#this works equally well with the roles reversed but I thought this was funniest

[royaljellyprince]

narinder in my game keeps picking fights with followers and getting the shit beat out of him

#this works equally well with the roles reversed but I thought this was funniest #thank you treasure planet meme my beloved #cotl #cult of the lamb #cotl lamb #cotl narinder #narilamb #cotl fanart #my art

[sweetbyte]

Guilty 

BakuMomo - Rated M 

Chapter One | AO3  

Loathe he was to admit it, UA taught him a great deal of things. He wasn’t generous enough to credit that to the instructors, no they all pretty much fucking sucked...as well as the other students and his classmates, hell everyone fucking sucked. However, it was definitely a learning experience. Constantly on the brink of mortal peril and all.

Firstly, he learned that he genuinely, truly, hated just about everyone. Secondly, he learned that he was shockingly lacking emotionally. This was an issue because apparently being a hero required one to show some degree of empathy and support to the general public as if saving their petty lives wasn’t enough. Thirdly, he learned how to tone himself down, so to speak. Mistakes were made, specifically, he made mistakes; he wasn’t perfect. Which ultimately taught him not to judge a book by its cover. Yeah, the spineless annoying Deku was not all weak and worthless as Bakugou claimed. Yeah, he probably owed a lot of his own personal growth to boy. Did that mean he would admit that out loud and apologize to the kid, not a chance in hell. Bakugou still had his damned pride and even though that in itself was another flaw, it was a rather slow work in progress.

When he finally graduated he was brutally honest about not giving a rats ass about any of his classmates’ futures. They were about as one dimensional as the line he struck through the class survey box indicating he would rather not keep in touch with anyone from UA or receive any type of reunion correspondence, thanks. He’d worked with some and caught glimpses of others and although couple were quite persistent to keep his camaraderie, cough Kirishima cough ,it was safe to say that they weren’t in his orbit and that was fine by him.

Fast forward to present day and he finds all that he’s supposedly learned is being challenged by a single unsuspecting walking threat.

Momo Yaoyorozu.

He never had a strong opinion of her, if he was quite frank. She wasn’t completely useless in UA but she wasn’t remarkable either, which he found to be a pity given her quirk. She was the obnoxious type of self-sacrificing sweet that made his teeth rot and left a disgusting aftertaste in his mouth that needed two rinses with listerine, or perhaps alcohol. Whichever was closest on hand.

She’s active when they graduate, that much he knows, but they never cross paths. She apparently specializes in hostage negotiations and emergency relief response and he strictly fights and beats the shit out of anything he’s given permission to. So outside of each other’s orbit and yet they still end up in a frame together of individuals who have been named employee of the year in their respective branch.

Is he surprised? Not really.

She, however, is and its clearly reflected on her face that he resists and urge to sneer at her for old time sakes but, again, he’s learned so he settles for a cold stoic expression. She quickly schools herself as well and offers a small smile but its meaningless to him. They just have to take a photo and he can continue on with his stale Champaign and equally stale career.

Except she’s grown tenacious and is unrelenting in forcing her unsought presence on him, sticking to him like that goopy monstrous wretch he fought so, so many years ago. She’s clearly learned a thing or two working with negotiations and showers him with pricey quality alcohol, an upgrade from the complementary stale bullshit that was being served. He remembers her prestigious background, i.e. fat wallet, and isn’t above admitting that he definitely stayed for the drinks. He figured that it was the least she could do after attracting an absurdly amount of unwanted attention. She’s a hot commodity and even his glower isn’t enough to keep her admirers away. Just to be clear, he wasn’t keeping them away from her, but away from himself. He has enough to deal with just her.

After he’s had his fill in liquor, the startling revelation that Yaoyorozu has indeed become a master strategist is the last clear thing he remembers before his mind and consciousness muffles and thus its also the first thought he has when he wakes up on a strange but very comfortable, velvet maybe, sofa with a groan.

“There’s a glass of water next to you, when you’re ready.” He’d roll his eyes if they weren’t closed.

“Do you usually resort to intoxicating some unsuspecting idiot to use as an excuse to excuse yourself from celebratory functions or am I just special?” His eyes open in time to see her flush guilty, reclined on the arm of the sofa opposite to where his head was resting.

“It’s not as if you truly wanted to be there as well.” She mutters glancing away, determined not to stare at him, her victim. He scoffs.

“Don’t act like you did this for me.”

“I’m not acting, but you cannot solely blame me. It’s not like you chose to keep my company because of my bubbling personality.” She sniffs with destain almost daintily and he jerks up with a sneer.

“I didn’t choose to keep your fucking company, you wouldn’t leave me alone!”

“If you wanted me gone, you definitely could have managed it.” She retorts and raises an eyebrow tauntingly. “It’s not like you’re shy, or are you?” Undiscouraged by his threatening glare she continues. “The fact of the matter is that you choose to stay around me because of the liquor. I did not make you do anything, it was a mere incentive.”

“Of course, to endure your sparkling personality.” He bites scathingly and it makes her face scrunch up like she’s swallowed something bitter. “Right.”

There’s an uncomfortable silence that is only broken by her tired sigh.

“I’m not sure how you are at handling alcohol and I don’t want to assume, but there’s ibuprofen and water right next to you on the coffee table. You’re also welcome to anything in the kitchen.”  She stands and stretches, still dressed up from the party,  and he definitely does not notice the sleekness of her neck as she rolls it or the lift of her assets the dress accentuates. The fucking audacity.

“What, no change of clothes?”

She freezes and blinks. “Oh. That can be arranged if needed.” Her flush has faded and its almost as if she’s already forgotten about him. As if she is counting on him to just be out of her hair as quickly as he can.

“You’re just going to give me free reign of your house out of guilt?”

