Okay so I haven’t read lance angst in forever and decided to read some and I have just binge read all of the Beauty and the Beast klance au you just made and I absolutely ADORE it!!! It is so amazing and I love it so much!
It did make me curious what the whole ‘rescue’ scene is going to be, is the three people in the family who didn’t want Lance to marry the prince try to save him? Or is it going to go the totally different direction?
Cause I can imagine a scene where the village sees that Lance and Keith are actually going to work out and the family gets worried that Lance is going to try to get revenge on them/the whole village so they try to take Lance away from Keith. Or try to make it so Lance wouldn’t become King when they actually get married!
But anyways yeah I love this story, and how you’ve changed it up a bit so it’s different that the original Beauty and the Beast! Thanks for listening to my rant!
anon i am kissing you for asking. you are the love of my life and the wedding is this spring.
HERE WE GO:
important to remember: lance’s family, although not conventionally, care for him deeply. he struggles to conform to what the town expects and they are scared for him, so they struggle to make space for him in a way that makes him feel loved and included. he can’t keep up with his fathers or brothers on the farm, he gets along with animals better than people (and as such refuses to hunt them, despite his stellar aim), he has no friends because he is an Odd Person, he gets obsessive over small things, he cries all the time, he’s headstrong, he argues with everyone, he’s a klutz, just…so many things. he has skills and they know that but his skills aren’t helpful in the context of the farm. he is, however, helpful in that he can send back money from marrying the prince, and if he’s married to the prince, his family knows he’s safe and cared for in a way they maybe can’t provide for him.
with this in mind it’s obvious that there’s a lot of tension and complication between lance and his family, but lance KNOWS that they love him. take the first chapter with lance and marco, for example. it looks bad and it is bad, and lance is hurt, and marco refuses to help lance do what he desperately wants — go home. but marco isn’t doing it without guilt, and he’s also doing his best to make lance’s transition easier: “You’ve always wanted to live in a castle, right?”. despite the fact that his home life isn’t perfect, lance is in that castle missing his family. he wants his sisters and nieces and nephews and brothers. he wants his mom. they may not understand him but they love him and he knows that, and in that castle with, and i can’t say this enough, NO OTHER PEOPLE, he is going to miss shit like getting hugged, for fucks sake. lance is a touchy person and as close as he and hunk are doing to become hunk is a Literal Block Of Wood, and keith is going to be too closed off to provide any tactile affection for a While.
my plan is that after a few chapters of slowburn and building friendships, lance is going to get all morose and miserable. and keith, who is well beyond whipped at that point, is going to want to help. so one day lance is going to muster the courage to ask to have his family for a visit (“They’ll stay outside! I swear! They’ll have no chance of even seeing you, Keith, please, I missed bothering my brothers so much —”) and keith won’t even come close to denying him.
and because chekhov’s gun is the only thing i’ve got locked and loaded, obviously one of lances family members (probably one of the kids) is going to go wandering inside. and lance is going to try to stop it but it will be Too Late. they’re going to see keith and freak out, and since keith’s freak outs are very scary, it’s going to make the whole situation worse, and they’re going to drag lance back home kicking and screaming and when they come back with with the town and pitchforks.
the gaston of the story is going to be james, i think, and i’m gonna change the story a bit bc i’m gonna spend longer with lance back in town and he’s sullen and furious and desperate to convince everyone that keith is kind and soft and loving, really, and they have him all wrong. which of course does not help his case. but you all know how the rest of the story goes
but yeah!!!! i’m really very excited i love this story too, and changing it was inevitable but it’s been super fun to plan how i’m gonna adapt it!! i’m rly looking forward to writing all the sappy falling in love parts teehee
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Okay so inspired by nothing in particular (it's inspired by reading the notes on the ace swag final poll, fun stuff in there), I have been thinking about being Cringe. Cause like, you enter a fandom, and usually, you find out shortly that somebody else hates that fandom. There is no fandom niche enough that it's not Weird to somebody, and there's no fandom mainstream enough that it's not Annoying to somebody else. And given the fact that some people do hatred recreationally, there's often going to be somebody mad enough about your fandom that they're going to go on diatribes about how your fandom is bad and actually harmful and destroying the fabric of civilization, etc. They're gonna pull out anything negative and blow it up until it's the size of the skyline and attack you for liking this negative thing.
Fun times, we've all seen it.
