#that would have been SUCH a compelling arc !! but by the time i got there i was soooo fed up with every single thing | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Hackers stole 65M passwords from Tumblr in 2013.

#that would have been SUCH a compelling arc !! but by the time i got there i was soooo fed up with every single thing

tinarannosaurus · 2 days

Text

just got caught up with bob's burgers, and so far I'm enjoying season 14 much more than I expected to!

not to say I went into these new episodes assuming I wouldn't like them, but certainly the past few seasons (10–12 for sure) have fallen into a rut where like, there's a handful of episodes that are pretty solid, there's one or two that annoy me enough to skip over on any rewatch, and the majority are deeply neutral. the plots are just okay, the jokes are a little lacking, but the fundamental dynamics are still there, and I like those enough that bob's remains one of my go-to shows to have on in the background, even if I don't feel inspired or compelled enough to engage with the show the way I used to

but season 14 has been an unexpected departure (and actually, I think the back half of 13 as well) — it's funny, because I don't actually think the show is as funny as it used to be, but they're taking bigger swings with the plots in a way that's very rewarding to watch! I don't mind that there are fewer jokes, because I'm invested in the more emotional turns the show is taking

like—holy shit, "the amazing rudy"? a standout from start to finish. and I think a great example of what this season is doing in terms of its emotional arcs, and what I'm glad it's leaning into

I've felt very neutral toward bob's the past couple years, because it's felt so staid. there's an accepted level of consistency that bob's or any other animated sitcom maintains, and I get that, but I think the show really really struggled in its recent seasons with honoring that consistency, roughly maintaining the status quo, while also creating plots that were—and this sounds bad to say—but, plots that were interesting. there were a lot of low stakes, anticlimactic resolutions, unexciting premises—situations where there's not a lot of room for the writing to go, and not a lot for the characters to play off

but what I think this latest season is doing so well is leaning into its history, taking advantage of all the episodes of relationships and interactions and story they've developed to create setups that really fucking land! "the amazing rudy" is a phenomenal episode, but would it have hit as well in season 4 or 5, when we've only met rudy a handful of times? maybe, but I think it's so much more rewarding as this late series entry, when it can pay off all the previous mentions of rudy's home life, his relationship with his dad, his relationship with his—until this ep—unseen mom, his hobbies, his anxieties, his friendship with louise, the role the belchers play in his life—it's so good!!

this season is a couple eps shorter from the strike, but really hoping that the rest of the 14 and what's to come in 15 follows the trend, because it feels like the show is finally starting to figure out its voice and its footing again

#bob's burgers #like I did find the booger wall scene in 'bully-lieve it or not' literally nauseating BUT #the reveal that zeke once bullied a kid for having a lisp was a genuinely surprising and genuinely impactful moment!#and again. it's all about leveraging that history. we've seen over a decade of zeke and jj being ride or die friends #and because of all that established history the bullying reveal was that much more shocking #not to mention how it set up this look of genuine betrayal on jimmy jr.'s face. the show earned all the gravity it gave this moment!#it's great! it's so good!! also my god. don't get me started on fraud of the dead #I think a show that runs this long needs to reinvent itself every so often. because you have to #and I think bob's has struggled with having hit this plateau and floundering a little in terms of deciding on a new voice or direction #but this latest batch? this rules. i'm so into it #kayla for blacklist

19 notes · View notes

lostyesterday · 6 months

Text

I’ve been thinking about disabled protagonists in Star Trek recently, which got me thinking about Seven of Nine. It’s interesting because I’m almost certain the writers of Voyager did not intend to write a disabled character, but they ended up accidentally writing one anyway, and one whose arc I find surprisingly compelling as a disabled person myself. Seven is dependent on electronic devices both inside her body and external to it in order to survive and she requires regular medical treatment and specialized adaptations to her environment in order to function. She is absolutely canonically disabled (as are all the other ex-Borg in Star Trek), even if the writers probably weren’t aware of that. The major reason that I think Seven’s arc resonates with me so much is because it reflects a deep tension between independence and dependence that is a fundamental and complex part of so many disabled people’s lives.

To be disabled is to be deeply aware at all times of your own dependence on external things (such as wheelchairs, canes, medications, etc.) and other people. At the same time, to be disabled is to also be deeply aware of the societal standards of independence and self-sufficiency you are constantly failing to live up to. You cannot do things that people are “supposed” to be able to do independently. You need help for basic tasks, and you have no choice but to trust that these external supports you are dependent on will not suddenly disappear, causing you to be unable to participate in society at all. It’s difficult to express to someone who hasn’t experienced it how much being disabled forces someone to consider their own level of dependence and independence constantly, how it becomes a deep part of one’s identity and can often be a source of trauma.

Seven’s arc on Voyager is often focused on the nature of individuality, but it is interesting how often “individuality” becomes a stand-in for independence. Seven’s disability makes her deeply dependent on the crew and resources of Voyager for survival. She could theoretically leave and use her own skills to do maintenance on her implants and install an alcove somewhere to keep herself functioning, but it would be a great risk, and her safety would be constantly in doubt. At the same time, Seven hates this dependence. She tries to rely on other people as little as possible, hating her need for the Doctor to diagnose issues with her implants and refusing to ask for help until she has no other choice. She hates this dependence because she sees it as challenging her ability to become a complete “individual” who is able to make her own autonomous choices. She hates this dependence because it forces her to rely on other people who could at any time abandon her or abuse their power over her.

So it’s far less frightening to pretend this dependence doesn’t exist, to hide it even from herself. Seven’s arrogance in her own abilities, her focus on her intellect and vast knowledge and superior physical abilities are in many ways genuine, especially early on. But at what point does this confidence in her own abilities – this reassurance that she is smart enough and strong enough to control her own destiny and be a true individual – become a coping mechanism to deal with the reality of her dependence on objects and people outside of her direct control?

Seven is told often by members of the Voyager crew that being an individual who makes her own choices and decisions is what she should strive for. And at the same time, those same people often exert control over her, attempting to restrict her autonomy. Janeway or the Doctor tell her that they know better than her what her needs are – that being an individual only goes so far. Seven’s anger at this contradiction is one of my favorite parts of her character, partially because it captures a similar feeling of anger deep inside me when I think about the ways society constantly pressures disabled people to maintain standards of independence impossible to live up to while at the same time deeply restricting our autonomy and freedom.

In the episode “Imperfection”, Seven says that what she wants most is to be useful. To be useful is to be a valuable part of society – someone who is self-sufficient and talented and certainly not deeply dependent on other people for basic survival. To be disabled is to have society constantly demand that you be useful, that you be independent and strong and never let your disabilities limit you. And at the same time, to be disabled is to discover over and over that you can never be that fully autonomous, fully functional human being seen as ideal in society. No matter what you do – no matter how far you run from the truth – it’s an impossible reality to escape.

#star trek voy #seven of nine #once i start talking about disability in star trek i cannot stop #i genuinely would love to hear other people's thoughts on this #lane posts

876 notes · View notes

hotvintagepoll · 2 months

Text

Propaganda

Frances Dee (Becky Sharpe, Little Women)—no propaganda submitted

Ingrid Bergman (Gaslight, Casablanca, Notorious)—Where do I even begin with Ingrid Bergman? I fell in love with her with her astounding performance in the 1956 version of Anastasia -- the best Anastasia movie in large part due to her wonderful and touching performance. She's got this amazing, fascinating intensity to her in whatever role she's in. She commits 100%, and she's got this light in whatever she's in that's stunning. She's utterly convincing no matter what she plays, from an amnesiac possible lost princess, from a nun, from a woman taking her revenge on the town that wronged her, to light romantic comedy. She's never missed in any role I've seen her in! Also she became quite the MILF.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Frances Dee:

Ingrid Bergman:

God, she's fantastic. She's both beautiful and a compelling actor who's more than capable of putting the whole movie on her shoulders if necessary. It's worth noting that while her beauty is conventional, she was seen as refreshingly "natural" with more eyebrows and less makeup than many other leading ladies of the time. She's well known for her role in Casablanca, but in Notorious, Spellbound, (both available on archive.org ) and Gaslight (1944) she shows how immensely capable she is. [editor's note: I've seen all of these movies and I think they're fine, but it's been a minute, so I can't thoroughly tag for trigger warnings or officially "recommend"—as always, go forth with caution when a movie is mentioned in a propaganda submission, and don't take a mention as an official recommendation of this blog.]

I mean...she's Ingrid Bergman. I feel like that should be enough, you know? She's physically beautiful (her eyes!) but watching her is like a transcendent experience. Her voice, her expressions... beautiful woman, beautiful actor.

I'm a gay man but even I understand her appeal. I'll watch any movie she shows up in. Gorgeous woman.

Just try and watch her movies without sighing wistfully, then get back to me!

Choosing 1-3 movies where Bergman was at her hottest was agony because, of course, she was always at her hottest. Not just because she was beautiful but because she was absolutely willing to go up against the bs women in Hollywood were constantly dealing with. When exiled from Hollywood for having an affair with Roberto Rossellini, not only did she refuse to apologize at any point, but she went on to say that Hollywood's films had grown stagnant and boring to her. Though she said she appreciated her time working there, she wanted to try new, different techniques (hence starring in Italian neorealist films, working on stage, and acting under directors like Ingmar Bergman). She was not afraid to chase after her artistic ideals and go outside the box regardless of what society had to say about it. From her first movie to her last she killed it. There's so much more to say about Bergman's career and life, but I've already written five million words so I'll stop at that.

One of the most incredible actors I've ever seen on film. Her facial expressions are so intricate and poignant that I cannot look away. I'm either ace or straight, but damn she made me question that.

SEVEN TIME OSCAR NOMINEE QUEEN. Girl also PULLED, having affairs with famously hot men Gary Cooper and Gregory Peck IN ADDITION to her three marriages...sexy

She has a very natural beauty to her, and she's from Sweden!

She left Hollywood and only became more beautiful. You could drown in her eyes. She can look innocent AND like she's seen it all. She is effortlessly elegant. She's played Joan of Arc (automatically hot) AND was in the movie that coined gaslight as a term. And where would we be without that!

She was known for being a breath of fresh air on the movie scene at the time with her windswept hair, dreamy smile and soulful eyes. I have loved her in every movie I have seen her in - she was just magnetic!

Where do I even start. There's a neighborly quality to this beautiful, talented actress that makes her hotness one of a kind and her looks impossible to forget

With a career spanning five decades, Bergman is often regarded as one of the most influential screen figures in cinematic history. Known for her naturally luminous beauty, Bergman spoke five languages – Swedish, English, German, Italian and French – and acted in each.

She's hot, don't get me wrong, but I've always found her very approachable, like she could easily be a member of my friend group

A lot of the time hotness in a movie is just about words and framing. "You're the most beautiful person here" [vaseline lens] well I sure hope so because that's who you cast. But when, in Casablanca, they call Ingrid Bergman the most beautiful woman in the world... they were not fucking lying. And such a dynamite actor too!! I'd only seen Casablanca up until last year, and there she's confined to love interest. But in Gaslight she was maybe one of the most incredible actors I've ever seen!!!! Goddddd shes so fucking hot and cool.

#ingrid bergman #frances dee #hotvintagepoll #ladies 1 #fuck that old woman

308 notes · View notes

annabelle--cane · 1 month

Note

I got into tma in 2022 on a road trip with no internet and then only tangentially interacted with the fandom (light hcs, fanart) and I am. so compelled to understand what the fandom was like in 2020. what were the takes. why was it so awful. does it explain why every time I try to look into protocol I get a rancid Vibe and jump back 5 feet.

to preface: on scale, it really wasn't any worse than your average fandom, it just A) got Very popular over a short period and B) that period was during a time of particularly high stress where many people suddenly could only experience a social life online. tma is also a fairly political and progressive work, which inevitably leads to certain kinds of Takes. it also got Very popular right at the point where the episodes were reaching their peak of explicit social commentary and sustained morbid tone, which, especially combined with point B from above, drew out some really visceral reactions from a lot of people. nothing was actually inherently rancid about 2020-2021 tma fandom, there was just a bit of a perfect storm of factors.

having said that. some common discourse themes:

the perennial shipping discourse. georgie is the only one of our leads to have never killed a person, but really, I pinky promise that your ship between two unrepentant serial killers is 100x more problematic than my ship between two unrepentant serial killers.

asexuality: how dangerous is it? on a scale of 1-5, with 1 being "mostly" to 5 being "completely," how humiliating is it to be asexual? what is the singular true asexual experience that is unproblematic to write about?

wow, jonny was so out of line for writing this episode, what gives him the right to--oh he said it's directly based on personal experiences? so sorry, my bad, I'll learn for next time. wow, jonny was so out of line for writing this epi--

I did not like this episode. this is obviously a direct act of violence against me. why would an episode be Not Good when there is, in the world, Sadness?

hello, I have sorted all of the characters into a simple chart that clearly delineates which of them are completely irredeemable monsters with no interiority or motives and which of them are perfect angel victims who have only ever been nice and never hurt anyone, ever (and if they did hurt someone then that person deserved it). if I see you adding nuance to any of my rulings, I will kill you. this also extends to the podcast writers. #ilovebinaries.

the characters... are queer... and maybe even other marginalized identities as well... and yet, they do bad things? there's not even a single completely morally innocent character? by god, did they not think about the implications this might have!

web!martin. lol people are so stupid for thinking that the theory is at all plausible, media comprehension much? that would lichrally imply that a queer, poor, mentally ill character might be capable of badness. what do you mean we are currently listening to an arc where he's an accomplice to serial murder.

