#for one thing the male characters are much more interesting than most of the female ones

[fictionadventurer]

The Heir of Redclyffe is teaching me that what Little Women really needed was for the March sisters to have a clever, witty, sharp-tongued, disabled brother who was BFFs with Laurie.

#charles edmonstone my beloved #he's so much fun #and his friendship with guy is one of the best parts of the book #i'm shocked to see a victorian book where the disabled person is neither a monster nor a saint #the disability affects his life and the household but it's far from the only thing about him #he's a great character in his own right #he even has a plot-relevant illness #but the plot relevance isn't 'oh no he's near death let's have drama' #but 'he's having a flareup and can't write letters so someone loses a vital correspondant at an unfortunate moment' #(charles does later lampshade the lost opportunity for a dramatic deathbed reconciliation scene) #but anyway despite my continued comparisons of this book and little women #they are different books #aside from the laurie thing and the general family atmosphere and the moralizing mother figure there's quite a lot different #for one thing the male characters are much more interesting than most of the female ones #the girls are fine but certainly not the main draw of the story #i do like the religious aspect of this one more though #at first it was giving me anxiety cuz they agonize over teeny little sins #but once we moved from childish concerns to more adult ones the faith aspect became much deeper #still clunky and eye-rolling at times but also surprisingly natural in some places #and i'm still holding my breath for whatever made jo cry over this book #66% through the book; it's gotta be coming relatively soon #books #the heir of redclyffe #little women #charlotte mary yonge #louisa may alcott

[regicidal-optimism]

You've been reblogging more stuff about female characters getting ignored by fandoms recently and I would be really curious to hear your full views on the topic.

The thing is that... look. I get it. Many fandoms do not have very many women in their canon, many of those women are treated pretty poorly by the canon or aren't given as much depth as their male peers, and if you're at all picky the pickings are kind of slim (I would love to be a fan of c!Niki, if I were able to watch six-hour vods, which I am not). It is not wrong that most works with large fandoms are really, really sexist, and the problem is not just in the fanbase!

But come the fuck on. It is not an accident that the DSMP and the MCU and BNHA, all of which are vast-majority male and the female characters are treated terribly, are megafandoms, and Revolutionary Girl Utena is eligible for yuletide. It is not wrong that if you want to see more female-character-focused fanwork you should go to Sailor Moon and not The Untamed, but it is also kind of missing the point to say that and not look at the difference in size between those fandoms. People can say "it's because the male characters are so often more interesting and have more meaningful interactions," and like, sometimes that's even true, I will be the first to tell you that quackbur has more to it than tinarose, but please compare the Clint/Coulson tag to the Utena/Anthy tag and look me in the eye and tell me that's the only thing driving the trend. With a straight face.

And even more there's a thing where— so, I was a mod in the @ao3topshipsbracket bracket. And femslash ships, once they were in the bracket, did really well. Like, absurdly well, like 80% of the f/f ships entered got to the top 16, and the last one was against blackbonnet which was never gonna lose in round 1. You might notice something about that number, though, which is that there were only five of them entered total, because people love to vote for femslash but they absolutely will not write it. And they won't say anything about it either! I was watching the activity feed the entire tournament, and I can tell you, for all of the "let's go lesbians" that populated our notes, nobody would say anything that was actually about the specific characters who made up their ship. I learned a lot about Naruto fandom, modding that bracket; I still know nothing about CW Supergirl, because the only thing anyone would say about it is "it has women in it". Because women are interchangeable. Because women are avatars of Being A Good Feminist. Because clicking a button is easy, and actually thinking about any specific woman and her traits and her internality is hard.

The thing is that guilt over misogyny does not actually fix misogyny. It gets you a lot of people who vote for women in polls, and who say "he's like a woman to me" about their male faves but notably don't have any canonically female characters they talk about, and who say that the only thing they care about in a fic is if it has women in it but will not ever actually say anything about any specific woman, and who never shut up about yuri but apparently yuri is everything and anything except women who have feelings about one another.

