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reiderwriter · 1 day

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I have a hotch request and if you don’t write it I completely understand☺️

So you’re dating hotch for a couple months and you’ve only went over to his house like 5-6 times(so that’s how many times you’ve hung out with jack) anyway, you go to use the washroom or something before you leave to go home and jack asks his dad if you’re his gf and if you’ll be having a sleepover with them (as you’ve never actually stayed there before) and his heart becomes all warm n fluffy

A/N: Hi! I don't usually write for Hotch, but I decided to give it a crack because this fits pretty well for @imagining-in-the-margins KidFic challenge! It was a fun challenge to write, so thanks for the prompt! I changed it up slightly, but I hope you still enjoy it!

Warnings: mentions of anxiety, step-family dynamics, etc.

10 months of casual dinners, midnight strolls, and stolen kisses, and you still weren't ready to accept that you were in love with your boss.

Aaron Hotchner was a complicated man, and loving him wasn't as simple as your heart wanted it to be. You worked together but rejected any favouritism he may have shown you. You slept together, but you never stayed in his bed. You kissed him, but you never told him you loved him, even though you were sure you did.

You just weren't sure you were ready to be a stepmother.

As a child of divorce, you'd been graced with two step-parents growing up, and while neither were story book evil, they weren't exactly the most welcoming either. You'd bounced between your mother and father's houses, trailing duffle bags, afraid to take up too much space for fear of ruining your parents’ newfound and direly earned happiness.

Jack had the misfortune of being both a child of divorce and having lost his mother entirely too young and entirely too suddenly.

When you'd joined the BAU, off the back of Haley Hotchner’s death, Aaron had been a man in mourning, a man scarred by circumstance and regret. But he'd been brave, and he'd been loving, and he'd worked so hard to give his son a good life.

Five years later, and it seemed obvious now that you had at least respected the man from the very beginning, if not pined for him quite openly.

There was that final hurdle left to cross, though, and you weren't sure if you'd ever be ready to do so.

A phone call startled you out of your worries as you sat on your couch, dissociating after a long and hard won case. The shrill ring startled you into action as you frantically searched for wherever it was this time that you left your phone.

“Hello, yes, I'm here, hi,” you said, finally finding the phone abandoned under some couch pillows.

“Y/N, it's Aaron.”

“I know, Aaron. Caller ID, welcome to the 21st century,” You couldn't help smiling into the receiver, so smitten with the man your face was just doing whatever it liked.

“Right. Look, I wouldn't usually overstep like this, but Jessica and I have to go upto Roy's retirement house, he's not dealing too well with the new environments, and all of Jack's regular babysitters are enjoying the spring weather. I'd ask his friends' moms for an impromptu playmate but-”

“But you'd rather he be with someone you trust? Aaron, it's fine, I'll come over and watch Jack for a few hours.”

He sighed into the receiver, and after a few more niceties, you ended the call, still grinning like an idiot.

You were still grinning like an idiot when your earlier anxiety came back and hit you straight in the chest. You'd met Jack before, but you'd not so subtly avoided any kid based conversations and meet-ups for the last 10 months.

You had no idea how to entertain a nine year old boy, but you decided quickly that you couldn't half ass it.

The drive to Hotch's house was almost embarrassingly familiar to you now, having been there so often in the past few months. Jack enjoyed regular sleepovers with his aunt and schoolmates so you could enjoy regular sleepovers with his father, a fact that you had to remind yourself to keep private as you knocked on the door.

“It's open,” Aaron called from inside, and you hesitantly opened the door and stepped in, bag of last-minute toy purchases stuffed under your arm.

From the door, you could see Aaron in the kitchen, hands deep in soapy water as he washed lunch dishes and pots, sticking his head out to smile at you.

“Aaron Hotchner, domestic goddess. Who’d have thought?”

“I'd ask you to keep this to yourself at work.”

“Of course,” you said, stepping a fraction closer to him. “Anything to keep the mystery alive.”

He leaned in for a quick kiss, and you reciprocated, letting it linger a second as you smiled into his touch.

Drying his hands on a towel near him, Aaron called across the apartment for Jack.

“What's up, Dad?” He asked, peeking out of his bedroom door.

“This is Y/N. She works with me and Uncle Rossi. She's going to take care of you for a while while me and Aunt Jessica and I visit your Grandpa. Come say hi.”

Creeping out of his room slowly, Jack came to stand just in front of his father's legs as Aaron put his hands on his shoulders, proudly showing off his mini doppelganger.

“Hi, I'm Jack.”

“Nice to meet you Jack, my name is Y/N.” You stuck out your hand, and he shook it. You noticed how small his hands were, but how strong his grip was. He was confident, but he was still just a small kid, and you were even more motivated not to mess this up.

“What's in your bag?” He asked, flicking his eyes down to it every few seconds, as if he was itching to stick his nose right into it.

“Jack, manners, please.”

“It's okay, Hotch. I brought some toys. Your dad mentioned that Santa's gave you a Nintendo at Christmas, and I thought I'd show you a few of my favourite games.”

His face lit up as he quickly stepped closer to you, hands on the bag as he waited for you to offer it up, now openly ogling the bags contents, knowing it was for him.

“You didn't have to bring anything, Y/N.”

“I wanted to make a good first impression.”

After being dragged to the nearest sofa and sitting through a five minute walk through of all the house rules, urgency exits and remote locations, you were left alone with Jack Hotchner, remotes in hand ready to play Mario Kart.

“Okay, now all that's left to do is choose the course you want to race on. Which one do you want to play on?”

Jack had chosen to use Bowser as his character and chosen Toadette for you quite cutely, and you'd quickly finished cart selection, too.

“We should go through them in order, so we complete them all,” he said after a moment of deliberation.

You giggled at how seriously he was taking it. And then the first race in the Mushroom Cup started, and you were seriously impressed by how quickly he'd picked up this game. Either kids were just better at video games in general, or you had a prodigy on your hands.

His serious face was a carbon copy of Hotch when he was hunched over paperwork, and he gave you the same quietly disapproving frown every time your character momentarily overtook his. It was adorable seeing the two reflected in one another.

By the shell cup, you were nearly exhausted, despite having spent the entire time glued to the couch.

“What do you think about taking a snack break?” You asked, looking over Aaron Jack, who had turned himself upside down on the couch somewhere in the last three matches and was still beating you.

“Okay. I'll show you where Dad hides the good snacks,” he said, quickly rolling off the couch as if his bones were liquid.

You, on the other hand, cracked as you stood, the irony not lost on you as you hobbled your way to the kitchen.

Opening the cupboard under the sink, Jack routed around for a few seconds before returning with a small box of Reeses Pieces, which you gradually accepted alongside a glass of apple juice.

“You're a good kid, Jack,” you said, ruffling his hair as he playfully swatted your hand away.

“Yeah, that's what my dad always says.”

“Your dad is a very smart man.”