#transmasc-wizard #answered #tma

156 notes · View notes

clockwayswrites · 10 months

Text

A Broken Sort of Normal Part 7

WC: 1011 Masterpost

After the concussion, Danny started seeing Flash more. It was nice; it was actually really nice. It made Danny realize how alone he had been— how long he had been keeping to himself. When he could manage to be painfully honest with himself, Danny could admit that he had been isolating. He had turned down offers from coworkers and even a few neighbors to be social. It had just been too hard to fathom getting close to anyone when he was still hurting from the loss of Sam, Tucker, and, worst of all, Jazz.

Flash (the younger mostly, but even sometimes the older) didn’t really give him the chance to turn them down. Danny was sure that if he pushed that the heroes would have backed off, but Danny found that he really didn’t want to push them away. It was nice to have people who stopped to check in with him just to see how he was doing.

Questions from Flash the younger started out as post battle check-ups turned to ‘how was your day’s to whatever inane thing was running through the hero’s mind. And there was a lot that ran through the hero’s mind. (Danny tried not to dwell on the fact that he thought of that personality trait as adorable.)

“Dude, no,” Flash bemoaned, leaning against the van as Danny double checked his list that everyone on his team had fully reported in.

“I said what I said,” Danny insisted, head ducked to try and hide his smile. It was just too much fun (and too easy) to rile Flash up.

“No, I refuse to believe that you actually think Ghoulie Girls Two is better than the original game!” Flash said, gesturing wildly. As he spoke his words sped up until they were hard to follow. “The second game lost all of its soul! It was just fan service! Which, yeah, okay so One was fan service too, but it had heart! It had an actual story! Two’s story made no sense!”

“But it set up Three where the other OG creator was back on the project and Three was amazing,” Danny pointed out, tucking his tablet back in his kit.

“Okay, look.” Flash spread his hands. “I won’t argue that Three was amazing. Redeemed the series— pushed it ahead. Introduced Helena who is both amazing trans rep and just plain amazing. Lilly’s arc made me cry. All amazing. But Danny, my dude, you cannot say that because it set up Three that Two is better than One!”

Danny looked up at Flash, blinking innocently. “Well… maybe a little of it is just that I played Two first so it got me into the series… and, well, how much it offended you.”

“I— you troll!”

Laughing, Danny walked away to finish packing up with his coworkers. Being one of the early teams on the site was always hard, but it was rewarding work and Danny found he preferred it over the clean up jobs. They were lucky that there was no need for search and rescue that day; Danny would have felt compelled to stick around. As it was, Danny put out a call on his radio for his team to load up so they could head back. They would have a quick debrief, fill out their reports, restock their kits, and finally be able to head home.

Flash caught Danny before he could pile into the front seat of the van with a gentle hand on his elbow. When Danny turned to him, Flash backed off almost nervously.

“So, um, right. I had an idea? And I was wondering if I could pick you up at your place later tonight for it?” Flash asked in a blur of words.

It took Danny a moment to parse it all. “I— sure? Yeah, okay. I’m going to be a few hours though.”

“Really?” Flash asked, grinning widely. “Yeah! No prob! I’ll grab you at eight— no, nine. Bring a jacket! Bye!”

Danny was left blinking at the spot that Flash used to be, bemused by whatever had just happened.

Flash knocked precisely at nine. It was, in fact, so precisely at nine that Danny had to wonder if Flash had just been standing awkwardly outside the apartment for a few minutes waiting to knock or if the accurate timing was just part of the speed force.

“Hi, Danny,” Flash chirped with a nervous little smile. He was back in the separate mask, though he seemed to be wearing something not that different from his tight super suit under the large Cyborg themed hoodie. He had his Flash themed backpack again and it looked almost over filled.

“Hey, Flash,” Danny said, hoping his smile would calm whatever nerves Flash was having. “Do I get to know the plan?”

“Nope! I mean, not if you trust me? But like, if it’s bothering you to not know the plan I can totally tell you the plan so that you don’t worry, I just thought that maybe it would be a nice surprise, but maybe you don’t like surprises—”

“Flash,” Danny said, cutting off the rambling. “I’m okay not knowing.”

“Okay, okay cool,” Flash said after he took an obvious breath. “Um. Arms or piggyback ride?”

Danny glanced up from putting his shoes on. “Hum?”

“To be carried. I need to run us somewhere.”

“Oh, uh, back I guess?” Maybe it would make him feel less unsteady than being picked up.

“Okay!” Flash said. He bounced eagerly on his toes as he waited for Danny to put on his jacket and lock up. When Danny finally turned to him, Flash handed over his backpack, spun around, and crouched down. “So make sure to hold on tight! Arms and legs both.”

“Sure,” Danny said. He had no intention to even risk being dropped.

He felt a little awkward climbing onto Flash’s back, but the hero seemed perfectly comfortable with it all. Flash gave a little bounce after he was standing, as if to make sure Danny was secure, and then they were off in a blur of light and color.

-----

AN: Aaaaah these two are just so fun to write! They're just so cute. I also always enjoy writing people just being nerds~

(I'm still not very well, so I've been using this fic as my warm-up then poking at LBFD as my brain allows.)

Stay delightful, darlings!

Due to the new post editor and a few other reasons, I no longer tag people. You can be notified in much the same manner by subscribing to the master post here.

#dp x dc #quick death #quick death ship #danny fenton/wally west #abson

737 notes · View notes

theindependenttrentcrimm · 19 days

Text

I want to talk about ace Eddie so I’m going to talk about ace Eddie! this episode was absolutely delicious and I know many many people will tell me that I’m reading too much into this and it is simply what the show said: his catholic guilt. Which is compelling enough already but stick with me.

ace Eddie is so so near and dear to my heart and I enjoy analyzing his arcs and his relationships through that lens. The fact that ABC allows characters to have these candid conversations is !!!

this episode in particular is delicious in terms of ace Eddie (I’m sorry, I’m not wording this wonderfully, it’s been a very bad pain day). He initially says to Buck:

“I got here early to avoid not having sex” and yes, the reason he gives is his catholic guilt. But I also just want to pay attention to the way he was speaking about it after revealing to Buck that he was avoiding being home. He was purposefully using vague, almost immature (in the sense of the way younger people take about sex) language and justifying himself by saying that Christopher was away, so they had time to themselves so naturally… it felt very much like this was how he was supposed to be feeling and what he was supposed to doing because his son was away because they had free time, the natural conclusion to him was that they would have sex.

he also says “Marisol likes to have it in the morning” which, granted, could simply indicate that he prefers it at other times but if we look at it through the perspective of ace!Eddie indicates that they have sex when Marisol wants to rather than when Eddie wants to (if he ever broaches the subject at all). This also lines up with the way he spoke about having sex with Shannon which primarily centered around her desires and his ability to fulfill them rather than his own wants and needs. The discussion with Bobby only further solidified this. He suggests that this is simply Eddie’s reaction to moving too quickly, indicating that there was very little that he had heard about Marisol prior to her moving in. Now, and again I recognize I may be reading too much into it, but for me the way they framed Marisol moving in by opening with them having sex, it reinforces this idea that for Eddie, sex is easy and expected and there’s a natural progression of a relationship that he’s meant to follow (mentioned in his conversation with Bobby). He’s meant to have sex, enjoy sex, ask a girl to move in with him etc.

at any point in time, he could have texted Marisol or gone back to the house and simply told her that he didn’t want to have sex with her just then. If he was seriously concerned that she would be upset or ignore him, that’s a different issue entirely. However, he has so much anxiety over sex and his own role as a man in a relationship that he ignores this idea altogether. He would rather avoid her all day than face the idea of coming home and not being able to provide sex. Sex that he doesn’t even necessarily want. I also think that’s why it’s so important to his character that his restarting with Marisol wasn’t predicated on a sexual encounter but rather on his own terms. It’s the first time that we’ve seen him take the time to say ‘maybe this isn’t necessarily something I’m ready for.’ And it’s WONDERFUL to see that.

Eddie’s relationships and his relationship to sex specifically is something that is incredibly fascinating to me because it screams amatanormativity and over compensating for something you’ve been told you should want and provide. Noted, I don’t necessarily like Eddie and Marisol and I certainly don’t like Marisol’s actress (I truly hope she leaves the series soon). However, I do like what this relationship is teaching Eddie about himself. I like that he’s slowing down and taking the time to think about what he wants rather than what’s expected of him.

#t rambles #911 #911 spoilers #eddie diaz #911 marisol #ace eddie diaz #and I will die on that hill <3 #you guys I may not have totally been in love with this episode but it’s a near thing #there’s so much to dissect and I’m sure so many people have done a much better job #I loved loved loved the henren storyline (side note) they’re such wonderful parents

120 notes · View notes

lurkingshan · 2 months

Text

Japanese QL Corner

ICYMI: There are so many Japanese qls airing weekly, so I’m going to start posting this little round up at the end of each week. Most of these shows are on Gaga and I highly recommend watching!

Tsukuritai Onna to Tabetai Onna 2

Another great batch of episodes this week, as Kasuga and Nomoto settled into dating life, all the gals got together for various food related events, and Nagumo began seeking treatment for her eating disorder. This show is just always so compassionate with its characters, and manages to find interesting conflicts without going for high drama. I am very much enjoying seeing Kasuga and Nomoto figure out how their relationship should look now that they're dating and also how to communicate and respect each other as they make decisions. Kasuga's tendency to let Nomoto steamroll her feels harmless when it's about picking fruit or vegetables, but it won't be when it comes to making decisions about where they live and how to set up their home, so it's great they're addressing it early. It's also awesome to see them expand their circle of friends and deepen their bonds with Yako and Nagumo--I was high key jealous of the curry and s'mores parties. And Nagumo just has my whole heart. When she expressed profound relief at learning there is a name for her illness and ways to treat it, my mind immediately jumped to Rachel Bloom. Looking forward to her healing. I can't believe there is only one more batch of episodes coming, love and gratitude to @furritsubs!

Chaser Game W

I’ll keep this brief. This show was a mess, and not even in a fun way because unfortunately it was also extremely misogynistic. @twig-tea covered the major issues well in her post. Wild that this show aired simultaneously with TsukuTabe, what a dichotomy.

My Strawberry Film

This one is really not grabbing me. It feels kind of slow and muted and uncertain about what it's doing. I am not finding the mystery or the love rhombus compelling, and this week's focus on Hikaru's infatuation with Minami had me yawning and picking up my phone a lot. But it's early, I am hopeful it will pick up some steam.

Sukiyanen Kedo Do Yaro ka

This was a cute episode about Sakae and Soga getting past their initial awkwardness, learning how to communicate with each other, and moving into a more intimate phase of their relationship, and I think I would have loved it if we'd gotten it two weeks ago. This should have been the episode that followed their initial confessions, but instead the show did a two week diversion into love triangle nonsense, and unfortunately, I think it really threw off the pacing and the connection to these characters for me. It just feels too late in the show for this relationship to still feel so new. We haven't had time to settle in with them as a couple, or for them to develop a strong foundation to make us root for them to overcome the coming obstacles in the final arc. Still, this episode had some delightful scenes--Soga finally paying a visit to the sauna was my personal fav, and I also enjoyed the metaphor of Sakae literally catching Soga's love (and knowing @bengiyo would lose it over another important SPORTS moment in bl). This is a show I really want to love, but something just isn't connecting.

Perfect Propose

I love this final episode and I love this show. Hiro quit his job, Kai resolved things with the shop owner and his son, and they finally got on the same page about their relationship and made out about it. 10/10 no notes for this finale. It was lovely to see Hiro finish his project and make a decision to quit the daily grind--I loved, too, that he is still in touch with his former colleagues--and we saw the change in him so quickly. He looked happier, lighter, brighter. His skin was cleared and his crops were watered! And Kai got to have his moment of catharsis too, sharing his fear that he is a burden on others and having Hiro affirm for him that he wants him in his life and he's a help, not a burden. And I loved that we got all that plus a great kiss, a bed scene (with a very cute leg cramp diversion) and a small peek at their new domestic life together. This show makes me happy and it will definitely be one I return to for rewatches.