I'm tired! I'm very tired. I want people to actually give a shit about specific women and their specific traits, which do not begin and end with "woman". And, also, to stop treating women exclusively as the wingmen, advice-givers, mom figures, and accessories of men.

#grace dot text #ask #fandom misogyny #discourse cw #creative reading

[iunpackmyadjectives]

This has been said before, but I just love how wild ninjago shipping culture is

Four guys all living together and fighting crime? Yeah their poly ship is of one the most popular in the fandom

Which one won a “best ship” tournament? The (probably ace) robots of course

You want middle age men in love? We got two that are very popular, take your pick

The various of female side characters that were created almost exclusively to be love interests for the male leads, why not ship them together?

You want the main character shipped with a kid he used to go to school with and has only been in like two episodes? Almost universally considered better than what was almost his canon ship

You like the canon ships? Great for you, we got stuff for that too and we’ve added some much needed depth

Any flavor you want them, whether it be enemies to lovers or doomed by the narrative or canon compliant, it probably exists somewhere

And is shipping not your thing? There are more gen fics than anything else

#god i love this fandom #idk maybe a certain fandom for a certain group of streamers lowered the bar for me but still #The only downside to this is that we’re probably never gonna get a ship on any “most popular ship” list lol #ninjago #ninjago kai #ninjago cole #ninjago jay #ninjago zane #ninjago pixal #ninjago garmadon #ninjago vinny #ninjago dareth #ninjago ronin #ninjago skylor #ninjago lloyd #ninjago brad #ninjago nya #polyninja #pixane #scruffshipping #survivalshipping #amberphoenix #samuraishipping #greenflowershipping #ninjago jaya #ninjago kailor #This post taught me the tag limit lol

[karniss-bg3]

The Tragedy of Faith

So between tumblr and twitter I've read various takes on Kar'niss and what draws people to him. For some it's the monster fucking appeal, for others it's the desire to fix a clearly broken individual. There are in-betweens and of course this is subjective and depends on the person. Act 2 spoilers ahead. Where my personal interest comes from is how good Larian communicated the tragedy of faith and what a cult can do to a person. Kar'niss is a creature that has been broken by not one God, but two. Lolth broke him physically, the Absolute broke him mentally. His entire identity has been lost to a deity to the point he raises her in his speech. Referring to her as "Majesty" and "Queen", two terms you don't really hear anyone else address her as, he has elevated her to his final savior and leader. He also often refers to himself as "we" and "us", cementing him as part of the hive mind rather than holding any individuality of his own. When he does refer to himself as "I", it's mostly to show further loyalty to the Absolute, to maintain a position of importance in his fractured mind. Cults are notorious for targeting the most vulnerable in society as they are the easiest to mold and manipulate to their doctrine. The fact that goblins are one of the main races that fall to the Absolute's influence is telling in that regard, as they are often dismissed by the other races. Kar'niss was ripe for the picking, an easy target to lure into her arms. No doubt he was found shortly after Lolth twisted him into a drider and banished him, he didn't stand a chance.

Not even taking those elements into account, Kar'niss came from a society that is infamous for cruelty and violence, especially toward males of their species. Drow greatest hits include, but are not limited to: -Killing their young if they are not aesthetically pleasing enough. In other words, ugly. -Sacrificing every third born son to Lolth.

-If a male finds the favor of two competing females, it often doesn't end well for the male. The rival woman will kill the male and chuck his dead body into his opponents bedchambers, just for the sake of being petty.

-Love and emotions of any sort are in short supply, if not outright unseen as a general rule. The nature of drow to backstab and seek to rise in the ranks makes it near impossible to be anything other than fierce and domineering.