“I don’t think I’m guilty of-“ He stands with a sudden swiftness that stuns her quiet and he’s walking through her house with sure steps as she sputters after him. “What are you doing?”

“I decided that you can sleep on the couch and I’ll take the bed.”  He declares checking the doors for the bedroom.

“Excuse me?!”

“Think of it as your penance. You know, if our roles would have been reversed, this would have been a very controversial situation.” He states matter-of-factly leaning against the jamb of her room and her flush deepens.

“There was never any ill intent and you know it!” Her newly disheveled and agitated appearance sends a jolt of satisfaction through him.

“Do I?” He promptly shuts the door before she can react locking her out. She knocks on the door frantically and yells.  “Bakugou! This isn’t funny!” Then after a moment, “I don’t have a change of clothes!”

He makes a show of slamming some closet and drawer doors to make her panic. They both know she has the power to get into her room and he wonders if he’ll force her to break her own door down.

She soon quiets and huffs away and while she’s left him in peace he takes the opportunity let the last couple of moments sink in. Her room is, well, grand yet minimal. It’s fitting for her. It’s oddly still yet cozy. He decides to take her spacious chaise by the window, she can think he slept in her bed all she wants, he knows a thing or two about boundaries and he’d rather not cross that one.

She doesn’t return and he’s not all that surprised, she was never one for a fight.

Despite himself Bakugou lets out a laugh. He laughs because he can picture her in that expensive uncomfortable dress, flushed and irate on her velvet couch all because of him.

He laughs because he rather likes the sight of such a pristine individual like Yaoyorozu, pink and breathless, because of him and if that isn’t the funniest joke of the century he doesn’t know what was. 

AN:  I feel guilty for not updating anything in years, don’t judge me.

#bakumomo #my writes #ive had a tough time ok #i.e. ive had no time #to do anything #im so so sorry #my fics #very short #3 chapters #no more no less #i miss y'all fyi #jots #my jots

[jordanrosenburg]

Stranger Things 3

Okay, many spoilers ahead, but honestly if you haven’t binged the season yet???? That’s a you problem. 

I wasn’t sure what I wanted out of this season, well actually there was one thing I wanted and that was for Steve to find love, and I guess he found it...he has a beautiful new friendship with Robin, who was the perfect female addition to the season. It was refreshing to have the kids on summer break, and not have another thing happen during the school year. I love this show and I want it to go on and on, but at the same time, how much more can these kids go through? 

The thing about Stranger Things, is that we are now used to its formula, a formula that works great. We have usually have three different stories happening, the adults, the teens, and the kids. They each are going through their version of a scary movie, and when they all finally come together, they get the job done. This season had a real slasher film vibe to it. Way more guts and gore, and honestly a little too much CGI? It was like watching Teen Wold amirite?

It was kind of cool finally seeing this monster come to life, and not just an image in Will’s head. And it was cool seeing the kids sort of start to become teenagers themselves, and the teens cross slowly into adulthood. I can’t tell what vibe I like more with the pacing of this show. Last season felt really slow, and this season almost felt rushed? We really just dove right in. I’m not a big fan of time skips, I really like knowing how characters get to certain places in their lives. Was Steve so distraught over Nancy that he couldn’t get his grades up? Thus not getting into college? Will he go to community college? I JUST WANT WHAT IS BEST FOR MY SON!

Billy...I just...I feel like I’m still grieving. We knew the season was about him, but I feel like his screen time wasn’t enough, I wanted more. Why was the monster able to possess more so than Will? We got barely an episode in before he was taken over. I thought it would have been a couple episodes in. Dacre did an incredible job, his acting was incredible. The only thing that creeped me out were all of the moms gawking at him at the pool. He is a teenage boy, I don’t care how attractive he is. If the roles were reversed, if that had been a bunch of dads looking at a teenage girl like that, there would have been hell to pay. Billy wanted Mrs. Wheeler, and he is suave, but she should not have even entertained the idea. 

A truly crushing moment was when El saw Billy’s memories of his mother. I think what happened to him happens all too often. A victim of abuse is finally able to escape, but leaves the child behind. She knew what kind of monster Billy would be left with, and it clearly seems like she never did anything to try to get him out of that toxic environment. And in spite of all of this, she was STILL his happiest memories! RIP MY HEART OUT WHY DONTCHA! The other thing that really fucked me up is that Max and Billy must have mended whatever tension or issues they may have had between season 2 and 3. She didn’t seem afraid of him anymore, and she really grieved for him. That shot of her sitting in his room killed me. And I wonder how his fucking shit ass father dealt with it??? 

El and Mike were so adorable the entire time. I truly love a young love. It is so innocent and sweet. I feel like for that moment they got to just be normal tweens without a care in the world. I was surprised to see Lucas and Max still together, but there must be something good there if they keep making it work. Dustin and Suzie were so cute, HOWEVER HAD SHE NOT MADE HIM SING BILLY AND HOPPER WOULD HAVE SURVIVED, OR YOU KNOW IF JOYCE HADN’T HESITATED!!!! I’m just really not a fan of character death until it means something. I feel like these deaths were purely shock value. Hopper went down a hero sure, but HIM AND JOYCE WERE FINALLY GOING TO GET DINNER! And after everything Billy went through? They could have tried harder to save him. Nancy was ready to fucking shoot him. 

Nancy, as usual, just really pissed me off. She is one of the most inconsiderate people I’ve ever seen. I get it, it’s the 80′s, she’s trying to be an equal, that I can respect! What I don’t respect is how impulsive she is. She never thinks about the consequences of her actions. From little things like ruining Jonathan’s pictures, to immediately trying to kill Billy. I get it, you’re all sick of the bullshit, but he was still a person. They didn’t immediately try to kill Will. 