He nodded and then went back to quietly eating his candy, somewhat lost in thought.

You weren't sure if you were supposed to ask him what he was thinking about, or avoid the topic and dive straight back into video games, so you just ate your candy, too, standing together in the kitchen, Mario Kart music playing in the background.

“Do you like my dad?” He suddenly asked, swallowing down one more bite of apple juice. You'd forgotten that kids were the bluntness people on the planet, not yet having learned the necessity of delicately creeping closer to the actual topic of discussions like adults.

Jack had landed a sucker punch right to your guy, and you were suddenly choking on Reese's Pieces.

“Umm,” you said, catching your breath again and hoping your embarrassment wasn't plain as day on your face. “Yes, I respect your father a lot, Jack.”

“But do you like him?” He said again, eyes wide and expectant as he looked up at you.

“My dad can be a little scary sometimes. I heard some of my friends' moms saying so at Mitchell C's birthday party last week. They said he's scary, but he's so sad and lonely.”

Your heart sank in your chest as you watched Jack worry about his dad, worry if Aaron Hotchner was lonely or sad.

“Jack, your dad isn't lonely or sad. He has you, and Aunt Jessica, and-”

“And you, right? Because you like my dad?”

“R-Right. He has me, too.”

“Great. Let's keep playing. The Banana Cup is next.”

As suddenly as it had started, your serious talk with Jack was over and he bounced his way back to the sofa, clicking go on the next race, as you ran to quickly take your place again, too.

Five hours later, and you were being shaken softly awake, controller still in your hands as you blinked your eyes open. Somehow, it had gotten dark, and both you and Jack had simultaneously fallen asleep on the couch.

Now Hotch hovered over you, carrying the sleeping boy in his arms as he woke you up. He mouthed ‘coffee?’ and you nodded quickly, sitting up further and grabbing the nearest remote to turn off the Nintendo.

With Jack situated in bed quickly, you made your way to the kitchen. Aaron joined you after making sure Jack was still asleep, walking up behind you and wrapping two arms around your middle, leaning his head against your shoulder and exhaling. Despite the shiver down your spine, you leaned further into him, enjoying the feeling of him in your sleepy state.

“How was it?” He asked, a hint of uncertainty in his voice. You were almost sure that he was conducting this conversation from behind as a means of convincing himself not to read into your every movement and expression.

“It was great. He's a great kid, you know?”

“So I've been told.”

“He's worried about you, too. He said the moms at his school think you're scary and lonely. Which in suburban house mom translates to romantic hero, though I don't think he realizes that.”

You felt the grumble of a laugh behind you, the sound low and comforting as you let your eyes flutter closed again, content in his arms.

“Jack…misses his mom. Rebecca is great, but he likes talking to the moms at school. Maybe a little too much, I don't know.”

“You miss her, too.” It was a statement, not a fact.

“I do,” he said sadly, holding you tighter. “Is that a problem?”

“No. No, god no. Aaron, I-” your voice broke, and you hesitated slightly, clearing your voice. You squirmed in his grip until he released you enough to face him.

Doing so may have been a mistake, though, as you locked eyes with him and so desperately wanted to kiss him, to claim his mouth with yours, and let him lift you onto his kitchen counters.

You squeezed your nails into the palm of your hands to ground yourself and took a steadying breath.

Which was when Jack decided to make a reappearance.

“Dad?” He said groggily, wiping the sleep from his eyes as you had only moments earlier.

You quickly broke apart as Aaron smiled disappointedly, almost as if he were expecting the interruption.

“Hey, bud. Did you sleep well?”

Jack nodded, tilting his head a little as though still disorientated.

“Did I fall asleep on the couch?”

“Sure did. Both of you, actually.”

Jack looked at you then and smiled sweetly up at his dad.

“So Miss Y/N is staying tonight?” He asked, suddenly a little excited and expectant.

“Well, Miss Y/N has her own house, so we can't just expect her to-”

“Yeah, I'm staying,” you blurted out, cutting off Hotch mid-sentence. He raised an eyebrow at you, but you ignored him and smiled down at Jack.

“And if you head back to bed now, I'll make some pancakes for you in the morning,” you whispered conspiratorially with the boy, who raced back to his room.

Before shutting the door fully, he stopped by his dad and tugged him down to whisper level, saying something before yelling goodnight and taking himself back off to his room.

“What? What was that?” You pouted, pointing an accusatory finger at Aaron.

“You first,” he laughed back, leaning on the nearby counter.

“I promised him pancakes in the morning. What did he say?”

“Oh, nothing,” he said, pulling you closer to him again. “He just said you had an interesting conversation earlier.”

“Was it the one where he asked me if Mario speaks English, Italian or Japanese, because I couldn't answer that question for sure.”

“He said,” he leaned down to your ear to whisper the next words. “That you told him you like me. And he thinks you meant like-like.”

You flushed hot and avoided eye contact. A childish part of you wanted to deny it, to scoff and run away, like you were on the playground and not in a dimly lit kitchen at midnight. But you couldn't.

“I do. But I'd probably say love and not like-like, seeing as though I'm not nine.”

“I love you, too,” he whispered, noses touching as he descended to capture your lips once more.

#aaron hotchner x reader #aaron hotchner #aaron hotchner x you #aaron hotchner x female reader #aaron hotchner fanfiction #aaron hotchner fluff #criminal minds #criminal minds fanfiction #criminal minds fandom

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sizzleissues · 1 day

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Its May.

Okay so this is in the same AU I had last year its just changed and evolved while also being the exact same. Except now I have 15,000 words of it written, like 7,000 words of planning and lore and hours upon hours of research that I will be pointedly ignoring. Will be posting more stuff this month about the AU and my hopes and dreams for it

Also slight art improvement check? I’ll put their original mermaid designs below the cut.

It’s Marinette as a mermaid and … its not Adrien or Chat Noir but a third worse thing (Catwalker but in the purest manifestation of it being a curse and not who he wants to be) I will be making designs for mer!Ladybug, and mer!Adrien as its own thing later on.

Okay if you want to indulge me look below the cut

Old mermaid designs first. I am going to be talking about my design thoughts, thoughts and ramblings about this AU and what I’ve been up to. You have been warned

As you can see, some things have changed but neither design I hated, I just wanted to go further with it.

My brain is quite specific about mermaids and how I want them to generally look. I wanted to distinguish biological merfolk from transformed humans by having them being anatomically different. So Adrien has a vertical tail instead which is also way faster underwater. His transformation is quite distressing for him and very chaotic. Of course when he accepts it he’s not so raggedy.

Marinette similarly avoids her life as a mermaid by becoming human and I wanted her mermaid design to hint toward her fascination with humans. She wears a top she fashioned from human fabric she found in a sunken merchant vessel. In general all other merfolk either forgo clothes or wear things fashioned from materials available to them. There’s deep fear of humans and human things so even though human clothes are available to them (off dead bodies but…. Whatever) they choose to difference themselves as much as possible. The same taboos don’t exist for them and their bodies are already adapted from the temperature of their environment. Adrien has stray bits of netting and seaweed on him because he’s not exactly the best at controlling his speed and often crash’s through fishing nets and patches of seaweed resulting in stuff being caught on him.