With these things in mind, it's easy to assume that Kar'niss had a turbulent upbringing and likely suffered untold abuse from many around him. It's not to say that good or reasonable drow don't exist, it's just not commonplace in a Lolthite society. Unfortunately, the game doesn't give us a great deal to go on as far as his past. What little he reveals only happens after he's dead, and even then its really a cliffs notes version. What we do know is that his devotion is intense and unwavering. He's willing to die for the Absolute because in his mind the Absolute are the only ones who care about him. We even see fellow followers talk down to him, dismiss him, and verbally eye-roll the guy. To them, his fanaticism is over the top and they follow the same God he does.

All told, this leads me to the conclusion that Kar'niss has never, or rarely, known true compassion in his entire life. He's been used as a puppet for one deity or another, and likely mocked or cast aside even when he did everything right. It doesn't surprise me that there are folks who desire a romance option, or barring that a side venture to break him free of the Absolute's hold. We don't know if Kar'niss did terrible things in his past, or where his moral compass sits as his entire personality revolves around God. But I'd love to know, and I crave more background on him in one form or another.

I've spent too much time thinking about different paths that could happen in-game. I also understand it's incredibly unlikely he'll ever become a companion. The sheer amount of time and resources needed to give a character a satisfying arc is likely more than Larian can do with other constraints, but maybe we'll be pleasantly surprised. So Kar'niss lovers, platonic, romantic, or everything in-between...I gotchu fam. We stan the spooder bby. Someone get that man a blanket and a nice mug of hot cocoa. And a cult de-programming kit, one of those would be good.

#baldur's gate 3 #kar'niss #bg3 #drider #karniss #baldurs gate 3 #drow #early morning ramblings #this entire post was the long way of saying “I can fix him” #no judgement to the ones who want an ass full of web #act 2 spoilers #bg3 spoilers #my writing

[wttcsms]

"i (Nanami Kento) bet on losing dogs" x the losing dog (reader)

no other sadness in the world would do, kento nanami ;

pairing kento nanami x f!reader word count 1.5k synopsis a quiet and intimate examination of modern day suffering content contains implied abusive spouse (for reader), implied unrequited love (nanami has feelings for reader)

There is nothing in this world that Kento Nanami despises more than baseless loyalty. 

What a pathetic trait, he would think to himself. How could someone just blindly follow someone, constantly chasing after their shadow, only to be mistreated time and time again? It’s disgusting. Shameless. Weak.

He feels disgusting, shameless, weak. 

Powerless, too. That’s a new one. That’s how things usually go when it’s just the two of you; you start evoking all sorts of new emotions, like he’s a video game character and you’re helping him unlock upgrades to his character. It’s a bit disarming, really. Kento much prefers to remain as impassive as possible while in the office because unnecessarily giving up any pieces of himself to this skyscraper shithole feels like he’s letting his stupidly rich clients win. 

Kento likes routine, which is why he settles into one quickly and refuses to make adjustments unless absolutely necessary.

Login, watch the markets, log off. Nothing more, nothing less. 

And then you became his new desk partner, and his perfect, meticulous cycle is thrown off course.

Being observant does more harm than good. He notices the shiny ring on your finger and draws an invisible, never-to-be-passed boundary. He already has made up his mind on not engaging with any of his coworkers, female or male, married or otherwise, but with you, he makes the mental effort to visualize the line, the flashing red warning signs, the whole nine-yards. This is the first sign that you are going to fuck up his life. Already, you’re embedded in his insides, owning real estate in his subconscious long before he can even realize it.

At first, you don’t talk to him much; you don’t talk to most of the men working here, and Kento can’t fault you for that. Most of them are assholes, and all of them don’t have any morals. If this wasn’t the case, they wouldn’t be working here, after all.

Eventually, you start to withdraw, and Kento becomes the person you’re most comfortable with talking to. What you see is what you get with him. Kento refuses to be one of those people who are a waste of perfectly good oxygen, and he doesn’t speak unless it’s absolutely necessary. You’re in an industry where men purposely like to talk over women, just because they can get away with it. With Kento, you are given free rein of the conversation. It’s kismet, you and him.