AND POOR WILL JUST WANTED TO PLAY DND! I think it can be so hard at that age. Some people grow up at different rates than others, and he felt out. I also think he knew he was going to be moving, and just wanted to complete one more campaign with his friends before he broke the news. It also made me sad that we didn’t get much time with all four boys together. It was great to see how close Dustin and Steve had gotten, but they should have learned by now that they all work better when they’re together, not separated. 

How about Steve coming in clutch with the car to save Nancy and the kids??? NOT EVEN A THANK YOU FROM HER! Okay, maybe there wasn’t time for a thank you, but their interactions just felt awkward, and there’s not need for it. I will say I was happy there was no love triangle. My heart did get sad when Robin asked Steve if he still loved Nancy, and when he said no it was basically because he found this love for Robin. My poor baby was still hurt! And when he said that she really wasn’t a priss. There had to have been a conversation about her hooking up with Jonathan at some point that had to have solidified that they were over. I still don’t care for the way she treated Steven, could ya tell???

A theory I have about El: are her powers starting wear off because the effects of what she went through at the lab wearing off? Think about it, she hasn’t been contained and tested on for over a year. Maybe her body is finally regulating. This does mean that if this thing comes back, which it seems like it will since there is one in Russia being used for testing, she herself will be defenseless. Luckily the other kids are good at protecting her. 

At the end we see the subtitles, “No, not the America”. Does this mean Hopper somehow survived? I don’t know how possible this is since everyone else in the lab fucking melted, but he could have been on high enough ground to escape, but may not have escaped fast enough for the American troops to come in. The Russians may have captured him as one final fuck you. I think I started tearing up when he gave one last smile to Joyce. He annoyed me at the beginning of the season with him being overprotective with El, but his letter, which made me sob, helped drive his point home. Also, him shooting off the machine gun while screaming EVERYONE OUT was one of the funniest things I’ve ever seen. 

The kids all saying goodbye made me cry as well. I wonder how far away Joyce will take them. Something tells me their troubles will follow. I hope we don’t have to wait three years to figure out what happens next. My prediction is that season 4 will be the final season because again, how much can these kids go through. 

One final thing, the soundtrack, yet again, was killer. Moving in Stereo is the song I have on repeat. Season 1 it was Sunglasses at Night and some of the original synth music. Hearing Hero again at the end of this season also made me cry. It really felt like a lot was wrapping up. 

Alright, I’m done rambling for now. 

#stranger things #spoilers #stranger things 3 #stranger things season 3 #billy hargrove #steve harrington #hopper #joyce byers #will byers #mike wheeler #nancy wheeler #jonathan byers #robin #dutstin #lucas #el #eleven #max #i feel like i need to rewatch now that i'm done grieving

[neuxue]

Wheel of Time liveblogging: The Gathering Storm ch 34

Everything from fireworks to Fourier transforms, because why the hell not. Oh and Mat is there. (Or is he?)

Chapter 34: Legends

Oh it’s Mat.

I have very little enthusiasm for Mat, especially this book’s Mat, but at the same time maybe it’s good to have a chapter that isn’t guaranteed to ruin me, just for a change of pace and a chance to catch my breath and regrow my limited supply of emotions.

Occasionally, the wind would blow, and a small sprinkle of dead pine needles would shake free from the boughs above

I see what you’re doing there, with your wind associated with death and release.

Mat’s clearly still a little shaken by Hinderstap, and is not particularly keen to go running into this next town. Can’t say I blame him.

This time he would plan and he would be ready. He nodded to himself in satisfaction.

Yeah, no, still not getting the cadence right here. It’s too…deliberately set up to be funny. Exaggerated. It’s like he’s being written as a caricature of himself.

Apparently it’s a woman who’s looking for him…I thought the pictures of him and Perrin were linked to Moridin’s directive to kill them – we’ve seen at least one attempt on each of them since then – but this sounds like someone who just wants to find him. Who, though? It doesn’t seem like it could be Tuon, and most of the other characters are tied up elsewhere, and none have recently mentioned trying to find Mat.

And it would probably be more efficient to just…read and find out than to try to list out all of the named female characters in the series thus far and cross-reference them against Mat’s story to figure out why they might be looking for him, wouldn’t it? I’ll leave the listing of ladies to Rand.

We’re getting fireworks as signal flares again, and I do have to applaud the ingenuity of the charactesr in this series. So far we’ve got fireworks used as: a distraction, entertainment, currency, battering ram, therapy, weapon, communication device. Have I missed anything?

Also, the red-for-danger, green-for-all-clear system brings another question to mind that maybe someone out there has an answer to: why do we continue to rely so heavily on red/green for important signalling distinctions (port/starboard, stop/go – things you really don’t want to mix up) when red-green is the most common spectrum of colourblindness?

I suppose the choice of colours predated any solid statistics on things like rates of colourblindness, and boats have the whole whistle system as well, and traffic lights have position as well as colour, but still.

Maybe it’s a chemistry thing? If red and green are the easiest colours to make in a fire or lamp or flare or light, it would make sense that those would have become the colours used for signalling when coloured lights were first used in such a way, and then it’s the kind of thing that would stick. So maybe lithium/strontium/barium/copper were more readily available, or happened to be used/discovered as colourants first?

And that was a tangent.

Meanwhile, Mat’s pulling a whole Argo here, creating false identities for the people he’s sending into the town. Okay, a reverse Argo, maybe, as that was exfiltration and this is infiltration but shhh. (Great movie, by the way, if you’ve not seen it – one of those ‘stranger than fiction’ true stories).

“Wait, Mat,” Mandevwin said, scratching his face near his eye patch. “I’m to be an apprentice gleeman? I’m not certain my voice is suited to fine signing. You’ve heard me, I warrant. And with only one eye, I doubt I’ll fare well at juggling.”