Ossan's Love Returns

I'm of two minds on this finale. On the one hand, I really loved it as a single episode of the show, was happy with where all the resolutions landed, and was left with a very warm feeling toward the show overall. The cherry blossom scene especially really got me right in the feels; I've loved the progression of Maki and Haruta's relationship this season and I love the way they talk to each other. They have earned themselves a spot on my list of favorite drama couples who I actually believe are going to stay together. I also loved everything about the big chaotic group scene and all these characters coming together to pour love on Haruta; it felt earned after a season of him knocking himself out for all his loved ones. The end joke with Chief moving in next door, and getting a final Maki/Kurosawa battle, was *chef's kiss*. And Takegawa's perfect life partner being a cat? 10/10 no notes. I will be clutching my aroace Takegawa read tightly to my bosom.

On the other hand, the episode reinforced for me that the way we got to a lot of these resolutions didn't feel quite right. In particular, I don't think the way Kurosawa's health scare played out across the back half of the season worked, and I'm not too pleased about spending three episodes in a downbeat, tragic mode for the sake of a simple pun joke. I think the whole plot would have landed a lot better for me if the audience was let in on Kurosawa's mistake at the start and the tone of his overwrought goodbyes was farcical all the way through. Not only would that have maintained the comedic tone of the show, but we could have used that story time to better seed some of the themes of this episode with Haruta's crisis of confidence and yearning for family. I'm pretty much agnostic on Kiku and Izumi; they never sold me on that pairing but I wasn't mad about their ending.

Overall, I am very glad I jumped into this show and enjoyed the watch experience a lot, despite my quibbles with some of the overarching writing choices. The cast is amazing and all the characters make me smile. If they make another season, I'll be watching!

Bonus: Josi teki Saikatsu

I finally watched this drama this week--I held out for awhile hoping to find it in better quality, but no dice, it's 480p in the grey--and despite the potato lens I loved it so much. This is the story of Miki, a transfemme lesbian, just trying to live her life in the way she wants, and all the barriers she comes up against in that pursuit. Our story begins when her childhood friend, Goto, comes looking for his old pal in a moment of desperation and is stunned to see how she's changed. The show is only four short episodes, but they manage to paint a full picture of Miki's life at home, at work, with friends and lovers, and with her estranged family, and show us how she became who she is. Miki is whip smart and perceptive and generous, but also wary of trusting anyone after she's been let down by so many loved ones. I love her so much, and you will too. This story was written by a trans woman and it shows! Brave the 480p and check it out.

#japanese ql corner #tsukuritai onna to tabetai onna #she loves to cook and she loves to eat #chaser game w #my strawberry film #sukiyanen kedo do yaro ka #perfect propose #ossan's love returns #josi teki saikatsu #life as a girl #japanese bl #japanese gl #jdrama

83 notes · View notes

ewingstan · 3 months

Note

any strong opinions on amy dallon

Feel like answering this is the equivalent of inviting a vampire into my home.

If this is just asking how I personally feel about Amy Dallon the character: I'd say she's among the strongest characters wildbow has written. She was used exceptionally well throughout Worm; in her initial interactions with Taylor, her smugness and petty insults help convince the reader to doubt the use of hero/villain as absolute markers of moral standing. As it goes on, and we see more of Amy's home situation, it becomes more clear how much Amy's haughtiness towards the villains comes from her insecurity; a desperate attempt to differentiate herself from them so that she can feel more like she belongs with the Dallons. It humanizes the heroes—stopping Ward from becoming a simple palette swap story where all the heroes are ontologically evil and the villains are brave noble freedom fighters—while making the hero/villain conceptual framework seem all the more ridiculous and destructive.

Later, around the same time Taylor is talking to Sabah and Lily about how "hero" and "villain" are just labels that don't determine one's morality, Amy is having the same realization—and panicking about it, because it means that being a hero doesn't mean she can't be the horrible person she fears she is. Because while she's figure out that hero/villain doesn't necessarily have any metaphysical weight, she's still sure that good person/bad person are clear ontological categories. And if being a hero doesn't just mean you're a good person, then she might really be the person her parent's treatment of her implies she is. She might actually be in danger of acting on those troubling thoughts that surely no good person would have.

In terms of her Ward stuff, I haven't gotten to the big things people had problems with so I can't comment too much. I think Ward Amy is effective as a villain in Victoria's story, but all the plot points of her allying with Goddess and taking command of the prisoners make sense only for a character whose the villain of Victoria's story, and don't make sense for Amy as we saw her in Worm. These plot points are working off the "person who thinks in terms of good and evil and is convinced she's evil" thing without addressing how by the end stage of worm, we'd seen her attitude had changed and that she'd started to move towards seeing people as not being inherently anything. Moreover, the writing kind of reaffirms the belief that some people are just bad people. I might not have that critique if there was more framing like "Amy is behaving this way because she's been told by everyone that she's villainous and so is falling into the expected role," but that's not really a thing in Ward. Hell, its less of a thing than it was in Worm.

There are shitty things Ward Amy does that I can get behind and say "yeah Worm Amy would do that," like going along with Carol's reconciliation plan and then running after Victoria when she leaves. Sure, she wants to resolve that, that's consistent with the original motivation of the wretchening incident. But most of the Amy writing after that, nah. I'm sympathetic to the "That's a different character" claims for everything past arc nine or so. That's her Noelle clone or something palling around with Goddess. Have Amy step out of the plot after the Dot interlude and ride off into the sunset, and let WB do a compelling pathetic-yet-very hatable villain with some other character.

If this is about recent intra-fandom stuff:

You can point out how a character is described in kinda racist language, both to criticize the text and to analyze what the story is doing with that character. Don't see how that's controversial, not sure how that got turned into "you're saying she's black". Authors making a white character read as bad or degenerate by describing them as sharing traits with black/brown stereotypes is a pretty common trope historically, its worth noting it when it happens.

And while I can see why people could get inspired by some aspect of how Amy is made to feel like a degenerate, and run with it by depicting her as literally dirty/pest-ridden or writing her with more taboo kinks, I don't think such depictions are beyond criticism. I might defend some of them on the basis of alternate readings of the character. If you're doing something with it, using Amy to explore something you're really interested in—there's at least a discussion to be had, and maybe something interesting would come if it. But you can't meet an honest critique of the ideas in your work, or a claim that they make already bad parts of her original depiction worse, by saying "its just a joke." Its art about Amy, there's gonna be ideas and messaging that goes along with it, even without you meaning to put them in. Don't fight that, embrace it! We'll all be better shitposters if we consider our shitposts worthy of critique.

#amy dallon #wildbow #parahumans #wardblr #wormblr #leo reads worm #leo reads ward #leo says

124 notes · View notes

psi-spectacular · 1 month

Text

I don't like hazbin hotel (shocker)

A lot of the problems come down to three things: 1. Viv's issue with being unable to let a concept go, 2. Her inability to maintain a consistent tone, and 3. The fact that it only has eight episodes. Look at helluva boss for example. So many villains get cliffhangers that say "oooOoOoOo I'm gonna reappear in another episode, just you wait!!" And they either just don't or the execution is completely flubbed stryker-style. And what is the show supposed to be? Is it a slice of life comedy about imps killing people on the surface? That concept was basically abandoned like five episodes in. A serialized drama about a complex relationship? Nope! the exploration of Blitz and Stolas's toxic relationship is returned to status quo for gag comedy. OOP! We've got two new characters to center the episodes around while abandoning the core cast!

Now look at Hazbin. I really liked the pilots concept! The idea of sinners being redeemed was interesting, the animation was nice, the characters were compelling, and I was really interested to see how they would develop over time and become better people! Then episode one of the new season comes out. Suddenly its about how heaven sucks actually (Off topic but can we talk about how in the opening exposition, Charlie talks about how angels kill demons to keep them from rising against them, and then in the meeting with Adam talks about overpopulation? What's up with that?) and quickly turns into a war against heaven plot.

You know the main concept of the show? Redemption of sinners? Yeah. I can count how many episodes are about that on a couple fingers. And count how many characters are actually there for redemption on two. And there are so many side characters they like to focus on rather than, I don't know, Focus on Charlie?

Thats another problem! Charlie barely has a focus. You'd think, as the main character, she'd get some sort of development, or some kind of arc, or at least more of a personality than "sunshine princess with big dreams". I don't use this word very often or very lightly, but shes very much mary-sue ish. Her obvious issues (IE seemingly weirdly fundamentalist christian ideas on redemption, constant overstepping of boundaries, the fact that she barely seems to put anything into her relationship with Vaggie while Vaggie falls over herself to make sure Charlie's happy, Very visible savior complex) are never discussed or adressed, and the fact that her hotel is based on an idea that doesn't have any evidence of actually even being possible is only ever addressed by antagonists who are supposed to be in the wrong. She doesn't change, she doesn't do much, but still manages to get everyone to sacrifice themselves for a hotel they're supposed to be super attached to. But we're never shown WHY they care.

And don't get me started on the side characters. The V's are only important in 1-2 episodes and never again, Carmilla exists as a plot device, Lucifer's... Lucifer, Adam is a one-note sexist strawman, and they just... Keep introducing characters. Pentious, Cherry, Mimsy, Cannibal town! You care about these characters! You must you must you must!!!! What do you mean you don't know who these characters are? Of course you do! They were in the plot important pilot that you have to get on youtube to watch!

These characters could have been explored so much better if there was more time in the show. Yes, thats the fault of Amazon, but when you're working with constraints, you need to learn how to work within these constraints. Keeping the "Heaven bad, hell good" thing for the second season while leaving the first season to focus on character development would have made the final battle so much more impactful. It's like an anti steven universe. People complain about how much filler steven universe has, but without that "filler" we wouldn't care about the characters as much as we do. Hazbin hotel, on the other hand, is like watching all the "intense, plot important" episodes without any context of who these characters are and why we should care about them.

At some point, when you're working in the industry, you need to learn that you need to trim the fat. Get rid of certain characters and plot points. Kill some characters off if you need. Wait to introduce a concept. If you can only work with a short amount of episodes, focus on making a good story with well developed characters first and a grand finale later. If you can wait, Wait. If you can't, don't. I know there's a second season but I genuinely don't know how it can go from here. Adam's dead, a sinner is redeemed, the hotel was rebuilt bigger and better than ever... what now?

TL;DR Hazbin Hotel reminds me of me and my friends old edgy gods and goddesses discord roleplay from when I was 13 than an actual planned story.

Sorry for the essay. Its honestly painful seeing something I looked forward too for years flop so hard on the execution. I love the concept, the songs, the animation is.... okay, Angel dust is best boy, but everything else is just eh. Mid. It tries to be so grandiose but I just felt bored and very confused throughout the whole thing, and very uncomfortable during episode 4. Its not offensively bad (hell, its barely even as offensive as people say it is) But its just. Not good in my opinion.

#long post #very long post #hazbin critical #hazbin hotel critical #vivziepop critical #vivziepop neg #hazbin hotel neg

82 notes · View notes

medakakurokami · 10 months

Text

I finished over 100 visual novels, here’s a long post with some recommendations

Last month I hit 100 Finished VN’s over on the VNDB and I thought I’d shoot out some recommendations while the Steam Summer Sale is going on (even though some of these aren’t going to be on Steam)

I already have finished up some stragglers and caught some shorter titles so it’s up to 104 Finished, but all the better. I have been reading some VN’s since 2015, but it really became a hobby and a genre I was invested in during Covid lockdown in 2020. I had trouble getting into some of the popular titles, but a couple of games that were lesser known at that time really blew me away that year and I started digging more into the medium. I still have a lot to try out and other classics I’m still interested in trying, but here’s a top 10 I’m confident in recommending to most people, at least the kinda people that would follow this blog. A few of these recommendations are actually multi-part series, but hopefully accessible all around.

Planetarian ($10 on Steam and Switch, ~$5 on sale)

This is a very late entry onto this list but I think it’s an easy recommendation. This is a very short 2-4 hour visual novel that got a well received 2 hour movie adaptation in 2016, but it was strong enough that even while knowing the plot everything still hit hard. It is a story set 30 years after an apocalyptic event destroys most of the world, as a human junk-trader comes across a planetarium with a somehow-still-functional robot named Hoshino still performing her daily duties after 30 years without customers or coworkers. It can come across as a bit saccharine, but it is a quick, well made, and effective tearjerker.

