is also pretty awesome, not gonna lie.

It’s the multifaceted nature of the title that really gives it its staying power, catchiness aside. Many titles are just as good as ASH’s, but almost none work harder at having so many possible meanings that are all represented in the text of the game itself.

The Mystery:

Sufficiently chastened into spending more time at home (at least for a few days), Nancy comes home in order to spearhead her team (consisting of Ned, Bess, and George) to victory in the River Heights Clues Challenge. This friendly little competition that included No Cheating Whatsoever on the part of Other Teams heats up, however, when a clue leads Nancy to the historic Town Hall — only to have it erupt in flames minutes later. Coughing but still moving, Nancy escapes the inferno…only to be greeted by the suspicious press, declaring her guilty of setting a beloved building on fire.

Things only get worse when Chief McGinnis shows up the next day, taking Nancy into custody due to political pressure in the town. An arsonist is afoot in River Heights, and unless her friends can dig up some dirt on someone — or everyone — else, it looks like Nancy Drew won’t just be convicted by the press, but by the town that raised her…

As a mystery, ASH has some great personal stakes — for Nancy and for our suspects — and pretty layered motivations. The cast comes alive through their relations to Nancy, especially as she’s unprotected with Carson being in Australia. The shift in the mystery that occurs when Nancy can finally get out and speak to the suspects — and seeing how differently they treat her than how they treated the other members of the cast — really helps to add something new to a mystery that’s tying itself up a bit, and give it the last push of gas it needs to get us to the conclusion.

While it’s not the most involved, complex, or thematic Nancy Drew mystery ever, it does what it needs to do, and does it well – and that’s honestly all I want in a game more devoted (as it should be) to character than it is to a twisty plot.

The Suspects:

ASH has a rather full cast (not because of the size of the suspect pool, but because there are so many people involved that should be mentioned), so let’s get started with our suspects, then move on to our other cast members.

Brenda Carlton, resident Reporter of River Heights News and perpetual thorn in Nancy’s side, is both our first suspect and our culprit, proving once again that the media cannot be trusted. We haven’t had a reporter be our culprit in 21 games (TRT’s Lisa being the previous example), so I guess we were due, but Brenda is a delightfully hateful example of just how bad the media can be, so kudos for that.

And this game didn’t even come out in an election year. How refreshing.

As a suspect, Brenda is awesome. Catty, arrogant, and with a penchant for dressing up as Nancy – titian wig and all! – to perform her dastardly, dastardly acts, the game doesn’t try to be subtle for one second that she’s up to no good. While Nancy and Brenda are equally as interested — and equally as talented, by all appearances – in ferreting out a good story, Brenda takes it a step further and makes one if she can’t find one – and nurses a grudge against Nancy for exposing her for it.

Up next is ice cream shop owner and scaly politician Antonia “Toni” Scallari, a woman with a bright-eyed, smiling public face — and if you don’t like that face, don’t worry…she has others. Toni is your typical politician — pretends to be nice and pleasant, is actually a scheming villain, hates people who do honest work, and thinks that fairness in government is a luxury – but the game does stop shy of making her The Villain, preferring instead to show the crimes she’s committed in her search for money and power and letting her quietly bow out of the election.

So definitely better than she deserved, but at least the game shows her corrupt nature rather than sweeping it under the rug.

As a suspect, Toni would have made a decent villain, but it would have turned the game into a tale of cold political expediency and machinations, rather than hot-blooded revenge, and that would have been a shame. I’m a fan of how the games from about TOT on always have multiple characters who Do Crimes and Bad Things, and Toni is a prime example of a bad guy who just happens not to be The Bad Guy.

Third on the docket of suspects is our resident grumpy old man (and Nancy’s foil in this game) Alexei Markovic, who provides not only some of the best voice work in the game, but whose age is also proof that Nancy’s dad really is the silver-haired DILF we’ve been waiting for.

C’mon, he prosecuted Alexei when Alexei was 20. The youngest Carson could have been was 25 if he booked it through college, took no breaks to study for the LSAT, and blazed through law school — and immediately got a job the day after graduation. And seeing as Alexei has the “old coot” personality and grey hair…well, Carson is probably straddling the line between DILF and GILF.

(I’m so sorry for that aside, guys, it got away from me. I’m equally sorry for the first recorded use of the term “GILF” in the Nancy Drew fandom. It’s not the legacy I wanted, but perhaps the legacy I deserve.)

Back to Alexei!

Alexei is a great character, full-stop, and his VA just improves the experience more. Bitter and jaded, but by no means uncaring or evil or myopic about his troubles, Alexei is, where Nancy is concerned, a bleeding heart whose blood happens to run cold. While he could be bitter about Carson playing a part in taking away everything he had, and thus treat Nancy poorly, he instead empathizes deeply, wants to help, and, in effect, treats her the way that somebody — anybody — should have treated him.

As a suspect, Alexei, as Nancy’s foil in the game, would have been a poor choice; he’s not really there to be suspicious, he’s there to show the stakes of the mystery. No matter if Carson could find a world-class defender to get Nancy off the charges, no matter if they couldn’t even indict her, the stakes aren’t “Nancy will go to jail for Realsies” — the stakes are the town turning its back, she loses those she loves, and is unable to do the job that is the essence of who she is. In other words, if things go poorly, Nancy becomes Alexei.

One of the reasons that Alexei is such a good character is that he recognizes this immediately, and is determined to do all he can to prevent that. Sure, he knows the odds are stacked against him, and the whole town is his enemy, and he won’t get anything for helping out — but at his heart, he’s still the Magnificent Markovic; “no case too big, no fee too small,” remember?

Last of the actual suspects is noted red-light runner and girl in envious, envious green, Deirdre Shannon. Deirdre’s a rather divisive character in the fandom — especially of late — but is a character I stand firmly on the side of great, for a few reasons.

The first is that the games took a 1-dimensional, wouldn’t-cast-a-shadow-if-you-turned-her-sideways character from the Girl Detective books, there purely to make Nancy look good, and instead gave her a fully realized character, sympathetic motivations, and a whip-sharp tongue.

The second is her hilarious banter with the River Heights crew and wry sense of humor, which would be enough to make her a favorite character of mine alone.

Annoyed by constant, unflattering comparisons to Nancy from her parents (her father also being a lawyer in River Heights), she’s amused when Nancy’s arrested — though, if you read in between the lines, never suspects Nancy actually set the fire nor thinks Nancy will ultimately get the blame — though not as amused at Bess’ spying on her. She harbors a not-secret crush on Ned and enjoys spending time with him, girlfriend or no girlfriend — though it should be noted that even Ned isn’t spared her sharp tongue.