So I think by now we all know my thoughts on what ‘give up half the light of the world’ means, what with Mat being as Odin as it’s possible to be this side of actual Norse mythology…and yeah that doesn’t bode well for his juggling and knife-throwing skills, does it? Now I wonder if those skills were given to him intentionally not just as a fitting trait for a character of his archetype but to twist the knife a little in that sacrifice. Like Rand’s skill with the sword and then the loss of his hand.

(Also his skill at being a person and the eventual loss of his sanity, but we’ll just leave that one alone for the moment.)

“Aren’t I a little old to be an apprentice, though?”

“Nonsense,” Mat said. “You’re young at heart, and since you never married – the only woman you ever loved ran away with the tanner’s son – Thom’s arrival offered you an opportunity to start fresh.”

“But I don’t want to leave my great-aunt,” Mandevwin protested. “She’s cared for me since I was a child! It’s not honest of a man to abandon an elderly woman just because she gets a little confused.”

“There is no great-aunt,” Mat said with exasperation. “This is just a legend, a story to go with your false name.”

The thing is, if you take it completely out of context – as in, out of the Wheel of Time completely – there’s nothing particularly wrong with this exchange. It’s not the funniest thing I’ve ever read in my life, but it’s entertaining and a fun sort of ‘yes and’ game between characters. It builds a sense of their relationship, adds a little bit of depth to Mandevwin, presents Mat as creative and a little more fond of stories than he might admit while being a general…

But you have to completely dissociate it from the actual characters for it to work. It’s an alright scene, if it’s not about Matrim Cauthon in The Wheel of Time. If you read it as being from a different story entirely, with characters that just happen to have these names.

And that’s pretty much the problem with Mat. Other characters may see their lexicon shift a bit, or their tendency to externalise their thoughts a little more, but Mat’s been replaced with another character entirely.

I mean, so has Rand, but that’s his own damn fault.

“Too late,” Mat said, rifling through a stack on his desk, searching out a cluster of five pages covered in scrawled handwriting. “You can’t change now. I spent half the night working on your story. It’s the best out of the lot.”

I could almost give the rest a pass, because Mat coming up with false identities that make a fine story but will probably end up falling apart is not too far out of character, even if the conversation felt nothing like him – it’s not unlike what he did with himself, Egeanin, Tuon, and the others when they ran away with Luca’s show, after all – but Mat spending half a night writing up stories for each of them? I can’t make that fit.

“Are you sure we’re not taking this a little too far, lad?” Thom asked.

I think it’s meant to be a little out of character, as a way of showing how on edge he is. The fact that Thom comments on it serves as a narrative cue that this is intentionally off. But it’s too far and not quite in the right direction, so instead of helping us understand where Mat’s head is right now, it’s just…weird.

“I’m tired of walking into traps unprepared. I plan to take command of my own destiny, stop running from problem to problem. It’s time to be in charge.”

And the fact that Mat is so off in this book makes it hard for me to say anything about his actual story or character, because I don’t completely…trust any of it enough. So on the one hand I want to unpack this line, because there’s a lot there in terms of Mat’s own character arc, and his struggle between denial and acceptance of his role, and between luck and improvisation vs planning and strategy. But on the other hand, it’s hard to find any real motivation to do that when I feel like this isn’t really Mat. If that makes sense.

So actually, I’m going to do something a little out of character myself, here. I’m going to read the rest of this scene before commenting further, just to see if I can get a better sense of what’s going on from the general shape of it than from following it line-by-line.

Okay. Mat talks Talmanes through his own constructed backstory, then goes and inspects the camp and thinks about the Band and their current situation and also crossbows, and now he’s visiting Aludra so I’ll stop here for a moment before we get into that.

The bit with the crossbows comes closer to feeling like Mat again. The rest…still feels like it belongs in another book entirely. Also, weird how Mat knows two guys named Talmanes, right?

There are two main issues at play here, as far as I can figure it. The first is the issue of perception and distortion, which, broken down, looks something like this:

Jordan creates the character of Mat in his head

Jordan commits that character to writing. There’s distortion and filtering even here, because words are limiting and no writer isthatgood, and some information will not be conveyed or will be conveyed only obliquely, other things given more prominence, etc. Just like a photo is never going to be a perfect representation of an actual person, because you only have two dimensions to show something that exists in three.

Sanderson (or any reader) reads Mat. Filtering happens here because of how brains work; we’re not perfect machines that can take in every piece of information and give it equal and unbiased weight. Different things will register differently with different readers based on everything about them.

Sanderson (or any reader) creates a mental image/construct/version of Mat, adding the new information to it as it comes along – like making a sculpture from a drawing of a photo. This again is prone to filtering and distortion because of what information registers more or less strongly, how it’s interpreted, and all kinds of other factors.

Sanderson commits his version of Mat to writing, imperfectly portraying his own mental image of the character.

The reader reads Sanderson’s version of Mat, repeating steps 3 and 4.

Obviously this would apply to any character, not just Mat, but I think with Mat it’s an issue of a stronger filter/bias at steps 3, 4, and 5 but especially 4.

It’s something you see a lot in fanfiction, actually, especially in fanfiction centred on characters that can be strongly linked to a specific archetype. If you have the mental fortitude for it, check out some Avengers fanfiction sometime, and you’ll see a huge variation in how these iconic, archetypal characters are portrayed. Because they go through these processing and reconstruction steps, and so much of that is affected by each person’s own experience with or existing idea of the shape of those archetypes.