A lot of their designs are still being worked but I’ve definitely pushed them the right direction!

On to the AU. You might have seem me cryptically talk about something I’m writing the past few weeks. This is because it’s been in my brain since last May and been on and off writing it since then. I decided I’d talk about it once May came back around but and then when I finished writing it, start posting sneak peaks and more spoilery art until it was fully edited and I felt confident in it to post with an aim for it to finish posting once May rolled around again. Oh god.

It’s set in the late 1700s in a fictional version of France that’s actually fragmented over a bunch of islands. I have done more fashion research than I ever thought I’d do and in the end we will still be taking creative license but know I do know what they actually wore! I ALSO did a butt tonne of research about sailing ships and turns out they are super complicated and now I know too much and yet too little still about them. It should be super fun and action packed if I can manage. Have some really good scenes already in my head I know you’ll love. We’re already three ships battle deep and I’ve only written four chapters. (It chills out for a bit after that)

This is entirely self-indulgent by the way. I’m writing this for me, you guys are just a bonus. I literally don’t care as long as it satiates my rabid need for the fic that only lives in my brain at the moment. Saying that, I do want to put my best foot forward.

The next thing I will be posting for this is their human forms and more blabblerings about that. For I am insane and all.

#miraculous ladybug #sizzle sketches #miraculous #miraculous fanart #ml fanart #marinette dupain cheng #adrien agreste #mermay #mermaid au #Ml art

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ramlightly · 16 hours

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steeples fingers. PLEASE tell me about the carnivorous ecology of the gluttony circle I LOVE ecological worldbuilding

Alright alright so

Have you perhaps read/watched Life of Pi? The one with the kid stuck on a life boat with a tiger? At one point they stumble an island that turns out to turn carnivorous at night, where Pi finds a human tooth embedded in a flower. This is the inspiration for the Wilderness, the circle of Gluttony

So, this is more metaphor than actually scientific. Please don't expect science in hell or from me lol.

The Wilderness is a giant jungle, all based around a mountain where it's creator, Alvus the Hive, resides at his banquet hall within the earth. This is a land designed to consume.

It's a corrupted landscape, one that works in perfect harmony within itself but it utterly hostile to an other life forms that enter it. Nearly plant, is carnivorous or dangerous in some way, sometimes not even obvious. Sure you have the giant pitcher plants with it sweet smell and slippery insides, that's obvious enough. But sometimes that fruit you at will wait a day or two before erupting into a sapling in your stomach, using your body as nutrients as it grows into a new tree.

There are animals and creature that survive through very specific relationships with the environment or being very hardy. There are no settlement or civilizations, anyone who actually lives in the Wilderness stay in the mountain and serves Alvus.

Alvus makes and sends demons out to be prey for his wastelands. Though his hunters chase after these demons to bring back as meals for , they are just as likely to be swallowed by a pitcher plant or dissolves in an acid lake where their bones lays in it's depths. For the introduction of new meat - new personalities and emotions and souls - causes the environment to grow and change and mutate. The jungle gets more dense and the the ecology gets more interconnected. It's kind of evoking evolution in a land out of time. Alvus very much considers the Wilderness an extension of himself, almost literally as his locust-like bugs help pollinate the plants.

By the way, Alvus is considered a freak by even the other Archfiends lol. Like why did you make cannibal island, why??

#ask #worldbuilding #lore #i need an actual tag for this kind of stuff #alvus

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phantom-of-the-501st · 1 day

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Thoughts on the Batch's Ending

Ooookay. This is going to be a long one. (Little note from Steph who just finished writing this: it’s nearly 3000 words…)

Tagging @saturn-sends-hugs @inkstainedhandswithrings and @eriexplosion because I value their thoughts (but I'm also not demanding that you read 3000 words of waffle)

I’ve had a lot of thoughts about the finale of The Bad Batch and honestly, my mind is a bit of a mess right now. One of the things I just want to try and tackle is how I feel about the ending of each Batch member individually, because while I can look at it and say “The Batch got a happy ending!”, I feel like that doesn’t really give me much of an idea of whether or not each character got an ending that I feel is fitting for their story arc.

So, this post is basically just going to be me unpicking the ending for each of the Batchers and working out how I feel about it (aka me trying to unscramble the mass load of thoughts going on in my head right now).

Omega

Overall, I’m very happy with where Omega ended up. When you look back on how she was when we first met her, you realise just how much she has grown over the last few seasons. She didn’t just learn to be a part of the squad, she also learned how to look after herself. It isn’t just a development of her skillset, it’s also a growth in maturity, which allows her to have a clearer head and more rational decisions in the field. While Omega trusted her brothers to come and rescue her, she didn’t just sit around and wait for them, she hatched her own plan to not only get her and the other children out, but also help the Batch when they arrive at Tantiss.

Like Echo, she strongly believes in helping people and I love that that has carried through into her ending. While it would have been nice for her to live a quiet life, free of any more troubles, it makes complete sense for her to want to join the Rebellion. And I think it was at a good time as well. Omega got to spend the rest of her childhood being raised in a more peaceful, safe environment, before making the decision a few years down the line to go her own way. This is her leaving the nest and I think it was tackled incredibly well. You can see how she has taken on attributes from all of her brothers, and judging by her style choice, Phee as well. We see Omega using the support of her brothers to carve her own path and I love that.

Personally, I can’t really see a more fitting development in her story than this. And I’m reluctant to actually call it an ending because for her, this feels more like the beginning of a new chapter. I honestly wouldn’t be surprised if we saw her again later down the road.

Hunter

Now those who follow me may be aware that Hunter was never my favourite member of the Batch. I didn’t dislike him, but I never really connected with him in the same way that I connected with all of the other characters. Saying that, it doesn’t mean I haven’t given a lot of thought to him and his character.

Hunter always had a lot on his shoulders. He was the leader of the Batch and that meant keeping a rag-tag group of defective clones in line, but it also left him with the belief that if anything were to happen to his squad, it would be his responsibility. So, with Crosshair and Omega stuck with the Empire, and Tech dead, Hunter had a lot to carry. At the beginning of Season 3 we saw that he had become more reckless and irrational, not really thinking about plans and wanting to jump straight into things. It was Wrecker who had to step in and make sure Hunter didn’t do anything stupid. Hunter felt like he lost control and that took a lot out of him, especially since this is something I think he could feel creeping up on him throughout Season 2, even if he tried to fight it. The Batch had started to make decisions without him, and Omega was forming close attachments to other people, which was digging a knife into Hunter’s fear of losing his squad. So S3 saw him trying everything he could to reunite the Batch, because he couldn’t bear to lose anyone else.