He gets used to your constant conversation, never seeming to be put off by the fact that he doesn’t offer up his opinion unless explicitly asked. Kento normally doesn’t like it when people talk to him when he’s trying to get work done, but your voice is pleasant, your topics always interesting (“do you think there are different levels in Hell, or is a one-victim murderer being prodded by pitchforks right next to Hitler?”), and he finds that listening to you speak relaxes him somewhat. He doesn’t go home with a tightness in his shoulders and a persistent, throbbing ache in his head that aspirin can’t seem to fix. 

The first time Kento initiates conversation is when he sees you wearing a blazer during the sweltering heat of one of Japan’s most unforgiving summers. 

“A bit warm for all that,” he says, trying to adjust his tone and make it sound like a joke. Even if it did sound like a joke, he knows that your reaction would remain the same.

“Oh,” you give a nervous, insincere laugh, reflexively tugging on the sleeves even though your arms are still very much covered. “I get cold easily.”

That’s a lie. Kento knows because he knows you well enough to tell that you are the most genuine person he has ever interacted with. He doesn’t know how you ended up with this job when you’re much better suited for a career that actually helps people. He thinks back to when the office’s air conditioning went haywire and blasted the office with near-freezing temperatures. You had remained in your short-sleeved blouse, saying that you love the cold.

He doesn’t call you out on it, though. He just makes a noise from the back of his throat and turns back to his monitor. 

He can only pretend to ignore your erratic behavior for so long. You keep yourself covered to the point where you make a nun seem indecent. You withdraw from him, not initiating conversation unless Kento brings something up (he’s never been good at making small talk, and so more often than not, the conversation fizzles out quickly and awkwardly). And then you come to work with a black eye, and Kento refuses to let you suffer in silence any longer.

You break down and cry, feeling pathetic, feeling lost. You beg him not to say anything to anybody, that this is just a rough patch, that this’ll pass, and everything will be okay. Amidst your sobs, Kento finds himself wondering who you’re trying to convince right now. 

He holds you on the comedown. 

Now, there’s a new cycle. Things don’t get better for you; it doesn’t take a fucking genius to figure that one out. If a man lays his hands on you once, he’ll do it again. And again. And again. 

To take a life is a serious thing, but sometimes, there are worse ways to kill someone without ever murdering them. Your husband is killing you right now, a slow, soul-sucking type of death, and Kento would like to kill him. Some people are more curse than human. 

What did your husband do, Kento wonders, to make you fall in love with him? What can your husband do to make you finally wake up and realize that he is entirely undeserving of your love? 

Kento Nanami does not belong to any religion, does not attend church, does not even bother questioning the possibilities of a potential afterlife because his current life is already a bust as is. But after every late night he spends comforting and consoling you, holding you while you wet his button-down with your tears, he goes home and prays that you get the strength to fucking leave him. Pack your bags and get the hell out of Tokyo. Even if it means he’ll never see you again, the only person who makes this insufferable existence somewhat bearable. 

But the cycle doesn’t seem to ever break. He’s watching you fade away, and he decides that all the faith systems are fucked up for ignoring his pleas. 

“You should leave him.” He tells you, handing you a tissue. It’s technically a waste of breath; he tells you this shit all the time, and you never take his advice, but he says it anyway. Foolishly hoping that this time will be the time where you decide to listen to him. 

(And besides, he finds that anything he says to you could never be a waste.)

“But I love him.” You give him that same sad, watery smile, and Kento wants to pity you, but you wouldn’t accept it. Outwardly, he treats you the same as he used to, before he knew all that stuff that happens to you behind closed doors, because he knows what it’s like to be treated like you’re incapable of processing anything but kindness. The sweet, sugary kind of kindness, too — none of that blunt, pragmatic stuff. Kismet, he snorts. How fortunate that the kindness you need — re: blunt, pragmatic — is the only type he’s capable of giving to you.

Being treated like you’re surrounded by broken glass and everyone around you is trying desperately to avoid it makes people feel even worse. When Yu died, everyone acted like not being overly nice to Kento would somehow make him snap and go off the deep-end. The fact of the matter is, none of these people have ever been so overly cautious around him, and it actually made the pain of losing Yu somehow more unbearable. 