As a culprit, Deirdre would have been the obvious choice for writers who were the caliber of…well, of the Girl Detective series writers, but thankfully we’re on a higher playing field with Nik, Cathy, and the rest of the crew behind ASH. Deirdre is a snarky observer, but that’s as far as her ‘evil’ goes — and looking at her methodology for solving the Clues Challenge clues (and her commentary on her compatriots) is a joy — real detective work, indeed!

After our suspects, let’s talk about our players on the side of Right — or at least, on the side of Nancy — starting with the girl detective herself (as we will for all of the Nancy Games). ASH provides a better look at Nancy than we’ve had before (as befitting the first of the Nancy Games)

Nancy Drew is our main character, sometimes-protagonist, and at times villain protagonist — especially in the eyes of our culprits — when it comes to unearthing long-buried hurts and wrongs. Stuck in jail for a crime she didn’t commit due to political and community pressure, for the first time, the girl detective can’t really do anything by herself, and is relegated to “phone friend” while her boyfriend and childhood friends are running around frantically trying to introduce reasonable doubt in a frame-up par excellence.

Our source in SPY refers to Nancy as an autodidact — one who teaches themselves — and that’s a perfect summation of Nancy’s character. She’s no museum expert, nor cowgirl, nor entomologist, nor any other hat she’s put on — but she can fake it if someone hums a few bars. Her other big pluses as a detective are (once again according to the source in SPY) in interrogation and code/puzzle breaking — and the differences in the questions that Ned et al pose and the questions Nancy poses to our suspects does bear out the first point, at the very least. Her code and puzzle skills are the usual fallback for the games’ mysteries, more so in the modern games than in older ones (which is both a good and bad thing, depending on what types of puzzles you like).

In ASH, we learn about a key trait of Nancy’s — self-sufficiency, and, more importantly, the limits of that self-sufficiency. Able to fake most things until she makes it, Nancy is finally put in a situation where she can’t do anything by herself, and it’s a source of frustration and impatience to her that overrides other feelings (“Also, I’m in jail, and I would really like to get out,” anyone?). It’s rather stunning that Nancy goes from a triumphant Girl in the Dress to stuck in a police station, relying on the phone and her own intuition, and it does some good for her character exposure and development.

Next up is Edward “Ned” Nickerson, erstwhile boyfriend and long-suffering Emerson College student, Ned is part of an honors fraternity and is in River Heights for the Clues Challenge — and to see his girlfriend, of course. While his attempts to be Detective Ned have really only resulting in finding the keys that were in his pocket, Ned is nevertheless quite useful in getting information out of Deirdre (and is responsible for one of the funniest bits of dialogue in the game that’s not spoken directly by Deirdre).

According to the files from SPY, Ned’s defining characteristics are his honestly and his loyalty, both of which mean that he’s the ideal ‘phone friend’ when Nancy’s in a pickle — and means of course he’d be front and center, ready to do anything he needs to in order to help clear Nancy’s name. His main role in the game, however (and very interesting, as one of 6 or so Neirdre shippers in the fandom!) is to be the object of Deirdre’s window-shopping affections and to be made fun of (good-naturedly, of course) by his friends.

Because of his relationship (such as it is) with an overtly antagonistic character, Ned’s a lot of fun in ASH. I feel like he gets a lot of characterization that he often lacks in most other games (excepting CAP and SPY, of course), and it just makes me like him more.

George Fayne is also here to help — though, irritatingly, not required the same way Bess and Ned are — with her knowledge of technology and impeccable Togo-watching skills. George is a great character in the OG Nancy Drew books – the ultra-modern, straightforward, clumsy flapper, to contrast Bess’ more genteel sensibilities and Nancy’s down to earth, practical, yet fashionable nature — and one of the greatest disservices that the 60s rewrites, post-60s ND books, and, yes, the game series has done to the ND universe is to turn her into a “hurr-durr tomboy because name George like boy name” sort of mockery of her original character.

And no, I’m not crediting her as “Georgia”, because that was not her name in the books. Her name was George, full stop — once again, quite fashionable of her to have a “boy’s” name in the 20s/30s — named after her grandfather. You may fight me on this, but you will not win.

George is noted to have above-average skills in mechanical engineering, and indeed creates a jammer to stop Brenda’s broadcast in the game, but is otherwise…well, kind of pushed to the side in favor of Bess and Ned, her enmity with Deirdre notwithstanding. I’ll address this issue more in The Un-Favorite and The Fix, but a few tweaks while developing the game would have gone a long way towards defining George as a character — we’re ignoring MED wholesale, don’t worry — and helping the gameplay be a bit more varied.

George’s maternal cousin, Elizabeth “Bess” Marvin, on the other hand, is basically required to get what you need to know from Toni, but is very much not the favorite person of Alexei, due to her breaking an antique vase upon coming into his shop.

When a vase can survive the Nazis but not Bess Marvin, it seems a shame that Bess didn’t go to France with Nancy during DAN. They would have found that secret room with the artwork in like a minute and a half.

Bess is mentioned to lack judgment (her reveal of George’s crush on the snack shop boy illustrates that pretty well) but to have above-average intuition and, while manipulated easily enough, is too honest for that manipulation to really cause any lasting harm. Because of her sweet, open nature — and her open pocketbook when it comes to ice cream — she’s a favorite of Toni’s, and uses that in order to try to clear Nancy’s name and discover just what illegal, corrupt pies Toni has her grubby little politician hands in.

Going a little less friendly and a little less college-aged for our next helper, we turn to Chief McGinnis, a grumpy pushover of a cop who’s really only important for letting Nancy walk around a Police Station and solve a crime while under arrest because he didn’t wanna do his job, and for a hilarious diatribe about Pancake City.

Seriously, I go and watch that scene every so often when I need a good laugh. ASH has some fabulous comic writing, and McGinnis’ rant is a prime example.

McGinnis is pretty ineffectual as a helper, but he does allow for the first 2/3 of the game to happen by locking Nancy up (“You cannot leave jail! This is a very basic concept!), and for that, we salute him.

Rounding out our cast of Nancy-supporters is Carson Drew, who is (frustratingly, to him) stuck in Australia when all this goes down, and thus cannot use his legal prowess to free her.

Of course, as a prosecutor, I’m not sure how much help he’d be anyway, but hey, a lawyer is a lawyer is a lawyer, at least in the ever-wise eyes of HER Interactive.