And he achieved that. But what I also deeply appreciate is that we see Hunter accepting that Omega wants to go her own way. This was something he didn’t want happening for a long time, but once he accepted that she was capable of looking after herself, and once he accepted that he could never keep her tied in place forever, he supported Omega in her decision to join the Rebellion. Yes, he will always worry about her. He even tells her that she will always be their kid. But he knows that it’s time for her to carve her own path, and that means for him, finally letting go and accepting that Clone Force 99 will never be what it once was.

Wrecker

Wrecker is an interesting one for me because he’s one of the few characters where I can’t really see a big step for his character in the final episode. For many of the others there is some form of acceptance, or big step in their lives, but for Wrecker I don’t really see that. And unfortunately, I think that comes from Wrecker never really being the focus of any strong character development throughout the history of the show. That’s not to say there wasn’t any growth at all, but when we look at how far everyone else has come in their stories, Wrecker always feels like he never got the same treatment in this show. The biggest growth I saw was when he stepped in to help Hunter when he could see the sergeant was spiralling.

So, while I’m happy he lived and has gone on to enjoy a longer, more peaceful life than we ever expected for the Batch, it makes me sad that we never really saw anything big for Wrecker in this ending. No big acceptance, no huge sacrifice. We don’t even get to see him say goodbye to Omega when she leaves. I love that Wrecker got a happy ending, but I always wish that we had gotten the opportunity to see more of a character arc with him over the course of the entire show.

Crosshair

I accepted a while ago that if any of the Batch members were to survive, Crosshair would be one of them because I didn’t expect the writers to kill him off after everything that he had been through. And thankfully they didn’t! I love that after everything, Crosshair has managed to find peace. Maybe not completely, but enough that he has the chance to live a life that doesn’t involve him being a soldier.

Throughout S2 and S3 we saw Crosshair come to terms with the fact that he was disposable to the Empire and that they didn’t care about him as much as he had made himself believe. And one of the things Crosshair fought with the most was his own identity as a soldier. For so long, he believed that that was all he was, all he could be, so that’s why it has been so amazing finally seeing Crosshair acknowledge that he doesn’t need to be a soldier to still live a life he deserves; his purpose is and always has been more than that.

Saying that, I want to address the hand thing because I am still unsure of where I sit with it. Following his escape from Tantiss, we see Crosshair has developed hand tremors as a result of his PTSD, and a decent chunk of the season has been dedicated to him learning how to live with them. The biggest reason for this affecting Crosshair so much was that it impacted his ability to be a sniper, which is what Crosshair believed to be his main purpose: he didn’t know what to do without the ability to use his hand. And we were given some incredibly sweet scenes between him and Omega as she helped him work out the best way to manage the tremors, for example, them meditating together.

But then that brings me onto my main issue, which is, why remove the hand? One of the reasons I keep seeing is that it removes Crosshair’s ability to be a sniper, but we had already seen that. That’s the issue that the tremors were causing. Crosshair had already been struggling with that ability as a result of what happened to him on Tantiss, so cutting his hand off as a way of preventing his sniping ability seems a bit unnecessary. Now admittedly, the soldier who cut his hand off didn’t know that he had hand tremors, so logistically it makes sense, but as a story tool it seems a bit bizarre to me. Personally, I think it would’ve been more interesting to pursue the idea of Crosshair learning to manage his tremors through meditation etc. and adapting to a life that has less of a focus on sniping.

Another reason I have seen for the hand is that it symbolises Crosshair finally becoming free from the Empire and what they did to him on Tantiss. Him no longer having the tremors indicates that he is no longer burdened by the Empire and his time there. But that doesn’t really work for me either. For one, Crosshair will never truly be separated from what happened to him there; even if he lost the shaking, he would still have a number of psychological issues as a result of what he went though, so I can’t see it as a way of symbolising a true separation. Which is once again why I think that following the story beat of him managing the tremors would have been a more interesting path for them to go down with his character.

Saying that, I’m still happy with where Crosshair’s story went. He is arguably the most complex character in the Batch and I’m so glad we have been able to see him develop the way he has. Him living a long, quiet life is something that I’m happy he has gotten, and I truly don’t think that him dying would have brought nearly as satisfying a conclusion as Crosshair finally finding a new place in the world.

Tech

Oh boy… this is going to be an interesting chunk of this essay. So errm… it turns out Tech is actually dead, which is… kinda shit.

Back when we saw him fall at the end of S2, I said that one of the reasons that I didn’t believe that Tech was really dead was because if he was, I would’ve found the writing kinda cheap. I said repeatedly throughout that season that I didn’t want all of his character development to simply be an emotional manipulation tactic to make us even more sad when he died… which is what it turned out to be. It doesn’t surprise me that Tech sacrificed himself, but it makes me mad that ultimately his death never really had any real impact on anything. I mean, they hardly even addressed it in the final season!

I get that animated Star Wars is known for rarely addressing characters after their deaths, but The Clone Wars focuses on so many characters that if we gave that much attention to every character that died, then we would never progress the plot. However, unlike TCW, The Bad Batch primarily focuses on a smaller group of clones and therefore not only has the space to explore the impacts that death would have on the squad, but really should find it a necessary part of the storytelling. The lack of attention given to Tech throughout this season has been beyond frustrating to me. He deserved better.

And I can’t write a section about Tech’s ending without addressing the CX-2 situation. Were we all delusional for believing that Tech was alive? No. Now before people come at me for saying that, I want to explain why that is the conclusion I have come to. You would have every right to label us delusional if there was absolutely no proof behind the claims that we made, but when the writers give us a character that both speaks and acts like Tech, what did they expect us to think? There were too many parallels between Tech and CX-2 for it to be coincidental and I still stand by the fact that we had reason to believe that they were the same person.

Now, looking at the other CX soldiers we see in the finale, they all seem to parallel the OG members of the Batch: there’s a larger one who primarily focuses on hand-to-hand combat, someone who favours blades, a sniper, and a more tech-savvy one. And I’m sure there is a reason for that, symbolically or practically, but if the fact that they all resemble the Batch is important, then why was so much focus put primarily on CX-2? There was no way we weren’t going to think that they would reveal him to be Tech.

Overall, I’m annoyed. Tech was such a brilliant character and I am so frustrated that not only did he get a death that I felt was kind of cheap, but he didn’t get nearly the respect he should have been given in the final season. Now, I’m not using this as a way to bash the writers, and I definitely don’t think that anyone should use it as an excuse to be bullies, but unfortunately, I can’t be satisfied with the way Tech’s story ended, and I’m not sure I ever will.

Echo

Last but certainly not least, Echo. To say that Echo means a lot to me is an understatement, and I was genuinely terrified that I might have to say goodbye to one of my comfort characters. But thankfully, our boy made it!