And the thing is, there's an impulse to have this happen and immediately find somebody else to point to and say, yeah, well, I might be weird, but at least I'm not THAT guy. I might read YA, but at least I'm not a Furry— those guys are sexual deviants! I might be into actual play podcasts, but at least I'm not into mcyt— those guys are all harmful and my guy is fine. I might be into danmei, but at least I'm not into bandom— rpf is so gross. I might be a furry, but at least I'm not into mainstream romance novels— senseless drivel aimed at middle class white women. Y'know. Immediately find someone to punch down on.
And boy do I understand why you want to do that, when people are pointing at you, but I don't actually think that it's helpful.
Cause like, every fandom has a logical train of thought and reasonable human impulses behind it. You might not share those impulses— I'm not a furry I don't think, I don't really get true crime— but that doesn't mean I can't have it explained to me by a very patient person in in the writer's workshop common room and go "oh, yeah, kinda pretending to be an animal, but you're gay about it, yeah, makes sense", or "oh yeah, morbid curiosity from the safety of your headphones, it's like a horror movie but real" and nod. Like there isn't a fandom or group out there that doesn't look weird from the outside, and there isn't a fandom or group that can't be explained if someone has thought about the human psyche enough.
And that isn't to say that there isn't sometimes salient critiques for what fandoms are doing or not doing— to grab the two examples above, I have heard people talking about issues with true crime reinforcing the current fucked up justice system, or bigotry at furry cons. But a) most of the time, there is already somebody inside that community that's fighting against those issues, and you just threw them under the bus with the problem they're trying to fix b) you don't usually know the nuances of the actual conversation and problems, you saw a couple callout posts. You saying "Yeah I'm a board game nerd but at least I don't play competitive trading card cames, those guys are doing nothing but feeding the capitalist machine" is not usually helpful towards fixing the ctg scene. It's just a cheap way to score points.
Like, I assure you that the YA scene is aware of the calcification of the genre into a tighter and tighter romantic form and their dependence on going big on tik-tok to sell enough to keep publishing. They know.
You specifically saying that your fandom is better cause it's not [problems you heard about other fandom having] is not actually going to make the person who's hating on you stop hating. They already decided that you're the person they're better than and that they're punching down on, you passing the punching down on to another fandom just makes more people sad on the internet, and potentially starts yet another chain of someone punching down at someone else. The wheel grinds on, everybody gets punched.
I guess this is just kinda turning into a "why hate on the internet, what good does that do" post, which is broader than I meant it to be. But like, there's a difference between thoughtful critique of problems (complicated to do fairly but very necessary) and finding someone new to curbstomp to make yourself feel better/morally superior (look, I'm writing this on a mcyt blog, we've all seen this happen, it does not increase the joy in the world).
Like in MCYT, we all decide to punch down on [other server we hate], or RPF, or people who write kidfic, or people who write e-rated fic/art, or people doing the popular trope of the moment, and sure, it lets you feel morally superior for the moment, at the cost of slapping the guy next to you. Haven't we had enough slapping the guy next to you? There but for the grace of god (got a fun idea/watched the wrong stream/ended up in the wrong brainstorming circle/got fixated on the wrong funny guy) goes I. You're not better than another group just because you saw a couple more callout posts (usually from people inside the community trying to fix things) about them.
We are all Cringe. There is nobody who's not Cringe. Don't say that you're not Cringe because someone else is more Cringe. Stop that.
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making Jennette a being born from magic was presumably done so that she had no claim to the throne at all, but Aeternitas being involved in the process of her creation and using his own mana to breathe life into her would make him her father in the broad sense of the word and this would put her in the line of succession before Athy, Claude and even Anastacius.
And if Obelia considers beings of magic real and deserving of rights, which old Obelia must have because making an attempt on a divine beast, was an attempt on the life of the royal owning them as it had direct affects on the owners health when it was harmed, it is possible that Jennette might have been viewed as a part of Aeternitas. Her claim equal to his because he split his mana with her. We might even be having a ship of theseus dilemma where Jennette is more Aeternitas and Anastacius than they are because the repeated resurrections changed their essence fundamentally, and even though born tainted her, she is purer than them, because she led a righteous life.
Over and above that royals used a religious doctrine of political legitimacy, which entails the belief that certain people are either descended from gods or chosen by gods to rule. Jennette's creation by someone whose family claims to be descended from the gods would parallel the creation of humankind by god itself. Obelia calling into question her legitimacy and denying her right to exist, could be considered blasphemy against the gods and a condemnation of their own race.
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Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.
Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.
Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.
And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.
An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.
Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.
The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".
Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.
But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.
Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.
However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.
What's more is that this lurking "optimism" matches really well with our own protagonist's personality.
And it makes perfect sense that Ava would do the best she could with whatever she is given.
Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.
Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.
Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?
True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.
And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.
Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.
Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.
It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.
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