Carson’s really just there (or not there, as the case may be) to explain how Nancy can be locked up with such a powerful lawyer father, honestly, but he gets some good lines in, so we’ll forgive it. He’s also there to round out the “River Heights Cast”, but I can’t help feeling that, if we were gonna have another Drew in this game, I would have taken the puppy over the golf ball. #Togo4Ever

The Favorite:

There’s a lot to love in ASH, so I’m going to focus on the biggest things. Suffice to say if a part of the game isn’t in this section but isn’t in the Un-Favorite, I love it.

I’m going to start off just by saying that the dialogue in ASH is wonderful. We’ve got distinct individual voices, sarcasm galore, enough cattiness to fuel the Halle Berry movie, and great interpersonal work, especially with Alexei.

One of the places Nik truly shines is dialogue, and a small-town environment like River Heights really shows off his skill. I sometimes hear the charge that “no one talks like this!!” leveled against the Nik games but, honestly, I talk to people every day who speak similarly to Nik’s characters, allowing for the differences in written and spoken speech, and so do most people I know. Allusions, analogies, metaphors, and aphorisms aren’t just for English class — they’re part of speaking well.

If you really wanna see dialogue where “no one talks like this,” look at the early ND games. FIN is a particularly bad offender, but SCK and STFD aren’t much better.

My favorite puzzle in the game is the letter swap puzzle inside of Scoop, by far. Sure, I enjoy other puzzles — Alexei’s number box, fingerprinting, the suspect board — immensely, and have a blast doing them, but I can spend hours figuring out old quotes on that aqua background and not notice the time passing one jot. It’s fun, references old games, and is exactly the kind of puzzle that gets me excited anyway, and I love it to pieces.

My favorite moment in the game is probably the moment Nancy takes control and goes and talks to Toni, oddly enough. The stark difference in what Toni says about Nancy while she’s in the station to what she says to her face is like a brick wall to the chest, and is, every time, the moment when you see exactly how River Heights turned on Alexei so completely as to push him out of his job and into the antique business. It’s a moment of almost stomach-sinking disgust, and I absolutely adore the game for not pulling its punches and instead keeping true to one of its major themes — that you need to see who people are in the dark, not when they’re facing you.

In the light of day, Alexei is just a cantankerous old man; Toni is a smiling, motherly ice cream store owner, Brenda is a hard-hitting reporter, and Deirdre is a vapid Queen Bee type. Under the cover of darkness, however, we see Alexei’s charity and heart, Toni’s corruption and two-faced nature, Brenda’s unethical and illegal means to her ends, and Deirdre’s soft center. And I love the game for pointing out the world of difference it makes to see what someone truly is.

For my last point, there are two characters are of note in this game that I love for very different reasons.

The first is Alexei, who is the inspiration behind the title of the meta. There’s something incredibly compelling about Alexei’s down-to-earth nature and the way he deals with being dealt the poorest hand in the world without ever dipping into “woe is me” or any other self-indulgent crap. Insatiably curious, bright, and caustic, Alexei feels like the perfect person to sit down, drink a cup of something warm, and talk about puzzles, antiques, and harsh truths with.

He’s a character who watched his entire life fall apart with one bad person’s actions — “one time, just once, I tried to speak truth to power, and man if I didn’t pay the price” — but still had it in him to keep going, even if it wasn’t what he was doing before. He went from being the town’s golden boy to a pariah, and yet still looks after River Heights and its history, even becoming the curator of the River Heights Museum (when it opens). The difference between his reaction to being falsely accused to, say, Noisette Tornade’s (DAN) reaction to being “falsely” accused is huge and, I think, rather inspiring.

The second is Deirdre Shannon, if you couldn’t tell by my gushing about her above, and, can I just say, I love everything about her. There’s a temptation to assume at first blush that she’s your average boy-stealing popular rich girl a la WAC, but actually looking at her tells a different story.

Sure, the rich part is true — but so is Nancy, and from the looks of their houses and all the trips/vacations they do, the Marvins and Faynes seem pretty well off as well. She shares the tendency for a sharp tongue with Nancy as well (as befitting her status as Nancy’s foil in DED, stay tuned!). Deirdre also doesn’t qualify as popular — her two “friends” that she hangs out with in ASH for the Clues Challenge are still in their “free trial”, and aren’t really her friends.

And her feelings for Ned? While she openly flirts with him (even if Ned doesn’t get it until the girls tell him), Deirdre isn’t looking to actually cause damage (if only because she sees Ned as completely unobtainable), and is up-front about everything she does to Nancy’s face. Putting yourself in her shoes, she’s a bright girl, in love with a boy who is the definition of out-of-reach, is constantly (and negatively) compared to the boy’s girlfriend, and feels stuck in her small town, desperate to move beyond the boredom. In other words, in any other story, she’s the protagonist. It just so happens — as she’s acutely aware — not to be her story. And that’s the kind of character that it’s impossible for me not to love.

And speaking of things impossible to love…

The Un-Favorite:

My biggest problem with ASH, as was mentioned above, is the fact that George is relegated mechanically and interpersonally to the “unimportant” bin. Nancy, Bess, and Ned all have suspects that like and don’t like them, while all George gets is a note that her and Deirdre particularly don’t get along — no extrapolation, no explanation. It makes the decision to include her as a playable character feel a bit like a last-minute decision, like Bess and Ned were planned and George was supposed to be watching Togo until the very end when she makes the jammer or something.

My least favorite puzzle in the game has got to be the stacking of the boxes and crawling towards the exit at the start to escape the fire; it’s a time-sensitive puzzle, which are usually my least favorite, and takes the mechanics of Renate’s bag puzzle and small visual distinctions, which we’ve already noted in the last meta are not particularly my jam either. I wouldn’t replace or get rid of it, it’s just my least favorite. I tend to start my game from a save I have after the puzzle — while I have to refresh on the opening occasionally, it’s better than the frustration from the combined puzzle.

I don’t have a least favorite moment from the game, to be quite honest, so let’s move on to the last section of this meta.

The Fix:

So how would I fix Alibi in Ashes?

The big thing I would change would to be to ensure that each member of Team Danger should have one culprit that likes them and one culprit that hates especially them. Nancy already has Alexei for her plus and Brenda for her minus, and Bess should keep Toni and Alexei, respectively, but both Ned and George need one more. Luckily, with four friends and four suspects, they’ll divide up evenly very easily.