Following Season 1, we all wanted for Echo to get some more development. It never felt like he had truly been used to his full potential. And thankfully, Season 2 began to give us that. Yes, we ended up saying goodbye to Echo for half a season, but we saw some incredible growth in his character, and him choosing to join the rebellion made too much sense not to happen. Unfortunately, this also meant that we didn’t get to see Echo for the majority of the final season, but I am beyond grateful that what they gave us in these last few episodes has been some of the best Echo content that we have ever seen. Watching him grow and find where he belongs has been a pleasure to watch, He really is an ARC trooper through and through. Particularly in these last few episodes, seeing how much he has grown to be like Fives, and watching him carry on his brother’s legacy, has been so incredible, No matter what anyone says, I believe that he truly is one of the greatest, and most important characters that we’ve ever gotten out of animated Star Wars.

However, I do have one gripe with Echo’s ending, and it’s the fact that it doesn’t actually feel like a conclusion. If anything, I have more questions about Echo now than I did before the last episode. Echo going to the Rebellion is an absolute given; he still has stuff to help Rex with. But the fact that there is absolutely no mention of him in the epilogue has just made me wonder where he is. Omega mentions Crosshair and Wrecker, and we only see Hunter, so we know that Echo isn’t with them. But we also know that at that point in the story, Echo also isn’t with Rex (assuming we’re in Rebels era). So where is he? What is he doing? Is he actually dead at that point??? I really hope we see more of Echo in the future because if this really is the last time we see his character, it’s too open ended for me to really be satisfied with it.

But if I’m being honest, I really don’t think that this is the last time that we are going to see him. And especially with Omega joining the Rebellion, I wouldn’t be surprised if we saw another clone-centric show following these characters in the future.

Concluding Thoughts

All in all, my thoughts are still a bit jumbled. I still don’t know how I truly feel about everything, but hopefully this post at least gives some insight into how I think each character’s endings were handled. Will I change my mind at some point? Probably. But for now, this is where I stand.

At its core, I think the ending we got makes sense for a lot of the characters, and I’m glad that they didn’t all just die at the end. Sure, there are choices that I’m not happy with, but seeing that some of the Batch go on to live long lives is something that I’m very happy to see. It doesn’t happen enough in animated SW, so I’m glad we got to experience it.

#Star Wars #the bad batch #the bad batch season 3 #the bad batch spoilers #tbb spoilers #tbb omega #tbb hunter #tbb wrecker #tbb crosshair #tbb tech #tbb echo

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sirfrogsworth · 2 days

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Peter McKinnon did a video with a photographer named Garrett King. And he just went on a very long rant about lazy photographers who use Photoshop and "fixing it in post."

He continues... "You can't do that in film. You can't just make a bad decision and say "Oh, I'll fix it in post." (Not true. There was plenty of editing in dark rooms in the past. And now you can scan a film photo and literally manipulate it like a digital photo.) Fix it in post drives me nuts. That statement is so played out. It drives me nuts that people say that. Cuz dude, I don't work that way."

He also says that choosing film is the "hard path" and keeps talking about how lazy photographers who photoshop are.

I love film photography. I have an old Minolta that my mom gave me that I hope to restore and use someday.

But film photographers drive *me* nuts sometimes.

IT'S NOT A COMPETITION!

BOTH THINGS ARE COOL!

This idea that their way of making art is more valid or authentic than my way of making art is just a continuation of an old school mentality that really needs to die. There are still some photographers who will bully people because they use autofocus or aperture priority mode.

I actually think learning to be really good at Photoshop is much more challenging than learning to be good at photography. Sure, there are fields like photographic microscopy and product photography that require years to master, but I've been learning Photoshop for 20 years and I feel like I have barely scratched the surface of what is possible.

I have seen people with near 0 experience take an amazing picture.

I have seen people who barely know how their camera works take consistently good photos. It's the "using only power chords" version of photography.

But I have never seen someone with 0 experience photoshop something artistically impressive.

When people say "that looks Photoshopped" as if that is an insult, it really breaks my heart. Photoshop was a huge reason for my success. My ability to lay in bed and make funny things was essential to building my blog.

My post on Karl Taylor's Clinque photoshoot had so many comments saying his work "looked photoshopped" and it was a little frustrating.

Firstly because he actually sculpts with light and isn't actually very good at Photoshop. When he takes a picture, it pretty much looks like that from the start. The rest is just minor compositing work and blemish removal.

And secondly, because that kind of product photography predates Photoshop. Karl was doing this when Photoshop was just a baby.

In fact, still life photography was inspired by Dutch paintings of fruit and shit.

They were all, "I cannot stand sitting with another yappy model for days on end. I'm sick of people. I'm just going to paint *stuff* but with really amazing lighting."

But it is also frustrating because there is this mentality that digital tools are lesser. As if digital artists just press a few buttons and cheat-code their way into good images.

It's the same mentality people have about CGI. CG artists are the modern day sculpturists. They do the same thing as Michaelangelo or Rodin, just with different tools and in a different medium. Oh, but they also animate their sculptures in thousands of frames in multiple dynamic lighting environments all while maintaining photorealism.

To me, Thanos is just as artistically impressive as the statue of David or The Thinker.

Blair Bunting is a very talented photographer who mixes incredible photographic technique and lighting with his amazing photo manipulation skills.

And while these photos may not be as "authentic" as that film photographer's picture of a dude sitting on a truck...

I can assure you no laziness was involved in Blair's process.

Also, I really didn't want to bring up disability. But it is really difficult for me to do the physical process of photography. Sometimes I do not have the energy to get the perfect "in camera" exposure. Sometimes I won't even check my settings and I will snap a picture knowing that I can make it cool with editing. I just look at the histogram, make sure the data I need is there, and do the rest on my computer.

During my adventure to photograph a bridge in Alton, I was only able to take 6 photos. Usually I will take hundreds in a session. My fatigue got the better of me and I nearly had to go to the hospital after walking up a hill. (I was having a bad day. I'm better now.) I didn't get the photos I wanted to get. And on the way down that hill, as I was out of breath, I pulled out my phone and tried to snap a pic of something cool I saw in front of me. The phone had been set 2 stops underexposed from a previous shot and so the picture was pretty much all in shadow. And because I was walking super slow, I had just missed the sun over the horizon.

But it's a RAW file. And I knew I could probably do something with it. I could "fix it in post." Not because I was being lazy. Mostly because I was trying not to hyperventilate. Apparently, my body can't handle slight inclines any longer.

And this is what I came up with.

I'm not saying this is an amazing photo. And it would have been really cool if I hadn't missed the sun. But this is what my eyes saw as I came down the hill and I was able to recreate that with digital tools.

I think that is pretty cool.