Narcissu 1st & 2nd (Free on Steam)

Narcissu’s first two parts are pretty compelling stories to do with suicidal ideation within the scope of the terminally ill. Which is to say they’re also real tear jerkers, and pretty open about some harsh self-reflective emotions. They both have stellar endings, and can be quite immersive despite the very limited artwork (if the screencap looks weird, the game’s art exists within a narrow strip on the screen, with a sentence or two reading out the story underneath it). Maybe the least accessible on this list, but a $0 price tag makes it easier in some sense to get into.

Umineko no Naku Koro ni / When The Seagulls Cry (~$50 on Steam, $30 on sale)

Umineko you’ve probably already heard of, and here’s me recommending it. Umineko comes in two parts, on Steam referred to as the Questions Arc and the Answers Arc. Despite the split, the overall story follows the events of a certain day on Rokkenjima Island in 1986 as a family meets to discuss their inheritance and their family’s mysteries. Unbeknownst to them they are soon haunted, over and over again, by the revenant of the Golden Witch said to live in the woods of their family’s island.

I’m in the minority of preferring the Questions Arc, where well written and deeply human characters find themselves in deeply inhumane and nonsensical scenarios. The Answers Arc back seats some of that to start delving into an esoteric explosion of clues and backstories, and was still very entertaining even if I was more invested in the episodic stories than the overarching mystery. This may also be seen as inaccessible, $30-50 for a slightly older title and over 140 hours long on average playthroughs, but it is deeply absorbing.

Witch on the Holy Night a.k.a. Mahoyo ($40 on PS4 and Switch)

Mahoyo is me and Nasu’s marriage counselor, it really made me see the good in him. It follows a young witch co-habitating with her magic colleague and the puppy-like boy that unwittingly steps into their world at risk to his own life, just as unexplained apparent murders are witnessed in their town.

This could possibly be a higher level recommendation, though it was apparently intended to have sequels and you can somewhat feel that in the isolated feeling of its main conflict. Despite this, the game is definitely worth experiencing for its classy charm and extremely well made action sequences that at times make you forget you’re not watching a full anime film. It’s also a showcase of Nasu’s strengths in writing character interactions and comedy, and he finally lets Show take over and stops Telling you piles of mage society worldbuilding quite so often. It is also has some of the highest quality production value I’ve ever seen, second maybe to...

Marco and the Galaxy Dragon ($20 on Steam/Switch, less than $10 on sale)

Marco and the Galaxy Dragon is an explosive opera of art, energy, color, and of course music. It follows the orphaned Marco and her dragon compatriot Arco as they hunt for treasure across the cosmos, finding their way to Earth on the hunt for Marco’s mother.

If Umineko’s 140 hours seems steep, Marco has you covered with a quick 6 hour rundown of a rebellious orphan fighting back against her space alien menace to find her own sense of place and identity in the universe, along with ALL the friends she made along the way. If Mahoyo feels like an anime film sometimes, Marco actually just has fully animated FMV cutscenes that are fun as hell and have their own unique artstyle to the VN itself. Thousands of pieces of artwork and a 52-track OST fill the game’s short runtime with no cut corners and and overflow of passion from the devs. Honestly even if you don’t want to read it go buy it, it’s cheap and they earned it.

White Album 2 (You’ll have to be creative to find this one)

This is the only recommendation that’s currently only available in an adults only 18+ Rating for the English translation. That being said, it’s one of the few erotic VN’s that felt justified in its pornographic scenes. The story is split into two releases: Opening Chapter and Closing Chapter.

Opening is a short and powerfully delivered love triangle narrative following Haruki, Setsuna, and Touma as their hastily formed 3-man light music band falls into itself with feelings. It’s charming but gut wrenching and sweeps you into its drama very effectively before kicking you on your ass in the end.

Closing Chapter is a long and drawn out disassembling of their lives as they fail to heal from the wounds of the relationships seen in Opening. It, to great effect, takes the readers own experience with how fun and passionate the Opening Chapter was, and shows how trying to cling to halcyon days can make us so dispassionate about our present lives. Painful stuff! Good music, too.

The Princess, The Stray Cat, and Matters of the Heart 1 & 2

a.k.a. Noratoto ($40 on Steam for both, ~$15 for both on sale)

This is a very personal recommendation, and maybe one more easy to make on this blog where many of my followers might be receptive to sincere but slapstick ecchi comedy as art. Every route is highly different however and to me, some are pretty average for galge, while others stand out as amazing. The comedy writing as well feels like it was written by someone with actual comic writing experience, and not just regurgitating the usual ecchi manga jokes.

The general premise of Noratoto is the protagonist Nora, being transformed into a cat by Patricia the princess of the Netherworld, and he must reverse this curse via a kiss before it becomes permanent. A benign fairy tale premise, but one that somehow gives way to underlying stories about existence and finding purpose in families and where that leaves those without families or with abusive or divided families (it is from the same developers as Marco and the Galaxy Dragon, and the themes of finding identity without family match up very closely). Uniquely it is a visual novel written somewhat in 3rd person, narrated by a motherly voice as if the VN was being read to you as a bedtime story.

Like I said, it is dependent on route and some come across as your usual ecchi gal-game schtick, but some stick out, and if every route was as high quality as Nobuchina’s in the 2nd game, it would probably be my favorite visual novel.

The Original Ace Attorney Trilogy ($30 on most platforms, $10 on sale)

You’ve almost certainly heard of Ace Attorney already and have most likely played it. This is me telling any Ace Attorney fans reading that the original trilogy still reigns supreme (regardless of Turnabout Big Top). This is also me telling anyone who has held out on trying Ace Attorney to try it, and to start with the original trilogy.

Obviously this trilogy follows the Meme Man Himself, Phoenix Wright, as he defends the innocent and brings the guilty to justice acting as both lawyer and his own main investigator. While each case presents a unique mystery, the original trilogy has an underlying arc that reaches from beginning to end with a massive conspiracy that Phoenix has to breach to bring justice to the perpetrators and resolve the memory and regrets of his beloved mentor.

These games have some speedbumps as you may be banging your head against the wall trying to find the right evidence, but the experience that breaks through does so with gusto, succeeding on what it sets out to be: games that make you feel like you’ve brought justice to the world.

Utawarerumono Trilogy ($40/60 each on Steam, trilogy bundle $62 on sale)

Utawarerumono was my first proper visual novel, and it set the standards pretty high. I’ve posted about it several times in the last few years, and it remains one of my favorites. It is a labor of love on the part of the developers (the same developers as White Album 2), who developed the latter two games over the course of several years and have made this the spearhead of their company for the time being. Which makes sense, since it is about war.

The first game follows a masked man who is given the name Hakuoro waking up in a rural village with amnesia, confused about the strange population of beast-men living there. Despite not understanding his situation, his ingenuity brings the village prosperity. When the local lords try to put the village under their thumb, Hakuoro and the villagers are able to turn the tides against them. Their village grows into a kingdom as Hakuoro seeks the mysteries of himself and the world around him.

The latter two games pick up some twenty years after the conclusion of the first, and follow a man who is given the name Haku, waking up in the woods with amnesia confused about the... you get it. He is met by Kuon, a young girl on her way traveling to the capital of their nation of Yamato. Haku graciously accepts her help getting out of the cold woods, and decides to join her to the capital. As events play out, Haku finds himself under the direct command of the nation’s leader the Mikado, and carries out missions on his behalf as the nation continues to drag itself into war and conflict and Haku also seeks the truth of his identity.

These games are expansive in scope while still putting a large focus on the day-to-day lives of its characters. Around 100 hours across all three games it is impressive how much story it manages to fit in, but the pacing does bounce around between sweeping conflict and sleepy conversations. It is also in part, a strategy RPG game with the battles in the war being controlled by the player. These are decently made, especially well in the third game, but don’t ask too much of the player and the story remains the main focus and biggest portion of the runtime.

The House In Fata Morgana a.k.a. Fatamoru

($40 complete version on PS4/Switch, ~$40 main game + expansion on Steam)

I’ve gushed about this enough on this tumblr, I’ll keep it brief.

You are a formless soul who is led by the hand of a mysterious maid through the doors of a mansion on an unknown plane of existence. Through each door lies a story of the house in a different era, all following people bound together in ways that leave them cruelly and violently undone by the end of their stories. The connection between these stories, the mystery of the house and the supposed witch that resides within, and the mystery of You the wandering soul all slowly unravel in a bloody show of catharsis and soul. The game is dripping with traumatic poetic text, grating beautiful music, and all of its atmosphere geared toward being oppressive yet enticing. One of the best things I’ve read.

Honorable mentions:

Va-11 Hall-A and Endless Mondays get shout outs as some of the best Original English Language VN’s I’ve read, with cool artstyles and a mature cast they manage to be fun and relatable. Va-11 Hall-A delivers a great arc for its protagonist and Endless Mondays has great dialogue on the threat of automation of creative industries.

Grisaia Trilogy and Hatsumira are both absolutely raucous trilogies that are a lot of fun. Not wholly recommendable to all, Grisaia has some strong moments and a hilarious unique cast but is a mess overall (but we love Michiru). Hatsumira is a bit more consistent, a more stable and fantasy-oriented Grisaia.

A.I. The Somnium Files duology are detective games with highly divisive endings, but great comedy and characters that make them very easy to get through and enjoy the whole way to the end. It’s just a toss-up whether you’ll like that ending.

Sakura Wars games are finally being translated, and they are a great showing for anyone who wants to try some classic dating sim stuff but with some pizazz thrown in with the setting and mecha combat.

The Tears to Tiara duology by the same developers of Utawarerumono and White Album is also one to keep an eye out for. The first game's definitive version isn't available in English and the second game is stuck on the PS3 and no longer available digitally, but if they ever come out on Steam they are worth your time.

Nanairo Reincarnation and Kinkoi: Golden Loveriche are also two solid ecchi comedy galge. Both have surprisingly deep and genuinely heartbreaking underlying mysteries and conclusions.

I still have a lot I wanna read, Planetarian is the only Key novel I’ve read. On the docket are Labyrinth of Galleria, Little Busters, the 9 -nine- series, and Kara no Shoujo and White Album 1 releasing on Steam this year. Some classics I didn’t mention are Fate/Stay Night, Muv Luv, Steins Gate. Muv Luv I read Extra and enjoyed it, but never pulled the trigger on reading the rest, I may at some point on a whim. Steins;Gate I played through half of on PS3 and now my PS3 is in the closet, the VN is really good and has a unique atmosphere to the anime, buuuuuuut knowing the plot has made it hard to want to restart on PC or another console. Steins;Gate is good, if anyone is reading this far and hasn’t seen the anime or read the VN, do it.

#long post #i'll only tag the main ones #planetarian #narcissu #umineko #witch on the holy night #marco and the galaxy dragon #white album 2 #the princess the stray cat and matters of the heart #noratoto #ace attorney #utawarerumono #the house in fata morgana

379 notes · View notes

canyourfavesurvivecastledracula · 2 months

Note

Can Amos Burton from The Expanse survive Castle Dracula?

I say yes on principle, but here are some more specific justifications:

1. Amos accepts that the universe has some weird shit in it and he hasn't seen most of it. He pretty much rolls with the supernatural the whole series.

2. He spends a whole plot arc growing a beard, so I'm going with shaving is optional.

3. He would definitely accept the crucifix from the old lady. He knows better than to refuse a gift from an elder.

4. He would probably go exploring after being told not to if there was a compelling reason like children in danger or the opportunity to punch people. He might go exploring if it sounded like he could have some solitude. But mostly he would go exploring to protect James Holden, who definitely went exploring after being told not to and has already died but Amos doesn't know that yet.

5. He's not a conversationalist, he's a fighter. Does Dracula enjoy sparring? Then Amos might keep him entertained?

6. His facility for free climbing is A++. He once broke out of an underground supermax prison by climbing out through the elevator shaft.

7. I believe that he would choose to be eaten by wolves. Just seems more his style.

The only sticking point is that he would never allow a baby to come to harm. He would kill everyone for that, even if he dies in the process.

There's also a twist with end-series Amos, but it's big spoilers, so I'll just say in that matchup, Dracula doesn't stand a chance.

I think you've just told me that Amos cannot survive Castle Dracula because he'll choose to get eaten by wolves instead...

I agree that Amos will roll will the supernatural - whatever weird mystical bs is going on is not his job to figure out. Guy climbing down a wall head first? Okay. The flipside of this though is that he's not going to play Dracula's games. And between those two things I just don't think he's very interesting to Dracula. Dracula makes the same mistake as everyone else - interpreting Amos as a disposable meathead.

It's been a while and I don't know the late series spoiler (so thank you for obscuring it), but based on vibes I would be open to the possibility that Amos might be less susceptible to mesmerism than your average solicitor - his brain is put together a bit differently. Which is bad for him actually because it puts him in the position of being able to actually try to rescue the babies. Jonathan can't because the first time he's in a trance and the second time the door is locked; if either of those fails to be a barrier for Amos such that he's actually able to start punching vampires about it then I expect he'll go down swinging.