My fix would be to have Ned keep Deirdre as his plus and give him Toni as his minus (local business owners usually don’t like football players for being rowdy and taking up a lot of seats, plus he’s Nancy’s boyfriend and staunchest defender).

George, meanwhile, keeps Deirdre as her minus (though flesh it out a bit more — what exactly went wrong there?) and gains Brenda as her plus. Not only would this make the endgame where she creates the jammer a little more interesting, I’d note that George and Brenda have a bit in common, due to Brenda’s technical and mechanical prowess that we see throughout the game. Throw in something with George having done a technical internship with the River Heights broadcasting network or something during high school, and we’d get a slightly different side of Brenda, even though George still dislikes her privately.

Just fixing this issue would be enough to where nothing in ASH would stand out as a real negative, but for my second, smaller fix, I’d make the friends able to call each other to change off, instead of having to call Nancy, then have her call the other person. That slows the game down and is needlessly clunky, and I’m still not quite sure why they did it.

Once those two things are fixed, there’s nothing in the way of ASH being a truly excellent game. Sure, it’s not as thematic as the few games preceding it, but it’s not supposed to be — it’s supposed to have an entertaining mystery while showing us a little more of who Nancy really is and why she does what she does, and on those (and most other) fronts, ASH is an incredibly solid, enjoyable game that I replay whenever I get the chance.

#nancy drew #clue crew #nancy drew games #alibi in ashes #nancy drew meta #long post #my meta #ASH #video games

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lesbiannova · 4 years

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fandom: ‘jedi blah blah repression blah blah no dealing with mental health after trauma’

swtor:

fandom: ‘jedi aren’t allowed to have families blah blah no connection to them’

swtor:

fandom: ‘jedi aren’t allowed to be in relationships blah blah the council’s rule’

swtor:

#vg: star wars: the old republic #sw lore: jedi #swtor fandom nonsense #meta: swtor #long post #this is a pro jedi blog #reblogging again for dani's commentary

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bigskydreaming · 3 years

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Me constantly side-eyeing the preoccupation with Dick Grayson and money, how he pays for stuff, how much of it is Bruce’s, etc etc, when there’s like, comparatively zero examination of or even question about how and where Jason’s money comes from or Tim’s or Cassandra’s or like a ton of other superheroes, lol. Like, why is it only Dick’s financials that are constantly subject to scrutiny?

Facts that have been in play more than once in canon:

Dick likes to be self-sufficient when and where he can be.

Dick has at times had money from a trust fund from Bruce, and money from a wrongful death civil suit in regards to his parents’ deaths, that Lucius Fox invested on his behalf.

DIck has at times asked Bruce for additional funds, primarily for use for his friends or teams.

Dick has repeatedly and consistently worked dayjobs with a specific eye towards earning his own living wages, even when he doesn’t have to. Its particularly odd how often the subject of how does Dick pay for things comes up, even like just in regards to his apartment, when Dick’s consistently one of the only superheroes without a singular iconic job that’s a part of his narrative (like Clark and reporting, or Hal and being a pilot, or Barry and being a crime scenes/lab tech) who nevertheless consistently seeks out and holds down jobs for the express purposes of....having money to pay for things.

And thing is, none of these things are mutually exclusive, contradictory or hypocritical? Its only the hyper-fixation on one specific element of all this at a time that tends to present the illusion otherwise.

Some other things to keep in mind on the subject of Dick Grayson and money in fics:

1) If your fic takes place during or after or otherwise references Dick running Wayne Enterprises during the year Bruce was lost in time and believed dead by most of the family and cape community, are you taking into account that what Dick was doing there was the exact same kind of work that Bruce normally does? And that thus he would have been making quite a good deal of money? Have you considered that even a single year of this should be more than sufficient to last him for a good long while, given that he lives a comparatively modest lifestyle outside of his superhero endeavors? Are you subjecting Dick and his usages of money from this time to a greater scrutiny than you normally apply to Bruce and how he uses money he makes from Wayne Enterprises? Are you treating Dick as being less entitled to any money made here than Bruce normally is, just because Dick doesn’t have Wayne attached to his name even though at the time and in the continuity where this happened, Dick was 100% Bruce’s legal son and heir?

2) If your fic or headcanons are paying close examination to Dick’s various jobs and whether he’s living according to his means or occasionally dipping into “Bruce’s money” to supplement that, are you paying similar attention to Jason’s sources of income? If Jason’s money is coming from off-the-page criminal enterprises, is this something you’re leaning into because you’re of the stance that there’s nothing morally or ethically wrong with the specifics of what Jason is doing to make money here or have you simply relegated it to being immaterial and not even worth exploring, something there’s no need to even get into? If so, is there a reason you’re more willing to handwave away money gotten from means other than just an average dayjob, than you are money gotten from an actual, verifiable, on the page dayjob that simply doesn’t seem high-level enough to earn a significant income? Is there a reason the latter is presented as more worthy of scrutiny and critical awareness in your fic than the former?

3) If your fic is delving into what is and isn’t Bruce’s money, are you applying the same view of money earned vs money inherited to what Dick makes vs ‘gets from Bruce and/or his first parents’ insurance/wrongful death suit’....as you are to what Jason makes vs gets from Bruce or Tim makes vs gets from Bruce and/or his parents’ inheritance....or even what Bruce makes vs got from his own inheritance? Have you ever made the distinction that the money Bruce used to launch everything Batman in his early twenties wasn’t money that he quote and quote earned at WE which he wasn’t even working at yet, or had barely started at, but was, in a sense more ‘his parents’ money’ rather than his? Is there a reason Dick can’t access any money outside of what he makes at his dayjobs without there being an emphasis on it being “Bruce’s money” and is that same reasoning in effect when say, Tim accesses funds that are specifically from Bruce....is this similarly being singled out as Tim using “Bruce’s money” vs his own, or money from his first parents? (Keep in mind that Jack Drake wasn’t particularly wealthy at the time of his death and Tim didn’t actually inherit a lot of wealth pre-Reboot).

Point being, are you treating Tim or Jason or ANY of the other Batkids as being more implicitly entitled to Bruce’s money without it being singled out as being Bruce’s money, specifically, and if so, is that something to reflect on: why you view Dick and his relationship with Bruce and any funds stemming from him differently? If its simply because Dick does pride himself on being self-sufficient when he can, is this a source of hypocrisy when he can’t be for whatever reason, or say, is it no different from any child who tries to rely only on their own earned funds as an adult, but still can and does go to a parent for help when they need it?