There are lots of replies that rest on the tip of his tongue. 

But does he love you? 

Why? 

Have some self respect, holy shit.

Your love is killing you from the inside out.

I could love you.

He tosses away your snotty tissues into the trash can, somehow not disgusted by you even though you think he should be. His grocery list now includes painkillers, band-aids, and bruise ointment. He thinks prayers are a waste of time, and before bed, he takes a shot in the dark and hopes some benevolent god is rooting for you like he is. There is nothing in the world that Kento Nanami despises more than baseless loyalty.

“I know.” And he leaves it at that.

#kento nanami x reader #kento nanami x you #nanami x reader #jjk x reader #one shot #drabble #sleepover event

[tyrantisterror]

A Dozen Or So Great Vampire Ladies

Ok, so, on a mostly unrelated post the topic of good vampire ladies came up, and @bisexualdaikaiju suggested/challenged me to do a top 10 vampire women list. As a self-professed lover of vampire women, it felt like a challenge I couldn't back down from. But it is kind of challenging, for two kind of contradictory reasons.

First, while there are MANY female vampires in fiction, most of them feel like afterthoughts, getting far less characterization than their male counterparts, who more often than not are the star villains of the show. When these supporting lady vampires do get something to do, it's generally the same role: make their human lovers sad when they rise from the dead as a monster that has to be killed, an emotional beat that is often undercut by a lot of these vampire women not getting much characterization to endear them to us before they died. Everyone wants to have the Lucy Westerna plot beat from Dracula but they don't want to do the work that Bram did to make Lucy lovable. The lady vamps who get to step out of Lucy's shadow are rare - but that just makes them all the more wonderful.

The second problem is that, since this is an obsession of mine that few seem to share (there are lots of vampire fans, but man do the boy vamps get to hog the spotlight among them), I've done a lot of scattered thinking about it and I just know I'm bound to forget at least one excellent lady vampire character that should be here. And whittling it down to ten, and trying to rank them? That's too hard! My thoughts are too mercurial to do that reliably in a way I don't forget!

So instead here's a list of, like, a dozen or so lady vampires that I think are just fucking stellar, many of which I think break the mold of what pop culture makes us expect lady vampires to be. It is not ranked - I love all these characters more or less equally, and think it's a lot more interesting to see how they take their archetype in different directions than to figure out which one is "best" of the lot.

Carmilla Karnstein

I'm going to start with the most famous literary female vampire, Mircalla Karnstein from Carmilla. I think she might be the first vampire to have an unhealthy obsession with using anagrams of her real name as aliases, though I'm sure now that I've typed that someone will find an earlier example to school me. She's also the one who popularized the idea of lady vampires being extremely sapphic, with an arguably genuine romantic affection for her female victims. She's got well-deserved clout, basically, and like Dracula has been adapted countless times and reinterpreted in some excellent ways. My favorite screen Carmilla is Ingrid Pitt's take, which captures her fierceness, passion, and tragic nature so well.

2. Amy from Fright Night

Ok, we're having one Lucy Westerna knockoff on this list, but as Lucy knockoffs go, Amy is one of the best. It actually helps that she spends 90% of her movie as a human, because we get to know and love her so much before she turns monstrous. And once she does...

It is pants-shittingly terrifying. I will never stop raving about the vampire designs in this movie - they made their "game faces" so fucking monstrous and I feel like in a better world this would be the standard ever since, especially since they still gave the vampires pathos while making them so ghastly when they've got their feeding faces on.

3. Drusilla

Buffy the Vampire Slayer had a bunch of vampire characters, and to its credit they did a decent job of making the ladies just as distinct as the gents. Harmony and Darla could both have made this list, but my favorite was always Drusilla, who was so traumatized before she became a vampire that it kind of overwhelms the demon spirit inside her. Like, bare minimum thing to make a lady vampire more interesting than 90% of other female vampires in fiction: give her at least one personality trait, preferably an interesting one, outside of being a vampire. Drusilla's fun, and she survives the entire series after dumping her boyfriend to be a single female vampire. Good for her.