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bucksboobs · 18 hours

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it's not about 'wanting the lowdown on taylor' but interesting that you say that like it's ridiculous. you make up all this shit about how poor widdle tommy was actually a victim when he was sitting round laughing at racist, misogynistic and lesbophobic comments because he was retconned as gay but could taylor's behaviour be to do with the fact that she's a woman in a male dominated field who feels like she has to be ruthless to keep up w/ the boys? nah she's just an evil cunt lmao

Well like. Both Tommy and Taylor having bad behaviors being informed by their work environments can be true, I’m not sure where you get this idea that I hate Taylor to be honest? I just didn’t like the decision to put her and Buck together. Their dynamic was so much more interesting when they were friends during season 4. I thought it would be much more interesting to have them continue to be friends and have Taylor’s less than stellar journalistic ethics be an ongoing point of contention between them than just a reason for them to break up.

If anything I’m actually kind of disappointed that Tommy got to grow out of his bad behavior but Taylor won’t get that chance because she was reduced to a love interest and disposed of when that was over.

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tommock · 22 hours

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I DNF'd Mistorn: Here's Why

Disclaimer: You asked for this. Let me start there. Don't get mad at me, Mistborn lover. If you clicked on this link, and that means you are taking the dagger into your own hand. The wound is self-inflicted!

I did not finish Mistborn by Brandon Sanderson. I know, I know, its actually called The Final Empire. The name Mistborn has stuck with so many readers for a reason, so I'll continue to use it as a shorthand. The book didn't work for me, but I think WHY it didn't work for me might be interesting to read about, especially for fellow authors.

If you have read and enjoyed the Mistborn books, or any work by Brandon Sanderson, I'm delighted. I want to applaud any work of fiction that brings people joy (so long as it or its author is not reprehensible in some way (he said, covering his ass)). I don't want you to think this is me taking shots at you or at Sanderson. I'm just talking about a work of fiction and what it did to my brain.

Believe me when I tell you I have no delusions about being some high-handed minister of good taste. You should see some of the anime I watch to destress at the end of a long day trying to be a self-published author, editor, and, well, just an ordinary semi-functioning human being.

I've read many, many books and loved them, only to come back to them later and find they were … less deserving of my matured tastes. Sometimes books meet us at the right time. If Mistborn was, or is, one such book for you, I would be a jerk and a fool if I tried to tell you that you were wrong for liking it. That isn't what this is. But, if you're at all curious why I didn't like it the way you did, here are my thoughts.

Instead of trying to construct some long elaborate essay, I've decided to present my reading notes as I was writing them. If you're at all familiar with my SPFBO9 opening reads thread, this is in a similar, though much protracted style. This is my travelogue of the first few chapters. If these notes are rough or feel stilted in places, I'm sorry. I DNF'd the book a few months ago, and I found in trying to clean up my notes that I was making up commentary to fill in gaps and I don't think that's fair. I've tried to provide some context where I could.

Pages referenced are from the first mass market edition, published August 2007 by Tor

My Notes:

Starts well enough. Interesting introduction to the fantastic elements of the environment (the ash fall) and the enslavement of the skaa. Some neat 2nd world titles “obligator,” etc.

Not great, not riveting, but competent introduction of world and one protagonist, Kelsier. He doesn't know what to do with Vin, though. Disconnect between the characters as we're told they are and their actions. Lacking coherent motivation.

(P.5)The slave that stands and stares defiantly sending a chill through the lord so-and-so is a bit melodramatic. Both actions struck me as over the top.

(writing note)…too many “of courses”

The writing is competent and descriptive. The Mist at night is another interesting setting detail.

(p.6) I immediately dislike Kelsier. “I’ll have to cure them of that (fear of the mist) some day.” This is has an unsympathetic arrogance about it. If this is also the man who stared defiantly at lord-so-and-so, hes blasé about endangering these people, and seems to look down on them, much like lord-so-and-so. I suspect this impression is not intentional. I suspect I’m supposed to think him strong and clever. We’ll see.

(7) rolling his eyes at these people. This seems intentional. But it’s also annoying.

(10) beatings beatings beatings. These “peasants” and their daily beatings. Did I mention the beatings? Their lives are harsh! There are beatings!

(‘) what is this talk about Tepper “leading” the skaa? Leading them how? They’re slaves! What decisions are they making? No, really. What is this forced little conflict? It’s pointless.

(‘) “How do you do that?” “What?” “Smile all the time” - there’s no reason for him to ask this. It’s unmotivated dialogue. How do you smile all the time? How? No. Why, sure. “You keep smiling. Is something about our home funny to you?”

(19-20, ch.1) I’m having trouble with Sandersons storytelling. This is coming across as heavy handed and simplistic. Here’s Vin. She was betrayed. There are betrayals. This boy who came to get her who’s nice enough will also betray her. But the ash is free…

I wonder if we’re going to slowly work through the alphabet section by section. Ash, then beatings and betrayal… who knows what could be next? Crime? I bet it’s crime.

Also - Reen’s sayings and betrayal. I think in general I find it a bit affected when we meet a character and they’re immediately thinking of their backstory … but that’s probably not fair of me. I think what comes across as affected is Sandersons execution. There’s a very light fiction - YA quality about Vin’s angsty introduction. I might have loved it if I read it at 14, but not now.

I’d like to think of an example of what would be more appealing to me - the introduction of a character with similar enough circumstances… Actually, Gideon the 9th might be a good example. We get to hear Gideon’s voice in the prose and the dialogue and get a strong sense of her character as well as the specific and very interesting world building details of how she got into the 9th house. Here, Reen’s betrayal is left completely unexplored, and so I wonder why bring it up at all except for that cheap YA punch in the gut of “my brother betrayed me and now I’m here.”

Maybe Sanderson felt some necessity to move faster here. He wanted to get to the city theiving … but it isn’t working for me, so obviously I think it was a mistake. Obviously he was hoping this would create a sense of anticipation that we would eventually find out HOW Vin’s brother betrayed her, but because he leads with it and then doesn’t explain it, it makes it seem like it doesn’t really matter HOW Vin was betrayed, what’s important is that she was betrayed and now she doesn’t trust anyone. It’s just a bit weak.

THE HEAVY HANDEDNESS (People being mean to Vin - her hard life) (21) the slap in the face (23) Theron looking Vin up and down - “eyes lingered on her … running down the length of her body. … She was hardly enticing (didn’t even look 16); some men preferred such women, however.” (24) “what do you know?” “Enough” - Vin hurts her, expositional dialogue about her brother’s debt and selling her to a whorehouse.

(25) fearing Vin would disappear in a scene she doesn’t have much to do during, we get these unnecessary interjections of her watching the interaction, followed by the explanation of Camon thinking Vin is his good luck charm. This should have been presented earlier, because it just interrupts the dialogue here. But also, it feels inaccurate after Vin made such a useful critique of Camon’s servants. She seems much more useful in other ways than a luck charm, and comfortable offering her criticism without the slightest hesitation.

This chapter ends rather abruptly and without much Go to it. Vin uses her Luck and gets our stuffy official to consider her boss’s mundane business proposal.