So we get into things like confirmation bias – if you have a pre-existing ‘outline’ of a character in your head based on the first impression they give, you’re going to end up paying more attention to things that fit into that outline, and ignoring things that don’t. And with these kinds of archetypal characters, it’s hard not to have that pre-existing outline unless you’ve been literally living under a rock for your entire life. In which case you have bigger problems. Also, I think with those sorts of characters, because you have this pre-existing model, your brain is more likely to essentially take short-cuts and go ‘yep, I know what this is’, whereas with characters that aren’t so easily categorised or immediately identified, you’ll rely more on the information directly presented, rather than on that outline.  

That affects what you pay attention or give weight to, and that affects how you reconstruct the character in your mind, which creates an ongoing feedback loop but/and also affects how you portray the character yourself, should you ever do so.

It’s a process akin to…okay the first analogy that comes to mind is a Fourier transform followed by the addition of noise or any kind of alteration to any of the resulting frequencies, followed by an inverse Fourier transform to bring you back to something that no longer perfectly resembles the original. Because I’m a fucking nerd. In case that wasn’t already abundantly clear from everything about me.

But perhaps a more broadly accessible analogy is the game of taking a word or phrase or song or whatever and sticking it through a few different languages on google translate, and then translating the result back to the starting language and laughing and how ridiculous it ends up sounding.

(On a tangent from my tangent, I think this is part of why outsider POV can be so interesting. It’s a chance to watch this entire process take place in the minds of other characters, who essentially each create their own version of the character in question.)  

Anyway, I think this is the first issue: Sanderson reads Mat, his brain goes ‘oh look, a trickster/rogue! I know what that is!’, which colours how he continues to read and interpret Mat, which shapes the Mat that lives in his head, which shapes how he then writes Mat.

The second problem, I think, is that Sanderson is somewhat aware that he’s doing this. Why is that a problem, you ask? Because it means that, while he’s not writing Jordan’s version of Mat, he also avoids committing completely to his own style of portraying a trickster/rogue. Which leaves us stranded somewhere in the middle, and you can feel the uncertainty and discomfort and tension between what he thinks he’s meant to be doing and what he wants to do. And Mat’s not the kind of character you can commit to halfway.

Okay, picking back up in a more normal fashion, hopefully (unless this next scene goes the way of the first).

Aludra’s making fireworks, Egeanin’s helping, and Mat’s trying to remember that he is a married man now.

Mat still had trouble figuring out what to call the woman. She wanted to be known as Leilwin, and sometimes he thought of her like that. It was foolish to go about changing your name just because someone said you had to

I like this, because it can be extended to a broader commentary on changing not just your name but your identity based on who or what you believe you must be. Tuon has the power, in the society in which Egeanin was raised, the society that shaped her mindset and identity and sense of self, to command that she take a new name and a new place. And that sticks even when – and perhaps even because – she chooses to remove herself from Seanchan society. She is a different person now, and the name is part cause and part symbol of that.

But it has a broader meaning here, for Mat himself and for Rand and for Egwene and for so many others. It’s the question of accepting a name or an identity that is given – the Dragon Reborn or the trickster or the Prince of the Ravens or son of battles or Amyrlin or wolf king. Prophecy and Pattern demand those roles be filled, and ask that they fill those roles, and so do they change to do so? Do they take on those names and fit themselves to those outlines, and if so is it by choice or by force?

Seems like all is not well between Mat and Aludra these days. Another word of advice: try to avoid pissing off the person who makes your explosives.

Honestly, I thought I was unqualified to give dating advice. But Mat and Gawyn and honestly the whole lot of them are really making me question that.

Then again, I thought Aludra and Mat were fine after Aludra made it clear she wasn’t interested in pursuing or being pursued by Mat once he began courting Tuon. Has he done something since then to irritate her?

“Are these the plans for the dragons?” Mat asked eagerly. He knelt down on one knee to inspect the sheets, without touching them. Aludra could be particular about that kind of thing.

“Yes.” She was still tapping with her hammer. She eyed him, looking just faintly uncomfortable. Because of Tuon, he suspected.

“And these figures?” Mat tried to ignore the awkwardness.

“Supply requirements,” she said.

So one thing I’ve been thinking about, and which this exchange highlights rather well, is why Mat seems to be the one so closely linked with and arguably credited with the weaponization of gunpowder, when in reality it’s pretty much all Aludra.

I’m curious as to whether this is just me, or whether it’s true of fandom as a whole – that gunpowder is linked and credited to Mat. Because narratively it seems like it’s set up that way – he plays with the fireworks Aludra gives him in TDR, and then there’s Egwene dreaming of him reaching up to grab a firework from the sky and knowing this will change the world, and dreaming again of him bowling with human lives as the bowling pins and knowing it’s linked to the same thing. And he’s the one who plans the battles in which Aludra’s explosives are used.

But he doesn’t actually come up with any of the ideas – he just incorporates them. She already has plans for her ‘dragons’ when she sets him the bellfounder riddle. She’s already thought through how her fireworks can be altered for various uses in battle. She doesn’t have the funding or resources, but she has the rest of it.

So I wonder if my brain has just taken the shortcut here of crediting Mat with the advent of gunpowder weaponry because he’s a far more major character, he’s the battle strategist, and he’s given all these pieces of foreshadowing and prophecy that link him to this innovation.

I also wonder if some element of it is unconscious gender bias on my part – that while I love the fact that it’s a woman who invents this, and that there’s no downplaying of the rather dark and destructive potential this has to change battle and war and the entire world, some part of me finds it much easier to associate that with a man than a woman. Something to think about, I suppose.

How would the common people react if they knew that the majestic nightflowers were just paper, powder, and – of all things – bat dung? No wonder Illuminators were so secretive with their craft. It wasn’t just about preventing competition. The more you knew about the process, the less wondrous and more ordinary it became.

There’s a great deal of truth to that.