4. Ruby from Scary Godmother

Ok look I am a fake Scary Godmother fan but kudos to the artist of the books for making a lady vampire who's very clearly of the nosferatu mold and is also explicitly benign and sweet. A+ vampire lady character design. I hope it doesn't awaken anything in me.

5. Nadja

What We Do in the Shadows is excellent at finding new takes on vampires in general - it even made me actually like Psychic Vampires as a concept, a feat I thought was impossible - but goddamn do I love Nadja specifically. She's got a distinct personality as vampire ladies go, being very confident and self-assured while also being a complete fucking goober (it is a comedy, after all). She's perfectly capable of being terrifying AND hilarious, often at the same time. A vampire girl failure, in the parlance of our site. I love her.

6. Lady Dimitrescu

I know that she's apparently only in a fourth of the game, but it's still pretty great that Resident Evil 8 decided its mascot villain - its equivalent of the Tyrant, G, Nemesis, etc. - would be the hottest woman I've ever seen a milf an 8 foot tall lady vampire. She's not dainty and willowy like most lady vamps in fiction - not an ambush hunter - but rather HUGE and capable of tossing a human around like a rag doll. She's a physical powerhouse and she looks fine feminine while doing it. Despite being an unabashed blood-sucking monster, she still has enough depth and complexity to have important relationships (like a genuine love for her "giant mass of hive mind flies" daughters), and also she gets to have an awesome transformation into a fungal vampire dragon, which is rad as hell. Also goddamn, her fashion sense is immaculate.

7. Hecate from Hellboy

"Hey, she's not a vampire! She's a goddess! That doesn't count!" Fuck you, my list, my rules. Hecate posits herself as the progenitor and mother of vampires, she drinks blood, and her main form in the comic is as a sicknasty lamia version of the iron maiden used by Elizabeth fucking Bathory, if she doesn't count as a vampire, nothing should. She is the concept of a vampire amped up to maximum capacity, a major mythological figure and an awesome villain.

...also I lowkey shipped her and Hellboy when I was a teenager. They could have made it work!

8 - 12. Carmilla and her girl squad from Castlevania

I suppose I could have counted Castlevania's Carmilla as an adaptation of Miss Karnstein - they're both basted out of Styria, both sapphic, and it's clear she's meant to be an adaptation of the former, just as the Dracula of this show is meant to be a take on Bram's famous vampire. But ultimately they're VERY different characters in the grand scheme of things - Castlevania's Carmilla has none of the tenderness and vulnerability of her literary counterpart, instead being full of barely restrained fury. She is an excellent villain, complex enough to be interesting but thoroughly despicable enough to make it VERY satisfying when she bites it.

I also love her girl posse... in concept, at least. They've all got great designs and the groundwork of interesting characters, but of the the three, only Lenore, the waifish redhead, gets to do much of note. The two on the edges kind of just show up for a few scenes and then bail before the plot catches up to them, doing very little of note - though at least the big hunky one gets one of the coolest fight scenes in the whole show.

Back to Lenore though - she gets a really nice character arc, and manages to become one of the few sympathetic vampires in the series (while still doing a lot of monstrous shit - she is not a defanged vampire by any stretch). I think her death scene is one of the most moving moments in the series finale.

13. Seras Victoria

A good female vampire has at least one non-vampire part of her personality, right? Ok, so, Seras is:

the muscle in almost every scene she is, which is to say, the one absolutely beating the shit out of people while her allies run for cover

the perky henchman/morality pet of one of history's greatest monsters

the sole ray of sunshine in cast of edgy, cigar-chomping grizzled mercnaries and antiheroes she's been pressganged into fighting alongside

the victim of some HIDEOUS trauma even before her vampirization

the protege of a wise master who gets a full hero's journey arc, taking up his mantle at the end of the series

Like, I love her. She's the secret protagonist of Hellsing. She's got layers like an onion. The scene where she killed Zora Blitz reminded me why I love anime.