The trouble with Amos is that he also sees himself as a disposable meathead. He's not committed to his own survival at any cost, though he can endure the hardships and will pick himself in a "you or me" situation (...depending on the "you" I suppose). I don't see him crying on the floor saying "shut the door, I will wait till morning." As you say he's more the type to be like "alright wolves, I guess we're doing this. May the best killer win." Amos would get eaten by wolves with no hard feelings. Something something self recognition through the Other (wolves eating you).

Also feel free to correct me if I've missed the mark - my knowledge of the Expanse is several years out of date, but I do remember Amos was quickly becoming my favorite.

Anyway yeah, it seems to be falling out that Amos Burton from the Expanse can not survive Castle Dracula. Unless maybe he's got some really compelling reason to (say, people in another castle to rescue)

#the expanse #amos burton #spacemen #soldiers and warriors

88 notes · View notes

magicaldragons · 5 months

Text

'in the name of pain and outrage'

an analysis of the ending

I say this with utmost love, but episode 16 was a shitshow.

i walked into this show accepting it at face value – a show that would take itself lightly, with a compelling subplot marinated in humor, and a dose of sweet romance.

this show tried to include very mature, sobering themes with slapstick humor, which is definitely possible if balanced properly, but i feel this show was not able to achieve this the way do bong soon or others could.

to get some of the discrepancies out of the way:

they never told us that the women's senses were connected, geum joo should not have been able to feel namsoon's thirst – that's something they abruptly added to fuel the tension of the situation.

there is absolutely no reason nam soon would react like that to the drug, when you compare it to how every other user was affected by it.

the strength exerted by gil-joongan did not feel like enough to knock her out like that

and with how easy it would've been to leave the situation, it's very obvious that nam soon taking the drug was an ill-planned way to raise the stakes and increase suspense

the homeless couple truly had nothing of value to add to the show or it's message

none of the show's themes or messages were delivered properly towards the end, and it went against everything it preached.

the immediate tone change after ryu si-o's death did not do any justice to the effort put into his characterization

i do not understand how nam soon became a cop, all technicalities considered

why was she throwing humans out a window from the second floor, even if they're criminals??

they REALLY cheapened the whole marriage conversation by bringing money, property, and heirs into it. that was NOT romantic or wholesome. hee-sik deserves better parents, tf.

side note: i'm pretty disappointed with namsoon's character arc, but lee yoo mi worked within the purview of the script to give us honestly wonderful acting, especially in episode 15.

now, to get into the ending, i'll start with this:

what we got, felt like an empty victory. hollow and out of place.

i've always been an advocate for all parts of a show coming together to create an experience – there's usually no single keystone.

but as soon as si-o died, the rest of the episode felt like a blur, with all loose ends being succinctly wrapped up and prepared for season three. byeon woo seok, and his characterization really carried the show as a unit, and added to its cohesiveness. i did not find myself rooting for geum joo and nam soon's successes afterwards

because they had failed the ONE thing most of us had been hoping for them to do:

to save people who were victims of oppression from those with the power of money, and empower them, including to save si-o from his oppressors, and help him take down pavel.

there is no satisfaction in geum joo doing it by herself, because she has no emotional investment in destroying pavel.

losing hwaja and si-o, watching namsoon & heesik become one dimensional all of a sudden, and seeing tertiary unrelated characters having their loose ends tied, is extremely unsatisfactory – for a show that had an incredible cast and so much potential.

at the same time: i loved the portreyal of gil joongan's mission to help the elderly and her enthusiasm for her future, and the addition of binbin + looking into their past from an additional angle also really elevated the emotional context of si-o's character arc.

i loved each character, truly, and to not see the plot and writers give them the detail and care they deserve, is wholly disappointing.

the show took me on a whole journey, emotionally,,,but to know exactly what would make it better, and be aware of its discrepancies makes me grieve the potential it had to truly leave an impact on its viewers, with a solid takeaway message.

#there are so many thoughts in my head #but it's messy #just like episode 16 #strong girl nam soon #ryu sio #byeon woo seok #gang namsoon #lee yoo mi #kang heesik #ong seongwoo #kdrama

79 notes · View notes

masterjedilenawrites · 5 months

Note

Okay, hear me out....grumpy reader/Fives for the sunshine/grumpy prompt list. My favorite is "don't make this weird...but I saw this in the store and got it for you. Figured you'd like it."

Fives x grumpy!reader | 1k words

Content: a light and fluffy piece, a little bit of yearning, a nice hug, reader is on the grumpier side (and also a chef, random idea that popped in my head)

What were you doing?

You'd asked yourself that a dozen times now as you made your way back to the ship, almost stopping each time to throw the gift bag into the bushes. You weren't a person who bought gifts. That was lame. You didn't even get gifts on most holidays, let alone on a random day in the middle of the year for no reason other than you saw something and it reminded you of someone else and the thought of his face lighting up when you gave it to him compelled you to go ahead and buy it.

Yeah, lame.

You stifled a groan at the thought of how badly you'd be teased for this. Of course Fives would love the gift, and he'd show it off to everyone, and then they'd make fun of you, probably say you'd have a crush or something stupid. You paused in the road again and just stared at the bag, considering every life choice you'd made up that had brought you to this point.

"What's cookin, good lookin?"

Five's familiar voice rang out from down the road as he caught sight of you standing there. He used that ridiculous line to greet you every time, making you regret ever becoming a cook for the GAR in the first place.

"Hi Fives." You were quick to hide the little gift bag behind your back, but not quick enough for the ARC trooper. He was practically bounding down to the road toward you. No amount of subtle maneuvering would've escaped his notice.

"What's that?" he pulled up a few feet in front of you, smirking as he eyed you.

"What's what?" you tried playing it off.

"That bag in your hands."

Your resting face held a frown, which only deepened as you were caught red handed. There was no backtracking anymore, no ditching the gift and pretending it'd never happened. You'd have to give it to him and face the consequences now.

"Oh, yeah, this." You reluctantly brought the bag around in front of you, looked down at it for a moment, and then relented with a sigh. "Okay, don't make this weird... but I saw this in the store and got it for you. Figured you'd like it."

You practically pushed the bag right into him, eager to just get rid of it.

As predicted, Fives was already getting worked up in delight. "Wait, what? You got me a gift?"

He reached in and grabbed the wad of tissue paper and tossed it aside, and then he brought out the little trinket that lay within.

"No way, a river whale?!"

It was a little ceramic figurine of the planet's rare river whale, an animal Fives had been desperate to try and find during their short mission here, but with no luck. You'd only gone into town to return the grill you'd borrowed from a local cook before the ship took off. It had seemed like fate to find a last minute replacement for Fives' dream. The figurine was hand-painted and had cute little beads set in for eyes. It even had a ribbon loop fastened on the top, to be hung like an ornament.

Fives was teetering between beaming with joy and what you feared were actual tears. He was like a kid who'd gotten exactly what he wanted for Christmas.

"Kriff, cookie, you're the best!" he exclaimed with a wobbly voice. You had to ignore that heinous nickname just like you did the other silly little sayings he had with you.

"I said don't make this weird," you grumbled just as he rushed up to hug you. You squirmed at first in his tight embrace, but after a few moments, relaxed a bit and brought an awkward hand up to pat his arm. You would never admit how often you wished the man would hug you like this... among other things.

He let go of you far too soon and brought the gift back up to admire it. It hung from the ribbon off his finger and spun prettily in the sunlight.

"I shall name you... whale-y," he said to it.

You rolled your eyes. "Seriously?"

"Too on the nose?" Fives scrunched up his face in a show of serious consideration. "Hm, what about, bead-y? 'Cause of his eyes."

You just shook your head at him.

"What? Names are hard." He dangled the figurine in front of you. "You name it, then."

"No."

"Come on, he needs a name! Look at him!" He jiggled the ribbon a little so the whale shook in front of you. "Please name me, cookie," he said in a mocked voice of the thing.

You sighed. "I don't know... Willy."

Fives grinned. "Willy it is!"

He continued to laugh as you continued to glare. You would never understand this man and all his silliness and good humoredness. But boy did you like him anyway.

Fives tucked the little figure into one of his belt pockets. "I won't tell anyone, you know."

"Huh?"

"I know you don't like it when you're at the center of attention," he shrugged. He still seemed happy, but some of his energy had settled down into something much softer. "And I know you don't like getting compliments, but uh... this was really nice of you."

"Oh."

You stood there awkwardly. He was right, you didn't like compliments; you had no idea what to do with them.

"We can keep this moment between us," he offered with a small smile.

You nodded shyly back, still not sure what to say. Your heart seemed to be doubling in size, pushing against your chest in a painful but pleasant way.

"Um, I mean..." you tried saying something, finding the words as you went along. "You don't have to hide it or anything. You could hang it in your bunk if you want. Or somewhere else. Anywhere you want, really. It's your gift. So... you know...."

Fives started laughing again, a lower chuckle that showed he was amused but wouldn't make fun of you for it. He saddled up next to you, slung an arm across your shoulders, and started leading you back to the ship.

"Alright, I think I will hang it in my bunk, then. And I'll think of you whenever I see it."

You were grateful he couldn't see the blush that started lining your cheeks. Maybe getting him a gift wasn't such a lame thing after all.

Every Character Tag: @dangerousstrawberrypie, @justanothersadperson93, @arctrooper69, @sleepycreativewriter, @techie-bear, @theroguesully

Clone Bois Tag: @kaijusplotch, @rebel-finn, @lucyysthings, @marvel-starwars-nerd, @nekotaetae, @severalseashellsbytheseashore, @lackofhonor, @flowered-bicycles, @foodmoneyandcats

✨Join A Tag List Here!✨

🍾 One Shot Master List | 🌙 Master List of Master Lists

#star wars #the clone wars #clones #fives #arc trooper fives #ct 5555 #fives x reader #grumpy sunshine trope #gift giving #fluff #one shot

135 notes · View notes

aroaceleovaldez · 1 year

Text

Tumblr kept breaking when I tried to reply to the ask about this since the post is too long, so answering this here finally:

A non-comprehensive list of misc things I’d change in HoO, since apparently people wanted me to elaborate further (Re: [This post]). Semi-off the top of my head since I don’t feel like re-reading all of HoO with notations right now. Also this will be followed up by a Things I Would Change About TOA post as well at some point, since that was also requested and kept breaking, but my brain is exhausted from getting this post set up so that will wait. I will link it [here] when I complete it.

Going under a read-more cause it’s very long. Literally Tumblr crashed like three times while I was trying to answer the original ask:

As said before (and what is a given):

1. Goes without saying - fix all the distasteful offensive character descriptions/traits. Similarly, fix the whole "these characters inexplicably look down upon their cultures" cause that's stupid and it's really annoying every time one of the Argo 2 crew brings up something about their cultures only to immediately go "but THAT'S SILLY and WEIRD."

2. Remove Calypso from the active plot, rather than the current canon retconning that doesn’t work saying that she was never actually released from Ogygia like she was supposed to be. There's no excuse for why she wasn't, unless it's supposed to be the gods sent Leo to release her to fulfill that promise, but that's not really implied to be the case at all. There's no excuse for the Olympians to just go back on their promise, since Hephaestus is established to visit Calypso regularly and basically is her only friend. It isn’t the type of thing he’d let be overlooked given all the characterization we know about Hephaestus, and given they are explicitly friends it can’t be that Olympus just “forgot” either. Also Calypso doesn't actually add anything to the plot of HoO or TOA besides serving as a love interest for Leo (not even a motive, just a love interest that "fixes him,” because he already has motive in saving Jason from being the hero of the prophecy and helping save the Argo 2 crew/camp/etc from Gaea etc etc. Leo's romance arc completely derails the established depressive spiral/destructive character arc that's been set up for him and it basically ruins Leo's entire character. He's a tragic character! Let him be tragic until he's done being tragic and then the end of BoO and TOA can be him starting his recovery arc! (I have some thoughts for how Calypso could work removed from HoO but an active character in TOA but that’ll be for the TOA post.)