4) Are you aware that the Titans, as a team, actually make money in various ways like merchandising, and that especially in the 80s this was a large focal point of how they funded things like their headquarters and vehicles....and that the Titans also were allotted funds for things like living expenses FROM these revenue streams? And that Dick was one of the handful of Titans specifically noted as being in charge of organizing and maintaining these revenue streams and the money resulting from them, and also was just as entitled to funds from them himself, same as the rest of his teammates who were able to survive on these without holding down dayjobs at times the majority of their focus was on being a Titan?

I say this one as most people AREN’T aware of this, but especially when compared and contrasted with how much less of a thing this is in later generations of super-teams, who handwave the subject of money, it is noteworthy IMO that Dick and his generation of Titans were one of the few times this was made an actual focal topic. With again, Dick showing a lot of initiative in making the Titans as self-sufficient without specific outside backers as possible. (But also, when they did have outside backers this included a variety of people who were NOT just Bruce Wayne).

Point being, though Dick did ask Bruce for help in purchasing things that were Titans related, the Teen Titans were never a case of “Dick relies on his dad to fund his superhero club and clubhouse”....and even if it WERE, consider this: what makes this any different than the fact that Bruce funds a lot of the Justice League himself - and by himself, remember I mean not just money he earned himself working at WE but the millions and even billions that weren’t earned but rather accumulated via inheritance? Is it simply because Bruce isn’t on this team himself, and if so, is this same scrutiny or contextual framing being given to other generations of the team like Tim’s, or other teams Bruce backs without being a personal member, like the iterations of the Outsiders he’s not directly involved with other than as a benefactor?

In conclusion:

If you notice yourself focusing more on Dick’s money and what is or isn’t ‘his’ money than you do any other character, its worth trying to delve into WHY.....because when there are discrepancies in how and where and why one character is singled out or scrutinized on a subject more intensely than others, those are going to show up in other peoples’ awareness whether or not you decide to apply your own awareness to determining why those discrepancies exist in the first place.

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ryqoshay · 3 years

Text

Putting on Hairs: Audition Day

Primary Pairing? Trio?: YuuAyu... Setsu? Words: ~4.2k Rating: G, maybe light T for some implications? AU: Theater, Werewolf, Werebeast, Monster, Cryptid, Angel, Demon, Eldrich Horror

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Author’s Note: I’ve no idea how real theaters work, so anything that may be off with the timeline or proper procedure or whatever, I’ll just have to excuse as author ignorance, or handwave away by this theater being different, in many ways. That said, thank you lonelypond for fielding the questions I’ve sent thus far.

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“Ayumu!” A voice called from a few rows up. “Up here! Up here!”

��Yuu-chan?” Ayumu had to consciously keep her own volume down due to her surprise on seeing her girlfriend. “Shhh!” She added, holding a finger to her lips.

Yuu simply chuckled in response as Ayumu moved up the aisle. Well, it wasn’t like the twin-tailed girl was being any louder than the blonde sitting nearby. Ohara, was it? The theater’s patron, or one of them at least.

“I saved you a seat.” Yuu said with a grin as Ayumu reached her.

“Thank you.” Ayumu replied as she sat.

She was pretty sure they both knew the gesture was unnecessary as there were literally hundreds of empty seats, but it was the thought that counted. Ayumu loved that part of Yuu, always seeking little ways to make her feel special, even simple and unnecessary ones.

As for why the seats were empty, it was because this was merely an audition session. The only people in the theater today were cast and crew. And the cast were all up on stage, ready to make their bids for their potential roles. Well, all but the two leads, Yazawa and Nishikino, as they had been brought in specifically for their star power and were also sitting in the house with most of the crew.

Also, not everyone present was theater staff. There was of course, Ohara, the patron, and her driver, Matsuura. And there were the two from the catering company that had brought lunch earlier, Honoka and Rin, who insisted Ayumu refer to them by their given names when she spoke with them during the meal. She wasn’t quite sure why they were still around as they had finished cleaned up a little while back.

“I didn’t expect to see you here, Yuu-chan.” Ayumu whispered as Dia and Umi prepped the future cast for their auditions. “How did you even get in?”

“I told ‘em I was Ayumu’s girlfriend.” Yuu shrugged. “And they obviously figured out what I am, which probably helped. Although speaking of that…” She glanced around quickly, sticking out her tongue a couple times. “I’m pretty sure everyone here is like us. I don’t remember them advertising that they were only hiring monsters, but… oh sorry, supernatural beings.” She corrected.

Ayumu let her grimace relax. She had never liked the term monster as seemed to carry more negative connotations than other similar terms. And while Yuu was usually careful to avoid using the word, so many of their fellow cryptids used it that Ayumu couldn’t really fault her girlfriend for accidentally using it as well from time to time. Of course, that still didn’t mean she had to like it.

“But I don’t think there’s a single full blood human here.” Yuu continued. “And man, what a mix.” She flicked out her tongue again. “I’m getting a bit of everything. There’s gotta be a werewolf among them. And someone with feathers. At least one undead. I’m getting a bit of sea salt, so there’s probably a mermaid or the like. Sulfur, brimstone, so maybe a demon, or other fire creature I suppose, maybe both. And…” her brow furrowed, and she held her tongue out for longer than usual “that’s odd…”

“What’s odd?” Ayumu pressed.

“I don’t know. There’s something… else… here.” She shook her head. “I’ve never smelled anything like it. Heat. Flame. But not like any I’ve ever known… It’s otherworldly, and yet, not unpleasantly so. Huh…”

“Oh, I think they’re starting.”

“Right.” Yuu turned her attention to the stage where a young woman with long brown hair with some tied in a bright red ribbon was about to begin.

If Ayumu remembered right, the young woman’s name was Osaka Shizuku and had graduated alongside Nishikino Maki from Waseda, a prestigious school known for its arts degrees. For her audition, she had chosen to recite and act out a dramatic monologue in English. Ayumu felt like she had heard the lines before, though not on stage. Perhaps a movie? In any case, Shizuku left little doubt as to her skill and training, leaving Ayumu rightfully impressed.

Next up was… Nakasu Kasumi? Ayumu knew she had seen that face before. The young woman had appeared in a handful of television commercials, usually cute things aimed at a certain female demographic. Ayumu had actually purchased a few items promoted by Kasumi. As such, it came as little surprise that Kasumi’s audition resembled one of those cute commercials.

The next few auditions were a bit of a blur for Ayumu. It didn’t help that she was far less familiar with their names and faces.