And that, actually, seems like a very in-character observation for Mat to make. It’s something a trickster and a gambler and a strategist or general would understand: the value of knowing how things work, but also the value of misdirection and sleight-of-hand.

It’s a fitting realisation as well in a series that deals so much with the nature of information and knowledge and perception, and the interplay between them.

“This is a lot of material,” Mat said.

“A miracle, that is what you asked me for, Matrim Cauthon,” she replied, handing her nightflower to Leilwin and picking up her writing board. She made some notations on the sheet strapped to the front. “That miracle, I have broken down into a list of ingredients. A feat which is in itself miraculous, yes? Do not complain of the heat when someone offers you the sun in the palm of her hands.”

Hard to argue with that.

I do like Aludra – I always have; she’s a fun character. And a more complex one than her relatively little screen-time would ordinarily allow. As she has to be, I think; her place in the story but especially in her world is itself complex. Her innovation will change the world, and once unleashed that’s not something you can take back. Introducing gunpowder to a world is a heavy role for an otherwise bit-part character, but she’s written in such a way that it works. I do think that’s part of why the narrative leans on Mat so heavily in that regard, as a way of…offloading some of that weight onto a more central character.

“The Dragon Reborn, he can afford such costs.”

If nothing else, he’ll be relieved to be dealing with high costs in such an ordinary currency, after having had to pay such steep prices in less conventional ones – flesh, soul, sanity…

Maybe Rand could manage costs like these, but Matcertainly couldn’t. He’d have to dice with the queen of Andor herself to find this kind of coin!

I think Elayne would quite enjoy that, actually.

But that was Rand’s problem.

Honestly, Rand has well over 99 problems and I’m not even sure this makes the list. But okay.

Burn him, he’d better appreciate what Mat was going through for him.

At this point it’s all he can do to appreciate things like the fact that Nynaeve wants him to live, so I wouldn’t hold my breath.

“How many bellfounders are you going to need for this project?”

“Every one you can get,” Aludra said curtly. “Is that not what you promised me? Every bellfounder from Andor to Tear.”

“I suppose,” Mat said. He hadn’t actually expected her to take him literally on that. “What about copper and tin? You don’t have an estimate of those.”

“I need all of it.”

Okay, this is genuinely funny. Most of the credit goes to Aludra, who is written better than pretty much anyone else in Mat’s chapters so far this book. But this is great.

But then you stop laughing, and it becomes very much a sign of how non-trivial the invention of cannons and weaponised explosives is. This is not a small endeavour. This is not something that will be used in one battle and can then either catch on or fade back into obscurity. This is huge, and world-changing. A larger scale than Mat dreamed of and now he’s having to face the full reality of it. It’s one thing to see this in battle and know theoretically that this is going to change everything. It’s another thing to see it written out in figures that demand all the copper and tin that can be found on an entire continent.

Their eyes met for a moment, and Mat realised he’d probably been too curt with her. Maybe he was uncomfortable around her. A little. They’d been getting close before Tuon. And was that pain, hidden in Aludra’s eyes?

“I’m sorry, Aludra,” he said. “I shouldn’t have talked like that.”

She shrugged.

He took a deep breath. “Look, I know that…well, it’s odd how Tuon—”

She waved a hand, cutting him off. “It is nothing. I have my dragons. You have brought me the chance to create them. Other matters are no longer of concern. I wish you happiness.”

I guess I’m just confused because I thought we already did this, with Aludra telling Mat that she wouldn’t tell him the secrets that would make him blush and that she had no plans of being juggled. I sort of figured that was it. But I also thought it was just a bit of fun for both of them, while this would suggest that there were maybe a few feelings involved – just one or two, mind you – which I suppose would account for some continued awkwardness.

That and the fact that Mat has no idea how he’s supposed to behave around women now that he’s married.

Nice of him to offer a sincere apology, though. I’ll give him that.

“But it will take much time, and yet you refuse to tell me when the dragons will be needed.”

“Can’t tell you things I don’t know myself, Aludra,” Mat said, glancing northward. He felt a strange tugging, as if someone had hooked a fisherman’s line about his insides and was softly – but insistently – pulling on it. Rand, is that you, burn you? Colours swirled. “Soon, Aludra,” he found himself saying. “Time is short. So short.”

The storm is coming, and we must go north.

Mat tells Egeanin that he doesn’t want her giving the secret of these weapons to the Seanchan, but…yeah, this isn’t something you’re going to be able to control, once they’re used. And I think he still doesn’t quite see that, doesn’t quite grasp the magnitude of what this is. Which isn’t all that surprising, because it’s the sort of thing that’s almost too much to wrap your head around until it happens. It’s like trying to imagine the ubiquity and myriad uses of smartphones when you’ve only just figured out how to harness lightning.

“By the way, I nearly forgot. Do you know anything about crossbows, Aludra?”

Ha. This is such a classic ‘I know nothing about your field/profession, so I figure you do all of it?’ It’s like when my grandmother asks me to predict the weather because that’s definitely covered under ‘geology’…

She’s the closest thing to an engineer he has, so sure, why not? And your paediatrician could probably perform a bit of neurosurgery on the side, right?

Now, if you wanted to modify a handheld projectile weapon so that its projectiles exploded…

Oh hey it’s the mystery person who’s been looking for him. OH. An Aes Sedai.

OH HEY IT’S VERIN.

Haven’t seen her since she left Rand with that letter and went off to conduct her own mysterious business. What have you been up to, Verin?

How long ago was that, in this timeline? Rand’s apparently a head of the rest of them now, if he saw Mat in Caemlyn, so maybe this isn’t actually all that long after Verin left Rand in KoD.

But why did she leave and why is she here and hi, Verin!

Well that solves one problem for him: she can Travel, so he can get to Caemlyn in time for supper. Time to move the plot along.