The notion that Camon brings Vin along because he thinks of her as his luck charm feels really thin, especially on a job like this where everyone has to look the part. Which raises an important question: what was Vin doing there? I mean literally. Why didn’t Camon have SOMETHING for her to do. Camon didn’t dress her up in any part, she didn’t have any kind of cover story as his daughter or nurse or anything. Just some kid in the room dressed … who knows how while important official business is discussed. She just floats somewhere, doing nothing, as far as anyone is concerned.

VIN’S MOTIVATION Where is it? What does she get out of making this work for Camon if he has no idea what she’s doing? Why is she avoiding him if this is such an important job? Why is she helping him at all?

The pieces are there, but Sanderson doesn’t put them together.

Camon should know about Vin’s ability to “smooth things over” in some capacity. This would give him a serious reason for her being there on this crucial job. Vin should be motivated to help him because if this lucrative job works out, it will go a long way towards paying off her brother’s debt. Now suddenly there is a sense of urgency for her instead of just having a bad time owned by a “crew leader” getting slapped around. The scam itself isn’t enough. Frankly, it’s kind of boring at this point. It’s a slow moving beurocratic swindle.

(32) Kelsier. Sanderson is doing a good job introducing some thieves’ cant here as Dockson and Kelsier are planning their job, talking about how they need a “Smoker.” Someone is a good Tineye. The loss of a man to the Steel Ministry underscores the mortal risk these men are taking. But … there’s something about all this crime play that feels a bit cute, like Sanderson had only a passing, generic understanding of (fictional) gangs/criminal organizations. He’s spent his world building energy on the fantasy aspects of the story - the dystopian Tolkien Lord Ruler and Steel Ministry, skaa, ashfalls, mist - but not on developing the criminal world of the characters, linguistically speaking. They’re all crews working on a job headed by a crew leader. This is the world we’re living in, most immediately, and yet it feels the most underdeveloped.

“Kelsier shook his head. ‘No. He’s a good Smoker, but he’s not a good enough man.’ Dockson smiled. ‘Not a good enough man to be on a THIEVING CREW … Kell, I have missed working with you.”

This stopped me dead. I laughed at the book and put my hand over my eyes. “Thieving crew” is just silly. It’s sixth grade D&D language, but even more ridiculous is the sentiment of Dockson’s statement: that character is somehow a moot point because they are criminals. It’s as if he’s saying: we’re breaking the law, so we’re the bad guys, and bad guys don’t work with “good men.”

Here we see Sanderson’s shallow understanding of the characters he’s portraying. They are stealing from slavers who exist in the service of a brutal, oppressive dictator. But put that aside, and consider we’ve just been told one of their ilk had been caught and beheaded by the Ministry. The risk these people are facing couldn’t be higher. Working with people they can trust, a stand up guy or a “good man,” would be one of the most important things to them. From their point of view a “good man” doesn’t mean a patron saint of the poor, but it means a hell of a lot. If a guy is a drunk who cheats on his wife, you can’t trust him not to turn on you. If he gambles too much, you can’t trust him not to gamble on your safety. He doesn’t keep his apartment clean, how can you trust him to be conscientious about keeping you alive. It all matters - even more so because he’s on a “thieving crew.”

Now, Sanderson probably didn’t give this line more than a moment's thought. He was writing fast and sailed right over it. But that’s exactly the problem. It gives the book a kind of childish, YA feeling.

(33) “Kelsier turned with curious eyes.” I’ve written lines like this, but I almost always revise them because I write about eyes too much. The point is his eyes aren’t curious, Kelsier is, and it shows on his face. I can’t picture curious eyes, and I’m sure you can’t either. And I would cut the next line of dialogue - going to chastise my brother … we already know he was going to do this because he said so, and the line just isn’t very good anyway. A look of curiosity from Kell, and the promise from Dockson “it’ll be worth your time,” gets us out of the section better. Sometimes the best repartee between characters is a look.

(33-34) the scenes with Vin remain heavy handed, and affected. This section adds almost nothing to the story accept for the disappointingly narrow view of a fantasy underworld that the women in it are only ever whores. This from a world crawling with Smokers and Tineyes? I think not. The clumsy presentation of Vin’s awful life is what makes these sections particularly affected. With her particular ability to use her Luck, I can’t help but wonder why she’s even still here. That seems to be the story to me. Not the abuse, but why she remains when she clearly has the power to get out. She can smooth over deals with reps from the SM, but she hasn’t thought to calm some member of the crew and then just … walk? Go literally anywhere in the city and use her Luck to get work where she won’t be whipped and slapped. It seems like the easiest thing in the world, so why hasn’t she done it? This is what the story here could have been, and it would have been so much more interesting.

Obviously she has to be there so Sanderson can have terrible things happen to her so she can be saved by Kelsier just like he saved the other raped scaa girl (let’s all take a moment to roll our eyes) and then her character can have a trajectory from passive victim to active hero - but that’s an excuse, and excuses don’t make good stories.

That said, as is, these two pages could be cut entirely and with very minor revision to the next session, nothing would be lost. It introduces a hideout we don’t need to know about, abuse that is redundant, over the top and unmotivated, and then Camon says “it’s time.” It’s just a prelude, in which nothing happens, before the actual scene. So just cut to the actual scene.

(36) we finally find out what the Camon job was supposed to be, I suspect because Sanderson finally decided what the details were. It would have been much more interesting to know this earlier, just like it would have been more interesting to understand about the particulars of Vin’s brothers betrayal earlier, so we could understand the context of the story being told.

But a LARGER ISSUE continues to emerge. First Camon tells Vin nothing about his plans. She says she is apparently the only crew member who didn’t know what was going on. Then, as they sit in the waiting room, in the vey belly of the obligator beast, he tells her everything. Why? Because Sanderson wants us to know even though he never decided who this character was.

He wants her to be a passive victim of inordinate abuses by a group of irredeemable villains, who only avoids constant sexual assault through the exhausting use of her secret magic so she can be saved and then learn how to be powerful later. But he also wants her to be a smart, capable member of Camon’s crew who is considered as such, because he knows passive protagonists aren’t interesting and because he wants us, the reader, to know what’s going on, and also think that Vin is cool. She can’t be both at the same time. She either needs to be less of an abject, pathetic victim, or she needs to be less involved in this big important scam - and that means she knows less about it and does less to make it work. As is, he’s done too little with either idea of her character and both Vin and Camon are an unmotivated mess.

(42) steel inquisitor. Cool, creepy, disgusting - something straight out of hellraiser.

(43) “Besides, I’m not about to let a possible Mistborn slip away from us” Ah!

Ch3 (45) after the meeting with the obligator (that was a trap), is the first time Vin ever expresses any interest in getting away. Much too late Sanderson gives us a much too thin reason why Vin hasn’t run away (considering the conflicting versions of her character as mentioned before). It’s little more than an afterthought.