But then, she stepped onto the stage. A short, raven haired young woman with an aura Ayumu could only describe as passionate. Out of the corner of her eye, she noticed Yuu sit up straighter as she seemed to sense something about this girl. Like the previous several others, Ayumu wasn’t familiar with this one, but something about her held her attention.

“Yuki Setsuna, was it?” Umi read from her list.

“Yes.” Setsuna confirmed.

“And what do you have for us today?”

“Well, I read the script and really enjoyed one character, so I would like to recite a few of her lines.”

“You’ve already memorized lines from the script?”

“Yes.”

“The script you were just given earlier today?”

“Yes. It was just so~ good. I couldn’t put it down.” Setsuna seemed to be actively holding back her excitement.

“Impressive.”

In a nearby seat, an orange-haired girl bounced a little, seemingly excited by the admission. Perhaps she was the one who had written the script?

“Oh, I may have also added a few lines.” Setsuna admitted. “I believe they fit the character.”

Umi gave a glance toward the orange-haired girl behind her who nodded enthusiastically.

“Very well.” Umi turned back toward the stage. “Carry on.”

Setsuna closed her eyes and took a deep breath before releasing it slowly. When she opened her eyes again, her entire demeanor had changed from restrained excitement to a fiery passion. Even from several rows up, Ayumu felt she could see flames in the young woman’s eyes.

Suddenly, Setsuna struck a dramatic pose. “At last, I have found you, foul beasts!” She practically shouted, pointing to somewhere else on stage.

Ayumu jumped a little in her seat, having not expected the outburst. She heard Yuu giggle quietly beside her.

“It is I, Artemisia Ullrin! Hunter of Horrors by trade and Collector of Cryptids by hobby.” She held her hand to her chest as the belted the lines proudly. “By order of Lady Lycaonian, I am to exterminate the infestation of werebeats suffered by her lands. You are welcome to resist, though I assure you that you shall lose. However!” Setsuna emphasized her lines with exaggerated gestures. “I offer an alternative! Surrender and be added to my collection.”

As melodramatic as the performance was, Ayumu couldn’t deny that it was quite entertaining. She watched in amusement as Setsuna skipped ahead to what she assumed to be a battle scene where she called out attacks like a cheesy hero show for kids. She knew the production was intended to be a little tongue in cheek, but Setsuna seemed intent on not just chewing, but flat out consuming the scenery, happily.

And then, seemingly all too soon, it was over.

“Bravi! Bravi!” Mari cheered, loudly, as she stood up from her seat. “Bravissimi!”

The orange-haired girl joined in standing as well, clapping and laughing. Then Yuu stood, as well several others.

“Thank you, everyone.” Setsuna bowed before standing back up with a beaming smile.

“<Where in the world have you been hiding,> Secchan?” Mari exclaimed in English

“Se-Secchan?” Setsuna blinked.

“Really, you were perfect!” The script writer added. “I love the new lines! I’ll be sure to add them!”

“It would appear you’ve earned a few fans.” Dia spoke next, fairly coolly and calmly, though Ayumu was certain she detected a touch of amusement in her tone. “That will undoubtedly play in your favor when we make our final casting decisions.”

“Thank you.” Setsuna bowed again before moving off stage to allow the next audition to proceed.

“Alright, next we have…”

Whatever else Umi was saying was lost to Ayumu as hands grabbed her shoulders.

“That was amazing!” Yuu did he best to keep her volume down. “That really got my heart racing! Actors are amazing! Theater is amazing! Ooo… I want to meet Setsuna-chan in person now!”

“-chan?!” Ayumu balked.

“I can’t wait to see the production!” Yuu continued as though she hadn’t heard Ayumu. “How long did you say it would take?”

“Well, it’s a musical, so that apparently adds more time.” Ayumu recalled. “I think I remember either Umi or Dia saying they were slotting for twelve weeks before opening night.”

“Twelve weeks?” Yuu visibly deflated a bit. “That’s like three whole months! I don’t think I can wait that long…”

Ayumu chuckled at her girlfriend’s newfound obsession. She’d seen this dozens of times before as Yuu would latch onto and hyper-focus on some new hobby or interest. “Maybe we can find some old clips of plays performed by the other Sonoda or Kurosawa theaters?”

“That’s a great idea, Ayumu!” Yuu’s eyes sparkled like emeralds. “Let’s do that tonight.”

“Alright.” Ayumu nodded in agreement.

Satisfied, Yuu settled back into her seat to watch the ongoing audition.

For her own part, Ayumu found her thoughts drifting. Artemisia? Ullrin? Lady Lycaonian? Mythology was not her strong suit, but it sounded like that wasn’t the case with the script writer either. It was almost as if she had simply Googled something about werewolves and just went with the first result that came up. Also, wasn’t Artemis already a woman? Did her name really need an -ia at the end to make the character female?

Well, the showrunners seemed fine with the ideas and the script writer and at least one of the actors were excited about them. So, who was Ayumu to judge? It wasn’t as if she herself hadn’t been entertained by Setsuna’s performance.

Setsuna… -chan… Ayumu glanced at her girlfriend. She had seen Yuu fawn over fictional woman before, but this was a first time she remembered her doing so over a living, breathing woman. And for some reason, that bothered her. Was she jealous? Ayumu shook her head to clear it of such thoughts. She was probably overthinking things and being insecure. She and Yuu had been happily dating for several years now. She shouldn’t be worrying about losing her at this point… right?

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“Yuu-chan, wait!” Ayumu protested as her girlfriend pulled her through a door clearly marked Employees Only. “We… I mean, you shouldn’t…”

“I just want to meet Setsuna-chan and thank her for the wonderful performance.” Yuu responded, not letting up her pace.

They rounded a corner and…

“Takasaki Yuu-san.” Dia stated solemnly as she stood in the center of the hallway.

“Oh, hi!” Yuu responded cheerfully. “You’re one of the women I met at the front door and decided to let me in. Dia-san, right?”

Dia blinked, obviously not expecting Yuu to skip a level of formality. But Yuu had been like that for the entire time Ayumu had known her. Still, Ayumu winced as she wondered how much trouble they were now in.

“Yes…” Dia confirmed.

“Right. Thank you again for letting me watch the auditions today.” Yuu continued. “They were amazing! My heart was racing pretty much the entire time. Especially with Setsuna-chan’s.”

There she goes again with -chan…

“Yuki-san did indeed give us quite the performance.” Dia agreed. “Anyway, as I was about to say, Takasaki-san, you are not employed here.”