He hesitated, eyeing Verin, forcing himself to contain his excitement. There was always a cost when Aes Sedai were involved.

“What do you want?” he asked.

GOOD. QUESTION. Yes, Verin, tell us. What exactly do you want?

She just says she’s been held here because of his own ta’veren effect. Which…is certainly possible, but almost as certainly not the entire truth.

Next (TGS ch 35) Previous (TGS ch 33)

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[londontheatre]

Andrew Polec as Strat & Christina Bennington as Raven in BAT OUT OF HELL credit Specular

2017 has been a busy year with our team of reviewers attending and reviewing nearly 800 productions across London, including West End and Off-West End. These are the top picks for the year.

1. Bat Out of Hell The Musical – London Coliseum (21 June) Andrew Polec, as Strat (leader of ‘The Lost’, a collective of young rebels) leads a ridiculously talented cast with flair, energy and intensity. Polec’s vocals are outstanding, his stage presence amazing, and he was conspicuous by his absence whenever off-stage.

2. Everybody’s Talking About Jamie – Apollo Theatre (22 November) Hilarious and hard-hitting in equal measure, this is a great British musical not to be missed. I don’t like this show. I love it.

3. Barber Shop Chronicles – National Theatre, Dorfman (7 June) Filled with laugh-out-loud humour as well as food for thought, this electrifying and magnificent production is theatrical heaven from beginning to end.

4. Henry V – Southwark Cathedral (3 February) I wasn’t prepared for… quite how different and spellbinding this production was from any other Henry V I’ve seen before… Powerful and poignant.

5. Who’s Afraid of Virginia Woolf? – Harold Pinter Theatre (9 March) The narrative unfolds over just one night, and this production is so intense and absorbing I found myself willing both the ‘interval’ of 15 minutes between Act 1 and Act 2 as well as the ‘pause’ of just five minutes between Act 2 and Act 3 to end.

6. The Life – Southwark Playhouse (30 March) The whole cast are well-drilled by veteran director Michael Blakemore, and the show is clearly influenced by more than one well-known musical theatre show […] what a magnificent and sensational production this is.

7. Hamlet – Harold Pinter Theatre (15 June) These sofas, these business suits, these sliding doors. It’s all bound to annoy the purists to high heaven. No matter. This is a surprisingly warm and inviting production, and a welcome addition to the many versions of this timeless play.

31 Hours – The Cast Photo by Lidia Crisafulli

8. 31 Hours – The Bunker Theatre (6 October) An admirable play with compelling performances, this intriguing and informative production doesn’t apportion blame or offer tidy solutions to a persistent problem. The script is poetic when it wants to be, other times flowing between characters so much it requires impeccable timing and pacing, which this cast possesses in abundance.

9. The State of Things – Jack Studio Theatre (13 September) A joyous final number sends the audience out with cheerfulness, even if all the ends aren’t tied up, loosely or otherwise. The script is tasteful and imaginative.

10. Fingering A Minor on the Piano – Soho Theatre (5 April) This is a compelling and passionate show, as much of an education into what’s really going on in the healthcare sector today as it is a fun-filled hour of hysterical anecdotes.

Chris Omaweng

*******

1. Priscilla Queen of the Desert, Bridewell Theatre This story of friendship and hope took two drag queens and a trans woman from Sydney to Alice Springs, in a big pink bus. Along the way, they met new friends, and face rampant homophobia. SEDOS brought every element of the show together beautifully, and to a standard that you would expect to see in the West End. Sold out virtually as soon as it was announced, this was the ‘must-see’ production of the year.

La Cage Aux Folles – Pamela Raith Photography

2. La Cage aux Folles, New Wimbledon Theatre This is was a touring production of a show that demonstrates the importance of family and how much a parent will sacrifice to help their offspring. John Partridge put on the stiletto heels and sequined gowns as Albert/Zaza and delivered a tour de force performance. With wonderful sets, costumes and songs like the iconic “I Am What I Am” this production hit all the right notes.

3. Richard III, Cockpit The amazing Kim Hardy led the cast in the title role of this first-rate production of Shakespeare’s play in fine style. With some extremely realistic battle scenes, the entire production brought the story to life in a really fantastic way. Richard is a role that Kim was born to play and has set the standard for anyone that wants to take on the king in the future

4. Henry V, Southwark Cathedral Another touring production as Antic Disposition visited various cathedrals around the UK this year with their version of this classic Shakespeare play. I caught the production at Southwark Cathedral where, under the watchful eye of the Bard himself. Aside from the highly impressive location, the production itself – set in a World War I field hospital – adds a wonderful poignancy to the show. Rhy Bevan was excellent in the role of Henry and led a superb cast who between them made this a very memorable show.

5. Loot, Park Theatre Back to the swinging sixties with this production of Joe Orton’s farce set around the funeral of an elderly woman. Whilst most assuredly of its time in some of its attitudes, Loot still works very well at holding various parts of society up to a critical light. The cast, set and costumes all worked perfectly to bring the sixties back to North London and overall this was one of the funniest things I’ve seen in a long while.

6. The Clockwork Orange, Park Theatre Another trip back to the sixties with this all-male production of Anthony Burgess’s horrific story of a dystopian future that, at times, has too many links to the present to make comfortable viewing. Stripped back in colour and set, the sho is headed up by Jono Davies absolutely smashing the lead role of Alex. An intense production that is not easy to watch but is totally engaging.

7. Lord Dismiss Us, Above the Stag Theatre Glen Chandler’s play is partially based on genuine experiences at a public school in the sixties and as such is a very well observed study of the English upper classes at a time when the world was about to change. However , instead of focussing on the outside, the play brings us into the school where a violently homophobic new headmaster decides there will be none of that business going on in his school. One of the great elements of the play is that one of the more negative characters from the start of the play turns out ot be the hero of the story. A lovely bit of writing, excellent translated to the stage.