If Leo still ends up on Ogygia, then have it be clear that Calypso's already left and the island is abandoned (which imo is WAY more narratively compelling for readers of the first series, because you already know the context of the island, but for readers who don't have that context it leads to this being an interesting mystery - who was Calypso? What was this island and why do all the signs/notes left by her imply she wasn't always alone but usually was and was desperate to leave?) and Leo has to collect the scraps left behind to build an escape for himself while he goes through a fun identity crisis. At some point maybe Hephaestus shows up and Leo gets an interaction with his dad that probably does not help his identity crisis and then he goes back to the Argo 2 to have a further identity crisis about how the rest of the crew got along in his absence (a good identity crisis or a bad identity crisis? depends on how they did without him! you decide! I personally like "they managed okay" and Leo feels Really Horrible About That Cause It Feels To Him Like They Don't Need Him. I like Leo's tragic arc, okay? It's compelling.) Iirc Leo’s also the only member of the Seven who doesn’t get to have some kind of direct conversation with their godly parent, at least in-person, so yknow. It’d be nice to have. Also if you want Aro/ace Leo Valdez this is the perfect spot to put it while he's having his identity crisis on Kiss Kiss Fall In Love Island, or when he gets back.

3. Jason's stab wound in BoO is not healed by the Power Of Friendship, and instead they use the Physician's Cure for that so it doesn't feel like they're literally deus ex machina-ing their way to cheating death like 3 times in the same book. It makes more sense to use Potion Of Don't Die on Wound Of Excruciatingly Painfully Slowly Killing You instead of Whoops You're Already Dead, Just Get Better. Ctrl+Z That Real Quick.

Given they already used the Physician’s Cure on Jason, Leo doesn’t die/get revived at the end of BoO. Instead he just almost dies, probably lands in CHB’s woods somewhere, and is found and patched up with the series ending on him being on the mend and starting on the path to healing and getting help for his Numerous Issues that he was putting off for The Entire Series. Which parallels nicely to Nico basically having the same thing (overexerting his powers to near death, ends series getting medical treatment/being on the mend and the indication that he’s moving on to a happier period of his life). Again, grand happy ending rather than aggravating fake-out.

Further notes:

- Heavily tweak Ella's character cause I get what Rick was going for, but the execution is… not awesome! Please, there's already so much ableism in HoO just. hmm. We can do better.

- Jason and Piper break up in HoO, probably around MoA when they start seeing Percy and Annabeth interacting and after they’ve had time to hang out with each other and realize their arranged relationship is Kind Of Fucked Up, Actually. (Probably something something them having gotten to spend time actually getting to know each other between TLH and MOA while they’re both at camp.) They have no problems with each other specifically and do genuinely like each other, but it just gets really awkward given all the memory manipulation and being set up as a "picture perfect couple" - emphasizing stuff like them both being children of really famous movie stars in their universe, or Jason as a son of Jupiter/Jove (an "all-father" type god) [and Juno - mother figure goddess and goddess of marriage]/"son of Rome" and Piper as a daughter of Aphrodite (goddess of love, also Aphrodite/Venus indirectly is associated as a sort of "mother of Rome" due to Aeneas). They just feel like they have too many expectations being put on their relationship and even though they do both like each other it feels too forced for them, but they’re comfortable staying just friends. This just gives way more opportunity for low-stakes character conflict among the Argo II crew outside of Monster Of The Week Chapter so things don’t feel unreasonably busy and chaotic and we actually get some consistent development. Just a nice mini-arc to follow in the downtime. Also while we’re here, more directly establish Piper’s bisexuality earlier on. If she’s already having an arc where she’s contemplating her romantic life, throw in a couple of nods to like “Piper thinking about her old childhood crush on Shel, the kid of a family friend she’d see when her and her dad visited Oklahoma” or something. Literally anything just to establish some kind of set-up to her getting a girlfriend later. Just for consistency’s sake.

- Bunkernine has a very good post about wishing the Argo II didn't have the magic plates from CHB, which I agree with in concept. Like I was just saying, MoA through BoO lacks a lot of little moments where we get to really focus in on the characters, probably in part because Rick was struggling to juggle so many parties given this was his first foray into writing a major cast that size. We can definitely cut out a lot of the random unnecessary fights and dramatic moments that don't really do anything for the plot and instead replace them with little moments of casual life on the Argo II - the scenes like those that do exist in HoO are some of HoO's most memorable moments to me! And they'd help a lot with how the characters never felt fully and properly fleshed-out. Let them exist as a cohesive group without two-to-three of them being absent at any given time! I don't think we necessarily have to remove the magic plates entirely because they do solve a fundamental problem ("where are these kids getting food?") but like, there is nothing stopping them from still cooking and just using the plates to get ingredients! Let these kids bake or something! Even just for fun! Though also I have personal headcanons about the Argo II crew's cooking skills and I really like the concept of like, during HoH or something at like 3am everybody hears something and they all suspiciously shuffle into the mess hall. And it’s just half-dead Nico standing there in his PJs making food for himself because Dammit They're IN VENICE and he’s FROM VENICE and they DON’T HAVE TIME TO STOP AT HIS OLD FAVORITE RESTAURANTS THAT MAY OR MAY NOT STILL EXIST and he Hasn't Had A Proper Meal In Weeks so By The Gods He Will Make His Mom's Old Recipes At 3am before he keels over from this quest. He just stares at everybody and goes "What are you all looking at. go away." and the rest of the crew just shuffles away awkwardly and leaves him to it. (Is Nico’s 3am meal actually good? Who knows. It is left a mystery.)

- Tweak the god characterizations. Remove the "gods splitting" thing and maybe play more with different aspects of gods/verisons of gods across history/city-states/etc presenting themselves instead. The Roman gods are not wholly equivilent to the Greek gods and it's actually really interesting from a historical perspective, and I think there's a lot you could do with that but instead it gets flatted in HoO which is sad to me. Just generally though, with the god characterizations, like. [uncomfortable pagan noises]. Which is almost impressive because it is difficult to write the Greco-Roman pantheons poorly since a good portion of them are basically just very complicated metaphors turned into personifications and characters. So they work fine for narrative purposes when applied accordingly, and yet! and yet!! Rick managed it! He managed to really bungle it in HoO and TOA. Because instead of leaning into the aspects of metaphors and dynamic characters he just fell into 2D tropes, gimmicks, and stereotypes. Off the top of my head the only deities written Okay in HoO is like. Hades/Pluto and Thanatos. (even Chiron in TOA is extremely lackluster, it's sad.) In the first series it ranges from “okay” to “actually really interesting” so it’s sad to see that drop-off and I would like it to be fixed.

Some potential examples for this: Play with the historical ties combo of like, Athena, Minerva, Enyo, Bellona, and etc! Annabeth and Reyna parallels! if the first 2 books are about the trios, let MoA be about Annabeth and Reyna and both their connections to Athena(/Bellona). Let Reyna be a second half in the Athena prophecy! It'd be cool and fit with her thematically and would set-up the whole Getting-Blessed-By-Athena thing later in BoO and make that scene feel so much cooler!

- Also retcon the whole "Hestia appears as an 8 year old for no reason" thing. And maybe also Artemis only appearing as a teen, because while Artemis has a mythological excuse, Hestia doesn't, so it just feels weird and at worst comes off as a little aphobic (depicting a character who explicitly is uninterested in relationships/romantic love as a child despite them being an immortal god with no basis for appearing as a child or even being comparatively young to other gods) with how it relates to aphobic tropes about disinterest in romance being "childish".

- Remove the "no children of Minerva" thing. Also maybe emphasize the aro/ace vibes there cause Athena being implied to be the only ace character in the entire series who a.) isn't literally a child/teen nor appears as one, and/or b.) hasn't had an unfortunate relationship that makes them disinterested in romance, but also at the same time being the only one out of herself/Hestia/Artemis to have relationships of some sort (having kids, implied to possibly be romantic but unclear) issss bad! actually! Bad tropes, don't like that. (Again aphobic tropes of disinterest in romance being “childish” and something that can be grown out of, or a result of trauma. Also it feels weird that the only a-spec characters in the series are all women. Can we have a male a-spec character please.) Just let Athena be aro/ace and vibing and occasionally having brain children cause she can do what she wants and everyone is aware of this and chill with it (And being a-spec doesn’t mean she’d be disinterested in having kids). Also maybe make her feel less cold cause "a-spec character is cold and loveless" is also an aphobic trope that PJO!Athena falls into, actually.

- Speaking of aphobic tropes, fix the Hunters! Please. Please just redo the Hunters of Artemis entirely. Holy cow. I wrote up an entire alternate oath/rules set for the Hunt because it's just so weird and poorly done. There were male Hunters of Artemis in Greek Mythology! Multiple! And most of them were chill! The "swearing off all romance" thing is also questionable, because depending on what versions of myths you’re looking at it’s potentially implied the Hunters had romantic relationships among themselves. And in Greek Mythology all the Hunters were definitely not all pre-teens. And it feels especially bad that the only adult Hunters we ever see are explicitly ex-Hunters who are heavily implied to be not ace and definitely aren't aro and are also implied to have "grown out of" being disinterested in romance. (That gagging noise you hear is me being sick of how many aphobic tropes the Hunters are juggling).

The version of the Hunters i have written up is, and I quote (from my notes): "Hunters can be any age, species, and gender identity (so long as they are comfortable enough being occasionally referred to as “Huntresses,” “Sisters,” “Maidens,” and etc). Relationships between Hunters are allowed so long as it will not endanger/distract from the Hunt or endanger any other Huntresses. Having a child is not allowed within the Hunt and any Huntresses who wish to do so must leave (purely because having a pregnant person/young child on the Hunt is dangerous, and safety is the number one priority - especially as Artemis is a protector of youth and goddess of childbirth. Once they turn like, 12 they can join, that’s fine. Everyone knows middle schoolers are the optimal combination of bloodthirstiness and ability to wield a weapon)." Also, just as like, a side-thing, I wanna see a clear-sighted mortal Huntress, because we're told thats a thing but we never see them. Closest we get is like ancient semi-immortals and Technical Nymphs, or other Huntresses who are of unspecified mortal/demigod status.

- Similar deal - fix the Amazons. they're… better but still a little wonky.

- Some slight tweaks to the Cupid Scene - Nico still has a confrontation with Cupid cause that is a very compelling scene that works well for Nico's character and informs a lot about him (and serves a purpose in a very meta way - not so much for the plot but reflecting something the first series did occasionally which was a kind of showing an example of a situation, usually a negative situation that either mirrors or directly references a type of situation a kid may find themself in, and explains and shows sympathy for the character being hurt in that situation. Which is notable because the demographic for the series is young middle schoolers and particularly neurodivergent kids, who are probably approaching a lot of new social situations or may struggle with empathy. It acts as an introduction to “unfortunately this is a bad thing that happens sometimes, and it hurts people, which is why you should be nice to this kid. Look at beloved character. Here’s an elaboration on why they’re hurt so you can understand.” So for the purposes of that, the scene of Nico getting outed would likely remain, but it would still keep the very overt “WOW THIS SUCKS, THIS IS A BAD SITUATION.” stuff) Most of the tweaks are just slight adjustments to minor prelude dialogue and/or setting, like. Jason does not forget that being gay is a thing for a second. And etc. But Nico having a very literal metaphorical conflict about grappling with how he views the concept of love by LITERALLY GETTING KICKED AROUND BY THE GOD OF LOVE is actually kinda badass from a narrative analysis perspective. This is exactly what i meant in the previous bullet points about the gods in a lot of myths and classical stories playing the roles of personifications of metaphors and that being used well. Admittedly I'm 50/50 on tweaking Cupid's general attitude in the scene itself, because a more hostile Cupid lends itself better to the meta use of the scene as described before but a more sympathetic-to-Nico Cupid who is nonetheless still kicking the shit out of him is interesting from a metaphor standpoint (something something Nico overcoming internalized homophobia but in the very literal form of it’s the god that literally presides over protecting gay love [yes that is an actual thing Eros/Cupid is the god of] beating him up).

- Remove Reyna's “prophecy” entirely. It's stupid and pointless and doesn’t make sense with her character at all. Just say she's ace. There is not a single scene in any of the series that ever indicates that Reyna believes that she can only be happy if she’s in a relationship and that’s some kind of internal struggle she needs to overcome. The closest we ever get is Reyna being upset that her best friend disappeared and when he returns she finds out he had forgotten about her completely. Which does not apply to the “prophecy” at all. We just don’t need it.

- Absence of "a character" can work! Jason's lack of personality and backstory can work but it works best if it's absence is felt and properly explored. This works best if we get more information about Camp Jupiter from SoN and from the other Roman characters, especially Reyna (and maybe even Nico referencing his trips there!) because that inherently informs us about what Jason's life was like there. Have other characters note things about Jason and highlight the fact that this is absent from Jason's own POV! He's lost that part of his life! It was taken from him! That's such an interesting dynamic to have and explore! But we don't get any of that!