“Nope. Not yet.” Yuu grinned.

“Not yet?” Dia raised an eyebrow.

“This whole experience has been so inspiring that I want to apply to work here.”

Ayumu also raised an eyebrow. That was news to her.

“You wish to become an actor?” Dia inquired.

Yuu shook her head. “No, I don’t really want to be on stage; I’d rather watch from the audience. But I can’t help wanting to support the amazing members of your cast in whatever way I can.”

“I see.”

“I could haul supplies around.” Yuu suggested. “Oh, I’m pretty good with my hands.” She held them out for emphasis. “So maybe I could help assemble sets or props? Ayumu has taught me a thing or two about hair and makeup, so I could definitely help her. Oh, and I worked a while as an editor for my college newspaper, so maybe I could go over the script and help there? And I did some composing for the band and orchestras, and even learned to play a couple instruments, like the piano, so I could help in the pit as well.”

Dia nodded. “I think I am starting to understand. You are essentially a jack of all trades.”

“Master of none.” Yuu confirmed.

“But better than a master of one.” Dia completed.

“Right. I’m no specialist, but I’m pretty good at picking up the basics.”

“Yuu-chan is a fast learner.” Ayumu added.

“I see.” Dia nodded. “Then I would suggest you get a resume in order and send it our way. Uehara-san should have the contact information.”

“Oh, I have that already. I was actually the one who found this place and recommended that Ayumu apply. I probably would have applied as well at that time, but I had a job then.” Yuu shrugged. “But they decided they needed to cut costs, and as I was the most recently hired, I ended up being part of that cost.”

“Well, I admire your enthusiasm and desire to help my cast and crew.” Dia smiled. “I shall look forward to working with you soon. Now, if you will excuse me, there are matters to which I must attend elsewhere.” That said, she stepped past the couple and moved down the hall.

Ayumu released a breath she hadn’t realized she had been holding. So… Dia wasn’t kicking them out after all? She wasn’t in trouble for letting a non-employee into this area?

“C’mon!” Yuu said, grabbing her hand again and shattering her thoughts. “We still gotta find Setsuna-chan. Say, do you know where her dressing room is?”

“I, uhm… know some of the rooms are off to the right.” Ayumu motioned in that direction. “Though I’m not sure if she has one assigned to her yet.”

“Well, let’s go see.”

“Uhm… alright…” Again, Ayumu was pulled down the hall.

The couple turned another corner, moved past the rooms for Yazawa and Nishikino, another without a name plate and… huh…

“She has one.” Yuu said, stopping in front of a room. “They must have just given it to her.” She indicated the paper sign taped over where the a more permanent placard would be placed. “Maybe she already got the part she wanted?”

Ayumu shrugged. She didn’t know enough about the overall process to comment.

“Setsuna-chan!” Yuu called as she knocked. “Are you in there?”

“Yes,” the young actress replied from within “you can come in.”

Yuu opened the door and stepped in.

“Uehara-san?” Setsuna turned away from whatever she was setting up on the vanity. “And… uhm…?”

“Yuu.” The twintailed girl responded. “Takasaki Yuu. I’m Ayumu’s girlfriend and they let me watch the auditions with her.”

“Ah…”

“So, you’re the source.”

“Eh?”

Yuu flicked her tongue. “Of the scent I smelled earlier.”

“Sc-scent?” Pink dusted Setsuna’s cheeks.

“Flame. Fire.” Yuu stepped closer and leaned in toward the young actress. “But not the kind I am used to… Just what are you, Setsuna-chan?”

“Yuu-chan!” Ayumu scolded, moving forward to pull her girlfriend away from Setsuna who was starting to display some defensive body language. “You shouldn’t just ask such things so bluntly.”

“Mm? Why not?” Yuu seemed confused. “I think it’s pretty obvious now that Dia-san and Umi-san intended to create a sort of haven for us here. And if we’re all going to work together, it makes sense to know what we all are.”

“Yeah, but…”

“Anyway, I’m a lamia.” Yuu indicated herself. “I’d show you, but I wore pants today.”

Well, at least she has the decency to not unceremoniously drop trou in front of someone she just met. Ayumu thought to herself. Like she so often does at home…

“But I can do this.”

Eh? Ayumu felt her cheek being pinched.

“There. As you can see, Ayumu is a moon rabbit.”

Eh? Eh?! Ayumu caught her reflection in the mirror near Setsuna. Sure enough, white, fluffy rabbit ears had sprouted on her head.

“Mohhh… Yuu-chan!” Ayumu punched her girlfriend lightly in the arm.

“What?” Yuu giggled at the playful jab. “Ayumu always looks so cute like that. I can’t help wanting to see you like that more.”

“Mmph…” Ayumu puffed her cheeks out to pout, though she couldn’t deny liking the compliment.

“They are indeed quite cute, Uehara-san.” Setsuna agreed with an amused smile.

“Oh, uhm… thank you.” Ayumu replied. “And, Ayumu is fine. Like Yuu-chan said, we’ll be working together a lot, so I don’t mind being a bit less formal.”

Setsuna’s smile grew. “I’d like that. Please feel free to call me Setsuna in return. Oh, and if you don’t mind my asking, by moon rabbit, do you mean…?”

“Well, I wasn’t actually born on the moon, if that’s what you mean.” Ayumu explained. “My ancestors were though.”

Setsuna nodded in understanding.

“But you should try her mochi, though.” Yuu spoke up. “It’s the best. Same with her rice cakes.”

Setsuna seemed to recall something. “I think you’ll find a good friend in Koizumi-san.”

“Oh yeah,” Yuu thought out loud “Ayumu, wasn’t she the one you said they brought a huge container of rice for?”

Ayumu nodded in confirmation. “I was honesty surprised how much she was able to eat, though she wasn’t the only one.”

“I suppose some of us have larger forms to feed.” Yuu shrugged. “Anyway, I gotta know the source of that fiery smell.” She turned her attention back to Setsuna. “You know what we are now, so what kind are you? Why is your fire so different than that of an ifrit, salamander, phoenix, dragon or whatever?”

“Oh, uhm…” Setsuna fidgeted a bit. “I’m a Cthughan.”

Yuu furrowed her brow in thought for a moment before something came to her and she looked up excitedly. “You mean you’re the Elder God, Cthugha?”

Setsuna shook her head. “Great Old One, actually. And I’m only a descendant of him. Cthugha is my great great great… I actually don’t know how many greats, grandfather.”