(47) in no more than 2 pages Vin goes from never thinking she could make it on her own to leaving for good, telling herself she’d survived sleeping in alleyways before, she could do it again and - “Reen had taught her how to scavenge and beg. Both were difficult in the Final Empire … but she would find a way, if she had too.”

So far, this is all based on a bad feeling. More motivation conflict - Vin has no problem telling Camon directly how his plans won’t work and that he should change the way the servants are dressed, helps him succeed with her luck in both plans, but sees no reason to tell him “I have a bad feeling about this. That was too easy. Why did that obligator suddenly agree. Doesn’t this seem weird to you?”

Sanderson has many of the right pieces, but he hasn’t been able to put them together coherently.

(45)(And, just as an aside, I’m not sure why a girl who has spent to book so far reiterating to herself that EVERYONE WILL BETRAY ME is going out of her way to tell Ulef she has a bad feeling and to get him to come with her. Sanderson says “if he would go with her, then at least she wouldn’t be alone.” But he has also up until this point defined her character by a near constant desire to be alone - when she is introduced sitting in the window of the hideout thinking her brothers word “Vin wasn’t on duty; the watch-hole was simply one of the few places where she could find solitude. And Vin liked solitude. ‘When you’re alone, no one can betray you’- (37) at the “It’s just another betrayal, she thought sickly. Why does it still bother me so? Everyone betrays everyone else. That’s the way life is … She wanted to find a corner - someplace cramped and secluded - and hide. Alone.”

(47) "Bringing Ulef was a good idea. He had contacts in Luthadel." These after the fact explanations are no good. This isn't Vin thinking this, it's the author coming up with more justification for Vin's action, but in order for her character to seem active and motivated, this needed to be revised into the section where Vin decides to bring Ulef. Now it's just tacked on - oh, yeah, and, by the way, if you weren't sure it made sense for Vin to do this, Ulef probably knows people. So, there.

It doesn’t wash. Who is this girl? Can she not stand the idea of being alone, or is it the one and only thing she wants? Is she strong and resourceful in spite of her circumstances, or is she a passive victim? Does she believe everyone will betray her, or does she desperately want to believe otherwise because she can’t live in such an unkind world? Sanderson doesn’t seem to have been able to make up his mind. Maybe some of these details were added in revision on the suggestion of beta readers and the result is a checkerboard character. I’ve seen that before where you make a suggestion to a writer and they add your suggestion but they don’t make the necessary changes to the rest of the book so that the new material earns its place, they just throw it in and dust off their hands - job well done, gotta stay on schedule to publish! But now I’m just writing fan fiction about Sanderson’s process. I don’t know.

(55) Vin’s “weakness” - the contradictions/inexactitude of characters seems to be an ongoing issue for Sanderson, at least for Vin. Is she weak and has to pretend to be strong, or is she strong and often chooses to pretend to be weak (so far she has seemed to be weak and act weak, other than her Luck).

Well, that's as far as I got. Kel shows up just in time to be the wrath of justice for Vin. He's the superman who will make everything alright for this feckless girl. Our hero. Did Sanderson lay it on thick enough? Did you get that these people were all so irredeemably and stupidly bad? Aren't you so glad this strong man has shown up to be Vin's vengeance, just like had been telegraphed all along?

Sorry, I don't mean to be sarcastic. This part of the narrative really isn't so bad, its just been so heavy handedly and clumsily lead up to that there's no thrill in it for me. It isn't a bit satisfying. I'm just glad I don't have to read about any of these shallow side-characters anymore. Except, I have no intention to read on, so I don't have to read about any of them anymore.

Is this book bad? Yes and no. I don't want to read any more, and only read as far as I did as an examination of storytelling, so for me its bad. You only get so many eyerolls before I have to say that. The sentences are very clear and coherent. On their own, they are coherent. Together, they fail to paint of picture of coherent characters who drive the action of the story. If you don't have that, at least in my book, you've got nothing.

The images work. The setting, in its broad strokes, is eveocative. I'd love to set a DnD campaign in a world of ash and a dark lord and all that (I'm not the least mad about the cliché of the dark lord, by the way. Who doesn't love archetypical stories?) But, as near as I can tell, there are no human beings in this book. No one is real. The characters are just that, only characters in a book. They are paper cutouts. They fall flat when the hand of the author isn't pushing them around and making them do things.

Fans often hold Sanderson up as the gold standard of a fantasy author who produces work fast. And having read this far into Mistborn, I can say this about it: It reads like it was written fast.

Yes, Mistborn was an earlier book of his, so I can't judge him by it alone. But it is a work that is so often held up as a favorite by his readers. That's why I picked it up, to see what all the fuss was about. There were many things I enjoyed, but what I enjoyed wasn't the narrative. The story and the characters who moved it were the thing that I enjoyed least. The unique magic and broad setting details and description of places and creepy Inquisitors were what I liked best. The proper nouns were fun.

But proper nouns don't make a story for me. So I did not finish Mistborn by Brandon Sanderson.

If I were looking for a light fantasy read that I didn't have to take seriously and I could pick up and put down whenever I wanted because it was never that exciting or particularly witty or clever, but managed to string along one event after another and kept them going, more or less, whether it made much sense or not, until the end, I think Mistborn would be a fine book to dip into. Lots of people have read it. But then, that seems to me to be its major appeal. It’s a book you can talk about with other people.

It's not enough for me, though. There's lots of fun fantasy books out there that feel more coherent, and, well, INTERESTED in the story they're telling. Interested in violence and revolution and crime in an oppressively totalitarian, dystopian world. Interested in the plight of a young girl who only wants … well, what does she want? To be safe? But the only way she finds she can be safe is to go toward danger and realize how very strong she is? Maybe this story would like to be that, but it hasn't been for the first 60 or so pages.

Sanderson's novel felt more interested in the large and vague story shapes around the characters - a city, a dark lord, slavery, soot snow, bad mist, some kinds of magic, and (I cringe to say it) rape and thieving and beatings - but not in the world of their lives.

I've heard good things about The Way Of Kings from people who did not like Mistborn either, but its safe to say at this point that I have reservations about my reading tastes being a good match for Sanderson's work, at least at this point in time.

If I'm looking for fun I'd rather read another swanky, noir fantasy by Douglas Lumsden any day, or the next gothic gaslamp fantasy mystery by Morgan Stang, or discover my next favorite author, indie or otherwise.

I don't think Mistborn was terrible by any stretch of the imagination. Sanderson has delighted readers for over a decade now! He's prolific, hard working, and he delivers what his fans want, and he and they continue to be richly rewarded for his efforts. He is a Name in the genre, often listed alongside the greats. And why not? Isn't pleasing readers what this is all about? Taylor Swift has oceans of adoring fans, and she's no less deserving of her accolades. Brandon Sanderson is the Taylor Swift of fantasy, you could say. I just don't like her music either.

#books and reading #brandon sanderson #Mistborn #book review #book critique #dnf #fantasy books

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