Side-note: Part of the problem with Jason's amnesia is that it feels so awkward especially compared to Percy's amnesia because we already know what Percy can't remember. We have the context that informs his character, even though he can't remember it, so that absence is felt and it feels really compelling! Also, Percy is unfamiliar with Camp Jupiter, and we're unfamiliar with Camp Jupiter, so it feels new and interesting (even though we don't actually get much about it so we never actually form any real attachment to it and that's a problem later on in every subsequent scene when we're supposed to care about what happens to Camp Jupiter but we. don't). The reason it doesn't work for Jason is because we don't know what's absent and we already know CHB. Jason also already knows about demigods and stuff, so if you're a new reader starting at HoO it just doesn't work. Because Jason already knows everything and we're being led from his POV primarily for that portion of TLH, and even Piper and Leo's backstories both heavily include being pushed around by Gaea/and or Hera/Juno, so if you aren't familiar with the universe you're just being hurried along and it ends up feeling weak. At least with Percy even if you don't know the contexts of his backstory, we can feel the implications of other characters referencing things about him extremely often, so you feel the weight of his memories being gone, and he doesn't know about the roman gods and you, the reader, aren't expected to know much if anything about it either. We don’t get the full demigod debriefing (but that's also the second book) but we at least get a Camp Jupiter debriefing. The first two books are a bit messy in those specific regards with setting up the camps for the series, and we don’t really see the camps much for the rest of HoO (except for CHB, of course).

This is personally why I stand by that if we ever get a roman series it should be a three-part series from Reyna's POV, because leading with Jason is basically like trying to lead PJatO with Annabeth - a demigod raised in camp and surrounded by the knowledge of this stuff their entire life. It doesn't work as a character who's acting as an introduction to this world for the reader. There's no real clean way to work that out for HoO unfortunately, since literally all our protagonists are given established pasts involving knowledge of Greco-Roman mythology being real and half of them are either already at camp or have been to a different camp. I'd say best solution would probably actually be leading from Piper for TLH and tweak her character set-up slightly in that she Does Not Know What's Going On At All re: Gaea and the Giants. She just knows Something Happened To Her Dad and she's the POV we follow into TLH, because that mirrors Percy in beginning of TLT well (with Sally being kidnapped)! It's a fun call-back for the old readers and a good lead-in for the new readers.

- Fix Nico backstory inconsistencies caused by Rick almost making his birthday in March and confusing himself over it. He's 12 in TLO, 13 in HoO. He was born January 28th, 1929, and got put in the Lotus Hotel and Casino in 1939 (If you wanna be cute, we can specifically say May 1st, 1939, to reference the musical). Hazel is one month older than him chronologically and one year older than him post-revival. Something something also smooth out the inconsistencies about Nico being raised in Italy and how Maria met Hades and stuff. Fill in the rest as you will.

- I do stand by that the entire PJO timeline is not one-to-one with the real world. That's always been a thing with the series. We're basically condensing everything from ~1998 to ~2020 into an 18 year timeline. We don't need to be exact with things. Don't get too bogged down with it.

- Make the whole "injuries caused by celestial bronze/imperial gold for demigods makes their souls self-destruct" thing specifically relating to cursed weapons/materials or feature some more volatile abomination combo weapons like Backbiter (with Backbiter being described as unstable due to being both celestial bronze and mortal steel). (Ex.: the spear used to stab Jason in BoO is just cursed, and maybe Octavian's catapult plan is a "well i put a bunch of mortal steel and imperial gold in a pot and melted them together a bit and now it really wants to explode so im gonna just chuck the entire thing and hope it kills everyone lots and lots <3" which is tbh significantly more dastardly and fucked-up, which makes Octavian a bit more compelling). Having it just be a plain trait of celestial bronze/imperial gold doesn’t make any sense and is only referenced like twice in HoO and never again in basically the entire three series. Again: consistency.

- Make a more prominent reference to the whole "btw there are retired adult Romans just living wherever but they're legally required to help any campers who request aid" thing, cause you could totally do something really fun and cool with that but idk what.

- PICK A THEME! First series theme was family! Second series theme is….. we don’t know! It felt like maybe a theme was intended at some point but we lost it. Forging a new life for one’s self/choosing your own path/etc could be a good theme, or something similar. or found family. or both. We’ve got a bunch of characters absolutely ripe for “I didn’t think i’d get this far and now I have to like, actually consider what i want to do in life. huh” arcs! (Frank! Leo! Hazel! Jason! Percy! Nico!) Do something with that!

- Lean more into the characters having aspects inspired by myths, or legends being mirrored in plot points: 7 against Thebes, the Argonauts, etc etc etc. The first series leaning into it heavily worked really well! More of that! HoO and TOA suffer a lot from lack of mythological basis to lean their plots on, despite there being plenty to work from. It instead just kind of messily mashes random misc myths (haha, alliteration) together into a very incoherent plot. Annabeth is known to be explicitly based off Atalanta, Percy is mostly based off Perseus and Theseus, Leo has loose connections based off of Demophon of Eleusis and possibly also his brother Triptolemus, etc etc. There’s stuff to work with! Poke around at the mythological figures of the original Argo and maybe match them up a bit (though most of the Argonaut myths were used in Sea of Monsters, so focus more on the figures/archetypes rather than just exact myths of what they did. For more plot-things, maybe consider Seven Against Thebes, though admittedly the plot of that is just Kinda Depressing.)

- Slightly related to that - lean into Piper presumably mirroring Orpheus! Or even if she isn’t supposed to, let her do that, because it fits with her thematically SUPER well. Her charmspeak is OP and that needs to be appreciated. In canon she brings Jason back from the brink of death in TLH and just straight up gives Festus a soul/free will/sentience. Let her go Orpheus-mode on everybody. You can even tie that in with the half-hearted snake theme that Rick tried to throw in there that didn’t work at all. We can make this work, just lean into it. It’ll be fun.

- Remove scene of Nico confessing to Percy at end of BoO. it’s just. random and feels sudden and OOC. Give Nico time. You could maybe replace it by having him come out to Reyna on his own terms while they’re on their quest discussing their adventures thus far and them having a very sweet little emotional moment rather than it being a weird out-of-place afterthought comical scene.

- Remove Bob and Damacus. They’re just half-literal dues ex machinas for Percabeth in Tartarus that don’t make sense. It feels extremely cheap and doesn’t fit with the established mythos of either figure (and Bob feels extra awkward without the context of knowing Sword of Hades). If they do run into a figure who helps them out in Tartarus, Arke could possibly be a good option - especially since in SoN Percy meets Iris. There’s a lot potentially you could do there with Percy mistaking her for her twin and stuff like that. If we want a figure to more-so take the role that Bob fills (Nico encouraging an immortal to be sympathetic to Percy and thus indirectly helping him later) that role could be filled by Nyx instead of making her a minor antagonist - imply Nico encountered Nyx in Tartarus or something and she took pity on him as someone who also understands the dark, and he told her about Percy and so Nyx is willing to help Percabeth escape. Plus imagine how COOL a Nyx & her children vs Tartarus/Titans/Giants fight would be. That’d be a significantly more memorable scene than the Tartarus fight scenes we did get. (“Why would Nyx help though?” One of Nyx’s kids is LITERALLY a goddess of friendship [Philotes], we have excuses.)

- On a similar note, this is more of a TSATS thing, but for goodness’ sake STOP THROWING CHARACTERS INTO TARTARUS. You’re overusing it! It only works when we use it sparingly! In fact, just in general Tartarus works better the less we see of it! Nico going through Tartarus once in SoN-MoA, yes, that works! Especially since we have almost no idea what happened to him down there, just that it was Terrifying and Horrible and he Barely Survived. Not going into much detail means we get more out of it. The only exception to that really was when Percy realized that Nico saw Tartarus as it truly was the entire time, because that’s one hell (ha) of a punch to the gut in terms of added information! Percabeth falling into Tartarus in MoA? Eh, fine, sure, because we’ve established that Nico (who is implied to be more resilient to that environment on virtue of being a child of Hades) talked about his experiences down there so they know what to expect and how to survive. Though it does kind of just feel like Rick went “Oh wait hey I can use this to make angst!” and then overused the hell out of it. It feels way weaker in general in HoH because of how much detail we get, because Tartarus has been built up so much until that point that literally anything we get will feel lackluster in comparison, especially with how it kind of feels like Percabeth just. breezed through it with little more difficulty than they’d usually face on their quests. Solangelo jumping into Tartarus in TSATS is honestly just a blatant “Oh boy we can make Solangelo into Percabeth 2!” and it doesn’t work at all because NICO HAS ALREADY BEEN TO TARTARUS.

The only way you could make Nico going into Tartarus two times work is if he fell into Tartarus a second time to replace Percabeth falling down there. Because we’ve established he knows what it’s like down there, he survived it once, and he is actively sparing someone else he cares about from suffering his same fate. And then he can return once again even closer to death and A Little Fucked Up and it turns into a rule of threes where we know “Oh, Nico can’t go back to Tartarus again because if he does he’ll Lose Himself Completely” which is way more interesting than romance angst for the sake of romance angst. Especially since again, we don’t see it, it’s all only implied. Also it then also turns Tartarus into even more of a “Nico is probably the only demigod who could ever even hope to survive Tartarus” which keeps Tartarus as an ominous thing. Percabeth falling into Tartarus lessens that by a lot because it implies that it doesn’t matter that Nico is a child of Hades; that had absolutely no bearing on his ability to survive down there. TL;DR: Stop throwing characters into Tartarus. Either throw Nico in twice in a row and no Percabeth or Nico and Percabeth once only and never touch it again.

- More heavily set up Percy’s emotions/mood/etc being influenced by water around him. If we keep most of Percabeth in Tartaurs, then this would really make the Achlys scene pack a bigger punch. Up until HoH everything is “oh how quirky” but the minute Percy’s surrounded by the rivers of the underworld and the acid/poision you get hit with the “oh shit” realization that Percy Is About To Get SCARY.

- Maybe have Annabeth keep her blindness from Tartarus, or trade Jason having glasses to her having glasses as a result of that, since vision is actually an aspect of Athena so it kind of fits her more, thematically-speaking.

- Change the judo flip percabeth scene in MoA to Annabeth picking Percy up and spinning him around in a hug/swinging him into a dip cause that’s cuter, makes more sense given Percy’s PTSD, and still highlights Annabeth being very strong and showing off in front of the Romans while they’re still being lovey-dovey.

But also, related to that, you could potentially make a sub-arc for Percabeth throughout HoO (so that they actually have like. some type of character development that fits them rather than them feeling stagnant the entire time) about Annabeth learning she doesn’t know as much about Percy as she thought (learning about Gabe [since as far as we know she actually doesn't know much if anything about that!], seeing his behavior change with different types of water, etc) kicked off by the judo flip scene, and possibly vice versa (Percy learning more about Annabeth’s time spent traveling with Thalia and Luke, growing up at CHB, her relationship with Athena and other campers at CHB, etc) so they gain a deeper understanding of one another. If Percy keeps his curse of Achilles, that could also factor in (contrasting Percy’s “perfect” image [relationship, near-immortality] against Annabeth realizing she doesn’t know as much about Percy as she thought [could also parallel that dynamic to Jaspiper, which opens opportunities for Annabeth/Piper and Jason/Percy bonding] [Or Annabeth/Jason and Piper/Percy bonding! I want more Annabeth/Jason and Piper/Percy parallels so bad. They’re almost there but we never get them. Please.]/ the Argo II crew learning about Percy’s past) with Percy being more prone to seek out conflict or solve problems with violence due to the Curse of Achilles and eventually recognizing that [possibly after Tartarus] and it scaring him just as much as it frightens Annabeth. Maybe at that point Percy tries to make some sort of deal to rid himself of the curse.)

- Maybe also explicitly parallel Percy getting the curse of Achilles with Nico’s help to Poseidon giving his lover Caeneus iron skin. There’s no really smooth way to do it, but maybe even just a during Nico’s pov him going “I heard about this myth once and got an idea. It didn’t work.” Just for that added through-line of connecting the series and further establishing “yeah, no, Nico’s been gay this whole time. this isn’t a new thing. we aren’t pulling this from thin air.”

- Give Piper a different weapon than the knife from the beginning cause she stops using it eventually anyways. Also just... no cornucopia. That part is just stupid and there’s no point for it. If we have to keep it as a plot object, give it to someone else - Nico could work because then there’s actually at least a valid relation there regarding his godly parent (yes, Pluto sometimes has cornucopia associations). Also Nico having a cornucopia would be kinda funny in a subversion of expectations thing. Maybe even have Nico go on a little exposition-y rant complaining about Hades/Pluto versus Plutus (the Greek god of plenty/wealth, later merged with Pluto).

- Similarly, either remove Diocletian’s scepter (if we have multiple characters who can boss around skeletons, why do we need an entire separate extra object whose sole purpose is to let them boss around skeletons?) or let Nico keep it but it loses its abilities, so it’s literally just “well now he has a cool bashing stick for bashing things.” Or let him use it as a cane to highlight him being disabled!

