@leafy-m Yeah you got it. Admittedly EoG has issues, but a huge part of the review divide is from upset Dara stans. (it probably doesn't help that the author never expected there to be Dara fans in the first place, so when she made his ending better than it should have been to help appease them, it wasn't enough because they expected him to be the top dog/first love interest wins & all that. Which completely fails to understand what the series is about, but what else is new).
Thanks for the reply bc I was itching to speak with someone who read the books as they came out. I really want to know what went down bc from my brief research the author was subject to abuse bc of Dara stans, and publishers neglected printing merch of Ali??? Honestly, it's as if those folks were reading a completely different series because HOW? how can they treat the second largest main pov character of the series like this? No kidding Shannon was confused and I'M CONFUSED bc she laid the red flags on thick right from the beginning. Like Shannon wrote books based on Islamic mythology so she could be free to write and headline a character like Ali for Muslim readers, not bc she wanted she wanted to pump out yet another genocidal xenophobic edge lord for ppl to thirst over. Unfortunately, large parts of her audience are shallow and honestly lack reading comprehension skills.
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Man, I’m thinking of that one post everyone was circlejerking over about how kids should only be given ~classics~ to read, how all modern kids’ books are mindless trash (based on…what, exactly?), how modern books are rotting kids’ brains, and like…as a teacher, I have to say that the worst way to convince a kid to enjoy and practice reading is to shove a book he has no interest in into his hands. He’ll very quickly see reading as a chore and not be inclined to read the book, no matter how many times you go, “Awww, but this book is really good! I LOVED this when I was your age!”
If he reads the first chapter of Winnie-the-Pooh and starts crying about how boring it is, he’s not going to want to finish it. If you try to force him, he may push through, but if he still doesn’t like it, it’ll end up being a chore that doesn’t really build a drive to continue reading, then you fall into the classic “I hate reading!!!” that a lot of kids and teens wind up spouting. If his only exposure to reading is a book that he finds boring, then of course he’ll see reading as boring! What else is he supposed to think?!
What you do instead is research modern books, look at their content and reading levels and compare them to where your kid is currently at, and give your kid a choice of what to read. If he’s being stubborn and is stuck in that “I hate ALL reading!!!” mindset, then you think of what hobbies, shows, or games he likes and find books that match up with those to start with. You have to meet him in the middle on this and find him something he’ll be excited about reading. When you hit the jackpot and find something he really likes, that could encourage him to start looking for similar books to read and, eventually, start branching out into complex and broad books more in line with what you want him to read at his age.
I don’t know, that post was just swimming with self-centered thinking. The OP was basically going, “Well I was a super genius kid who loved classics! Every kid is exactly the same as me! They will love the classics if you actually have them read the classics!” That’s…not true, lol. It turns out kids, like adults, have different tastes. Some adults love reading Victor Hugo or Leo Tolstoy, others are bored to tears and wouldn’t touch these authors’ books with a ten foot pole. Some adults like biographical nonfiction, others like romantic fantasy. It just seems weird and stodgy and outdated to me to force the idea that every single kid should like the exact same kind of book, or else that kid’s brain is melting into garbage.
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Might be a hot take but a major character’s death is really only as good as the weight and the treatment that the narrative gives it. Sure, any author has the ability to write death as they see fit. But whether the consumer (of any given form of media) is actually able to emotionally connect and resonate with the departure of someone who has occupied a good chunk of narrative space very heavily depends on how it’s treated within the story. If it’s a major character, the narrative needs enough built-in breathing space. As in, the consumer doesn’t have to fill in the blanks as to how the death impacted the plot or the remaining characters. Let the narrative do that for them, and that would actually allow the consumer to better react and relate to that major death (sadness, anger, joy, etc). Allow the rest of the characters (who were impacted by the deceased) to react to their parting. Let them engage with the death in a manner that helps justify the character’s inclusion in the narrative to begin with. Make it clear how the character’s life and (especially) their death relate to the larger themes of the story. Because most consumers aren’t stupid. We don’t want our hands held at every waking moment, but we also don’t want our investment in a story to be insulted just for the sake of a cheap shock. Give us time to breathe and grieve. And respect that we have put in a lot of emotional investment in a story and its characters, and we deserve to have that acknowledged.
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Veyadi, upset: how can you trust me??? How???
Sunai: lol yeah so I’m a master of bad decisions I guess
AI in the back of Sunai’s brain: dude
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