Oh, kind of like me being a descendant of rabbits who actually lived on the moon way back when. Ayumu thought.

“That’s. So. Cool!” Yuu practically squealed. “No wonder I couldn’t identify it, I’ve never met an Elder God before.”

“Great Old One.” Setsuna corrected again.

“Right, sorry. Anyway, that wasn’t actually the reason I wanted to meet you today.”

“Oh?”

“Yeah, I actually wanted to tell you how amazing you were in your audition and that I really hope you get the part.”

“Thank you. And they did actually already give me the role.” Setsuna said. “That’s why I’ve been setting up my stuff here.”

“I was right.” Yuu tossed over to Ayumu. “Congratulations, Setsuna-chan!” She offered the actress.

“Thank you again.” Setsuna smiled. “I really like the part.”

“It looked like it was a lot of fun to play.”

“I know right?” Ayumu detected some of the excitement Setsuna displayed before her audition.

“I haven’t read the script yet, but…

“It’s so~ good!” Setsuna seemed less able, or perhaps less willing to suppress her excitement. “I was able to talk with Chika-san, who wrote the script, and she was able to tell me a ton of things about what she had planned for possible modifications, depending on who got what parts and, oh my gosh, it all sounds amazing, and I think they already know who to cast for the main villain and while I didn’t expect that choice, Chika-san’s explanation was awesome as she revealed her plans to me and what she has planned for Yazawa-san and Nishikino-san’s characters, oh it sounds like so much fun and…” Setsuna suddenly recoiled and stepped back. “I’m sorry, I didn’t mean to go off like that…”

Yuu laughed. “It’s fine, it’s fine.” She dismissed. “Your excitement makes me want to see if I can track down this Chika-san and get a copy for myself.”

“You can have one of mine!” Setsuna pounced at offering.

“One of…?” Yuu asked, picking up on the word choice.

“Oh, uhm… I may have made a couple copies for myself to write ideas on after Chika-san said she would like to see what I think.” Setsuna admitted as she shuffled through a stack of papers. She started to hold out a set before pulling them back. “Wait, you don’t work here though.”

“Not yet.” Yuu admitted. “But your audition, and many of the others, inspired me to apply here so I could support the amazing actors here however I could.”

“Ah.” Setsuna nodded, holding out the papers, only to pull them back yet again. “You’re not a spy from that other theater down the street, are you?”

Yuu chuckled. “If that was the case, I’d just get my info from Ayumu.”

“Right, that makes sense.” Finally the actress gave the script to Yuu.

“I already offered to Dia-san that I could help with editing.” Yuu skimmed it excitedly. “I wonder if Chika-san would mind if I slipped in a few ideas of my own.”

“She seems pretty willing to accept ideas from others around the theater.” Setsuna said. “Both Osaka-san and Nakasu-san have offered some of their thoughts already.”

Yuu opened her mouth, but whatever she was about to say next was interrupted by her stomach growling. She giggled. “I guess it is getting a little late.”

“Let’s head home then.” Ayumu spoke up. “I’ll make dinner for us. It was nice meeting you, Setsuna-san.”

“I don’t think I can make it all the way home.” Yuu said. “Why don’t we stop at that sandwich shop along the way.”

“Alright.” Ayumu agreed.

“Wanna come with us, Setsuna-chan?”

“Eh? Me?” Setsuna seemed caught off guard by the invite.

“Yeah, that way we can talk about the script and stuff.”

“Oh, uhm, thank you, but I wouldn’t want to impose. Besides there’s still a couple things I want to do here before I head out.”

“Alright. Maybe some other time then.” With that, Yuu took Ayumu’s hand and headed for the door. “See you later, Setsuna-chan!” She called as she exited.

At first Ayumu felt relief that Setsuna had declined, but as she and Yuu walked down the hall, a sense of disappointment set it. She actually did want to talk about the upcoming play. Perhaps next time…

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“Ne, Yuu-chan.” Ayumu said as the couple walked home.

“Mm?”

“Would you… uhm… Would you support me if I decided to become an actress?” The way you say you want to support Setsuna-san and the others?

“Of course!” Yuu gave her a toothy grin. “I think Ayumu would be an amazing actor.”

“Really?”

Yuu chuckled. “Well yeah, the Ayumu I know and love may be shy sometimes and hesitant to try new things. But when she decides to do something, she’s the hardest worker I know. She always gives it her best. That’s one of my favorite aspects of Ayumu.”

Ayumu blushed at Yuu’s affirmations.

“So, what prompted this all of a sudden?” Yuu looked at Ayumu with sudden curiosity. “Did the auditions inspire you as well?”

“A little…” Ayumu admitted. Did she need to include her desire for Yuu to look at her the way she looked at Setsuna?

Yuu smiled. “Well, maybe tonight we should look into finding some acting classes for you to take.”

“Classes?”

“Well, I don’t know anything about acting, so I’d be no help to you there.” Yuu explained. “Though I’d be happy to help you rehearse lines or whatever. And you’ll want some knowledge before you start auditioning for roles, right? Surely there has to be some evening or night course you can take somewhere.”

“Alright.”

Yuu’s expression became whimsical. “Mm… I can imagine it now. Uehara Ayumu stars in… something something big show, the marquee proudly proclaims with flashing lights. Ayumu on stage bowing before a standing ovation. Flowers are tossed on stage by devoted fans.”

“Y-Yuu-chan…” Ayumu murmured a quiet protest.

“What? I can’t imagine my amazing girlfriend being adored by all?”

“Well… I don’t really need to be the star, do I?”

Yuu shrugged. “Even if you only want supporting roles, I’ll still happily come watch your performances.”

Ayumu smiled. She loved this side of Yuu, her unwavering and unconditional support, always willing to adapt to anything Ayumu wanted to do. It was a constant source of confidence from which she drew to take on those new things, when she did.

Maybe she was overthinking the thing with Setsuna. Yuu was just being Yuu, getting excited over a new obsession, and Setsuna’s performance just happened to be the gateway into that obsession. As for Setsuna herself, she seemed equally excited about acting as Yuu, if not more so. And as her audition proved, she had talent. Perhaps Ayumu could learn a thing or two from her through observation, or just talking with her.

“Alright.” She set her mind on her decision. “Let’s look into classes when we get home.”

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Author’s Note Continued in Followup Post

#YuuAyuSetsu #Takasaki Yuu #Yuki Setsuna #Uehara Ayumu #Putting on Hairs #fanfic #Love Live Nijigasaki #AU August

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