- As I slightly touched upon in a previous bullet point, give Piper more connections to her dad’s community in Oklahoma - where’s all her family friends? Tristan is a major pop culture figure in the Riordanverse, so it’d make sense that people from the community he grew up in would like. know him? But all we ever hear about is Piper’s Grandpa Tom. Even though apparently Piper is already good enough friends with Shel presumably before Piper moves to Oklahoma that the two start dating soon afterwards. Heck, again, have Piper reference Shel specifically. Just at any point. For any reason. Just to establish that she knows people her own age that exist outside of CHB.

Similarly, flesh out the background Romans in Camp Jupiter more in SoN and possibly also BoO, particularly the ones Jason references by name but we never see anything of, besides at most maybe more background references. Highlight them either through the SoN trio interacting with more characters while at camp (and we’re left to glean specific details of Jason’s past through others, which would make Jason more compelling and how these details are absent from himself but present to those around him, playing into his memory loss more) and possibly also through Reyna (and maybe Nico)’s POV(s) in BoO. (And maybe if we get a Reyna POV in MoA, then there as well).

- Let Reyna use magic! We establish that she studied under Circe and then never see anything come of that other than referencing her Tragic Backstory™. It could be a fun point for Reyna and Hazel to bond over, even!

- Remove the random “Hunters of Artemis death fodder” scene with Orion in BoO. There’s no reason for that. It’s just kinda dumb and feels bad given it’s basically just “We’re gonna kill a bunch of nondescript allegedly a-spec coded characters now for no reason. <3” like ???. That served no purpose. It just felt weird.

- Also just as a like, logistics thing - change the route Team Statue takes in BoO from the huge jump over the Atlantic into Peurto Rico into them traveling up into like the UK, then over to Iceland and Greenland and then Canada and down the east coast rather than the huge jump and up the east coast. The smaller jumps make more sense given the entire POINT of their quest taking as long as it does is that Nico can’t make extremely large shadow-travel jumps at that time. Plus if they’re traveling south then they could pass through Maine and we could maybe cameo Nico’s old school and that’d be fun. The pit-stop in Puerto Rico doesn’t really give us much that we couldn’t have just gotten from Reyna explaining it anyways. If they pause in Maine that can be where Nico and Reyna have a heart-to-heart about their tragic backstories and past experiences with horrible ghosts that they had to exorcise.

- If Team Statue travels a northern route we can make jokes about Nico learning specifically 1930s British English before he moved to America. The gang goes to London and Coach proceeds to incessantly make fun of Nico for not only using British slang, but using OUTDATED British slang (which is made weirder given he doesn’t have a British accent).

- Also extremely tiny detail but a specific acknowledgement that Piper was helping out Nico once they got back to the ship when Nico’s getting rescued from the jar. Since Piper just kind of drags him off-screen. Just any kind of follow-up to that. Like Nico doing his classic “You were vaguely nice to me. I would now Die For You.” Just them having basically any kind of interaction or acknowledgement of that scene, mostly cause I think it’s funny.

- Let Annabeth keep her laptop, and get rid of the sphere of Archimedes cause it just feels kinds pointless and random? We don’t really have any emotional connection to Annabeth’s laptop (and her hat gets replaced in Demigods & Magicians anyways) so her losing it doesn’t really feel impactful at all. Maybe have Leo use Annabeth’s laptop while she’s in Tartarus and that acts as the point of guilt for him rather than weird random curse stuff with a random new introduced object. Instead of “oh no fortune cookie thing or whatever” it’s him feeling guilty he saved Annabeth’s laptop but couldn’t help Annabeth herself. Especially since Leo would also have his Ogygia identity crisis in the same book so he can feel extra bad about himself for a bit, to lead up to his role in BoO nicely (sometimes a character negatively spiraling is more narratively compelling than them having positive development for the majority of the series and that’s okay! Let him be tragic but again he gets a happy ending and an implication post-BoO that he’ll begin a road of healing/recovery surrounded by loved ones. It works out.) AND there could be a very sweet moment once Annabeth gets back from Tartarus and Leo gives her the laptop back and it’s a huge relief to her that one of her prized possessions was in safe hands while she was gone and that she has it back when she thought she might have lost it.

- Further highlight Jason’s whole Greek/Roman/etc identity crisis. Bonus points if we go further into acknowledging Jupiter/Zeus’s epithets and roles and Jason having some epiphany that the Romans look to him with the expectations of Jupiter/Juno as king and queen of the gods making him some kind of perfect leader, but he’s not that at all. He’s the son of Jove and Juno, father and mother of the gods. He doesn’t want to be a general or praetor or anything like that, he wants to spend time with his friends and family at a summer camp where they’re safe. He wants to regain the childhood he lost being raised as a perfect soldier and get the chance to go to school and learn about his long-lost family and do cheesy summer camp activities. He is a wolf but he is not a creature built for the hunt - he is part of a pack.

- Touched upon it briefly in a previous bullet point but Curse of Achilles can stay/go, does not particularly matter to me either way. I do think it’d be funny though if Percy does keep the Curse of Achilles that he also randomly gets the Nemean Lion’s pelt back. Initially maybe as like a gift from Hera/Juno to help him cover his Achilles’ Heel while he’s running around with no memory just as insurance so he doesn’t die (with bonus points of the Romans being introduced to Percy either wearing the stupidest looking coat ever or wearing just a straight up bullet-proof lion’s pelt, which would even further solidify his “Are We Sure This Guy Isn’t A God In Disguise” vibes). But then later on into the series it’s just kind of part of his outfit or maybe even a running gag. The praetors have their magic bullet-proof cloaks, Percy has a very silly looking bullet-proof fur coat that is sometimes a whole lion.

- Keep Hazel’s blackouts. There’s not really a reason for them to disappear altogether for her? They’re somewhat tied to her powers and are a consequence of her coming back from the dead, which also helps keep the concept running in the series that death is a consequence that can’t just be easily evaded, even while we’re operating with the Doors of Death being open. That way future deaths in the series don’t feel like they could be as easily negated/avoided. Also, Hazel is disabled! This is a disability of hers! Why are we somehow magically getting rid of it without even an explanation as to why? Heck, if we’re getting rid of Piper’s knife, Hazel’s dreams when she has her blackouts could be used to supplement the dagger’s insight into the future, since we’ve already established that Hazel gets prophetic dreams sometimes anyways. Also fun thematic matching for the Death Sibs with them both having disabilities and random ways to glean the future (Hazel’s blackouts, Nico talking to ghosts). Her blackouts would probably improve slightly over the course of the series but never fully disappear, and it ends up mostly a thing of she can tell when they’re about to occur and prepare quickly for that or let someone know before she passes out.

- Get rid of Frank’s curse in SoN instead of waiting until The Tyrant’s Tomb. If we’re going to get rid of it eventually anyways, do it during the big scene of him freeing Thanatos. Let him have his cool big moment of embracing his destiny and that breaking the curse the first time he does it rather than him doing it twice but it only breaking the curse the second time? Also if the curse is broken earlier on then Frank’s entire arc gets to be about him realizing he has a life to live, since in SoN a major part of his character is that he’s not afraid of death because he’s used to the idea that his curse could kill him at any point. He’s actually pretty reckless for the beginning of HoO because of that. If he realizes that he no longer is at risk of dying at any given moment because he thought about candles too hard, then that opens the opportunity of him having a whole existential crisis about what he actually wants to do with his life and him looking to the future for once.

Bonus opportunity for this - maybe Frank actually gets fire powers as a result of his curse breaking. Ares/Mars has an association with fire so it would fit for him as a son of Mars. Plus, then we could also have an even more overt dynamic of Frank and Leo acting as each other’s parallels and foils and the two of them slowly growing more used to one another and actually becoming close friends. Lots of bonding over getting used to their fire powers and overcoming their mutual fears of fire and probably also solidarity in having lost their moms. Just - the boys are bonding! The boys are bonding. Fire boys hours.

- Related to Frank’s curse, give Hazel and Frank parallel narratives of them realizing they have a future ahead of them (Hazel re: getting a second chance at life and Frank re: realizing he’s no longer at risk of spontaneously combusting) and them grappling with trying to figure out what they want to do with their lives and how they want to live them after everything is said and done. And also being motivated for once to make it out the other side in one piece because they’re determined to not waste the opportunity they’ve been given. The two of them coming to terms with realizing they have a future if they can make it through this (which is also a fun contrast to Leo and Nico actively almost sacrificing their own lives for others and having essentially an opposite character arc for the majority of the series).

- Especially while Frank (and Hazel) are having these arcs, going back to the idea of Leo getting stuck on Ogygia alone for a bit - very strongly contrasting the arcs of Frank’s mental health improving over the series while Leo’s is very steadily decreasing (until BoO at which point again the series ends with Leo getting help and beginning to improve/heal).

- Also further emphasizing Leo and Nico’s parallels throughout HoO. They’re both autistic on top of the usual adhd/dyslexia and have issues with social interactions and care a lot about Hazel and are having a majorly bad time throughout the entire quest and are pretty depressed, etc etc etc. Again, parallel narratives at the end of BoO with them healing and things looking up for them - I think I’ve mentioned that like four times now you get the idea.

- Make Frank ADHD/dyslexic. There is literally no reason for him not to be and him being the outlier for being neurotypical feels weird and doesn’t fit with the literal entire worldbuilding we have for demigods. If it’s part of “demigod instincts” or whatever then Frank should be ADHD/dyslexic! And it’s not even a “the Romans aren’t ADHD/dyslexic” because we’re explicitly told they are! They are specifically also ADHD and dyslexic! So why isn’t Frank? There’s no reason. It annoys me.

- The Frank/Hazel/Leo “love triangle” can stay but it’s significantly more one-sided. Frank is mostly just intimidated by Leo for multiple reasons (mostly fire-related reasons) and Leo is mutually intimidated by Frank (because Frank is bigger than him and Leo is scared of everyone, really, but especially people who are bigger than him, because they could beat him up. Which is basically everyone). Hazel is not romantically interested in Leo and Leo is not romantically interested in her, though they are very close and do have a very confusing time trying to figure out the whole Sammy situation. Frank still misinterprets this as Hazel and Leo being romantic. Leo does not realize Frank is misinterpreting that as them being romantic and think Frank just hates him for the general reasons that Leo has found people usually hate him for no reason over. Leo wants nothing to do with that situation though. Eventually they all sort it out and become a very strong trio.

- Again as I briefly touched upon before, maybe give Reyna a protagonist role in MOA if not an outright POV. Probably an outright POV, with the main POVs of the book being her and Annabeth. Again, themes of historical associations between Athena and Bellona and playing with that, alongside making Reyna more of a prominent player earlier on in the series and letting us see more of the Romans. Use this opportunity to heavily parallel her with Annabeth (and also highlight her parallels with Percy, and Annabeth’s parallels with Jason).

- Really I just want more Annabeth/Jason and Percy/Reyna parallels. There’s so much you can do there. The blond(e) gifted kid/smart aleck raised at camp and their best friend, the former newbie raised with a difficult home life. Percy and Reyna both have dogs (Mrs. O’Leary / Aurum and Argentium) and pegasi (Blackjack and Skippy). And a sibling they don’t see often (Tyson / Hylla). You could have notes about Jason and Thalia and Annabeth and the dynamics within that and how those internally parallel each other. Or more about when Reyna encountered Percy and Annabeth while on Circe’s Island. Really anything more about Reyna’s time on Circe’s Island. Heck maybe you could parallel that to Percy’s difficult time in school, since Circe’s whole thing was that she was training the sorceresses living there, so that’s kind of like a school environment. Paralleling first quests between Reyna and Jason with the events of the first series with Percy and Annabeth. Etc. etc. etc.

- We are taking BoO and just. Throwing it out the window, really. We don’t have time to unpack all of that. Just start mostly from scratch, same extremely rough overarching elements are there.

- Also actually just. Rework the whole main prophecy too while we’re at it. It kinda sucks. It’s just kind of a weak prophecy. “To storm or fire the world will fall” or whatever; we can do better. I don’t have the brain power to write a better prophecy right now but just [see my recent post] for notes about what I think makes for a good prophecy in the series and why the main HoO one is kinda lame.

Footnotes:

Again, I will be following this up with part 2 electric boogaloo: Things I Would Change About TOA* (*That I can say without spoiling Deadangelos too much) at some point and I will link that when I make it. If you made it this far, gold star.

279 notes · View notes

Last Seen Blogs

wordshaveteeth

a book bit me and i liked it

racc00nl0v3r

Racc00nL0v3r

arisvgm

Aris's Favorite VGM

raisonroux

Well Red

kingharley

Harleyyyyyyyy