8. Posh, Pleasance Theatre Probably one of the real surprises of the theatrical year for me. Posh was the story of an elite male dining club from one of our red brick universities on a night out. A fairly normal story you might think, but in this production, all of the roles were played by women. Retaining their femininity, the actors really brought out the roles well to the point that their gender was totally unimportant. A brave staging choice that worked extremely well.

9, Boys in the Buff – The Musical, Stockwell Playhouse and Boys in the Buff – The Concert, King’s Head Tackling the subject of body image and how we view ourselves and each other is not an easy thing to do but in these productions – the full one and the cut down version – it is done in a wonderful way. Humour, songs, dance and great writing combined to make the Boys in the Buff shows something well worth seeing. A fine cast, willing to give their all for the show, really entertain and inform and leave everyone feeling just that bit better about themselves.

Out There On Fried Meat Ridge Rd

10. Out There on Fried Meat Ridge Road, White Bear Theatre Back in January, this show showed up at the newly refurbished White Bear Theatre and completely took my breath away. The story of the inhabitants of a run-down motel and the wonderful revelations that come out, with the wonderful twist at the end, set the bar for every show from then on. Following its time the White Bear, the play transferred for a very successful run at the Trafalgar Studios.

Terry Eastham

*******

1. Out There On Fried Meat Ridge Road by Keith Stevenson at Trafalgar Studios Small town America at its side-splittingly smallest.

2. Twelfth Night by William Shakespeare at The National Simon Godwin’s delicious production takes role reversal to the limit.

3. Everyone’s Talking About Jamie by Tom MacRae & Dan Gillespie Sells at The Apollo Theatre Funny and heart-warming – best new musical of the century.

4. We Are The Lions Mr Manager by Neil Gore @ Tara Arts Theatre

Girl From The North Country

5. The Girl From The North Country by Conor McPherson @ The Old Vic (transferring). 6. The End of History by Ian Hollingshead @ Tristram Bates Theatre 7. Happiness by Lily Lowe-Myers @ The Bridewell Theatre 8. Rules For Living by Sam Holcroft @ The Rose Theatre 9. The Comedy About A Bank Robbery by Henry Lewis, Jonathan Sayer and Henry Shields – The Criterion Theatre. 10. Reasons To Be Cheerful by Paul Sirett @ Theatre Royal, Stratford East

Peter Yates

*******

Amadeus – Royal National Theatre Hedda Gabler – Royal National Theatre Follies – National Theatre Don Juan in Soho – Wyndhams

Paddy Briggs

  Martin Freeman (David Lyons), Tamsin Greig (Jean Whittaker). Photo by Johan Persson

The Ferryman – the most superb play/production seen in London for years! Totally gripping throughout its 3 and a quarter hours – yet nothing happened! So Irish!

The Best Man – which I saw at Windsor and which has not yet opened in London: superb, a gripping play about USA presidential election: could have so easily have been trite but beautifully written and directed and co-starring Jack Shepherd as the terminally ill past president. He was superb: charismatic. I hope Bill Kenwright brings this into town in 2018. (Martin Shaw was very good too!)

Labour of Love at Noel Coward Theatre: again superbly written and acted. There have been many first-rate plays this year!

John Groves

*******

Blush at Soho Theatre The Ugly One at Park Theatre La Soiree at Aldwych Theatre

And an extra that I loved but didn’t review was The End of Hope at Soho Theatre

Roz Wyllie

*******

Rent 21st Anniversary UK Tour – this show stole my heart and reignited my love for theatre. Bruce Guthrie directed the production perfectly. It was raw, gritty and truly touching. Choreography by Lee Proud was innovative and interesting and the entire cast were outstanding. It felt like they were living their lives through the character for those 2 and a half hours each night. All cast members poured everything into each performance and everything came together to create magic on stage.

Yank at the Charing Cross Theatre, London – the story was powerful, gripping and relevant. Scott Hunter and Andy Coxon were just superb in their roles, particularly Scott Hunter who shone throughout. Staging and choreography were slick and in keeping with the story. It was also fantastic to see an audience of predominantly men, so many in fact that men were lining up for the toilet.

The Toxic Avenger at The Arts Theatre, London – the show really impressed me with its comic-timing, fantastic use of the stage and the actors were fantastic. Songs were catchy and the plot fitted well together. Certainly different from my usual favourites but I laughed my way through this show.

Amanda Reynolds

*******

Girl From The North Country: This would have been a wonderful straight play with a tremendous book from Conor McPherson but add some of Bob Dylan’s greatest songs and you have a masterpiece. It’s atmospheric and at times mesmerising. I’ve seen it twice at The Old Vic and hope to see it again when it transfers to the Noel Coward next year.

Follies: Follies has always been a difficult musical to stage due to the fact it has no real plot and a downbeat ending but the National have done Sondheim’s Magnus Opus proud. The production is wonderful and the performances from the likes of Imelda Staunton, Janie Dee and Philip Quast sublime.

Romantics Anonymous: This was the most magical piece I’ve seen on the London stage for a long time and is Emma Rice’s swansong before she leaves her post as Artistic Director at the Globe. This was a bit of surprise as being at the Sam Wanamaker Playhouse, it slipped under my radar. Let’s hope it gets a transfer to the West End as it deserves it.

Alan Fitter

*******

Alice’s Adventures Underground in the Vaults – a kooky, surprising and interactive take on the classic tale. Hedda Gabler by Euphonia Studio at the Drayton Arms – a stark, pared-down, psychologically compelling performance. When Midnight Strikes by MKEC Productions at the Drayton Arms – a funny and moving tale of a special New Year’s Eve.

Genni Trickett

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