(yeah it's the TFS version fuck you)

14. Youko Shiragami

My Monster Secret is not a horror manga. It is a romantic comedy about a bunch of idiots trying to keep painfully obvious secrets hidden and succeeding only because almost everyone around them is as dumb as they are, just in very different ways. It is a manga where an entire chapter can be summarized as "all the characters race to get the last McRib, using their various supernatural abilities to try and cheat their way to the front of the pack." It is one of the funniest and most heart-warming stories I have ever read, one of my favorite romances of all time, and an excellent piece of long form story-telling.

One of the two main characters is Youko Shiragami, a vampire girl who can't let anyone know she's a vampire or else her dad will pull her out of school. She desperately wants to have a normal life with friends and, like, school shenanigans, but her fear of people uncovering her secret and hating her is so immense that she's been isolating herself from everyone, accidentally torturing herself by being close to what she wants but unable to actually have it.

At least, until Kuromine, the other main character of the story, discovers her secret while trying to ask her out on a date. He ends up promising to keep her secret, and the two of them form a real friendship that blossoms into a very sweet romance, where Youko gets to display all her incongruous personality traits that go against what you'd expect of vampires - namely, that she's kind of a ditz, with an unrefined style of speech and a complete inability to be suave and seductive. She's a sweet, flaky goofball with a big heart, who just happens to drink blood and tan really quickly in the sunlight. There is no other vampire like her, and the world is richer for her being in it.

15. Marceline, the Vampire Queen

This list isn't ranked, but if it was, I'd put Marceline at the top. I think she is not only the most unique and deeply characterized lady vampire in fiction, but ranks right up there with Dracula in how she redefines the idea of what a vampire can be. Like, look at the forms she takes!

There are DOZENS of different monstrous shapes Marceline takes during Adventure Time's 9+ seasons of television, and any one of them would be a superb and memorable vampire on its own. And she's ALL of them. Just on a design standpoint, she is a standout. I think only Dracula himself could compete.

But she also explores what the concept of what a vampire is in ways no other vampire in fiction can, in part because of the unique nature of Adventure Time's setting. In a world where humans are an extreme minority and most people are weird monsters, a vampire isn't that odd, so we get to explore what being a vampire means divorced from the comparison to "normal" human beings. There's the expected tragedy to Marceline, of course - she's a 16 year old who has been stuck in that adolescent state for hundreds of years, and much of her character arc over the show (including the magnificent vampire-centric storyline, "Stakes") focuses on the horror of being stuck in that transitional state, not quite a child but not quite an adult. Marceline struggles to mature, to understand herself and others, and her vampirism both keeps her distant from reaching those goals but also gives her a lot of time to figure out how to approach them when the opportunity arirves. Marceline goes from one of the most immature and selfish characters in the show to perhaps the most emotionally intelligent, blossoming into a sensitive and thoughtful person she could never have been without first becoming a creature that seems so inherently opposed to ever having those traits.

And she did it all in a children's show where she was rarely if ever allowed to actually drink blood - a problem the writers got around by having her suck the red color out of things, which is right up there with the Joker Venom from BTAS in terms of genius ideas spawned by children's show censorship.

Marceline is the GOAT.

#Vampire Ladies #Youtube

[monstersandmaw]

Male orc (Rhuarc) x female character - Part One (sfw)

Disclaimer which I’m including in all my works after plagiarism and theft has taken place: I do not give my consent for my works to be used, copied, published, or posted anywhere. They are copyrighted and belong to me.

Thank you to the two people who explicitly expressed interest in this story via my inbox. This one's for you. Here's Rhuarc the single dad orc and his girl, and how they met. I've even got some visuals in this one too!

Content: kidnapping, attempted human sacrifice, violence, some light gore, implied age gap, older male character, single father orc x small human female

Wordcount: 4344

Rhuarc tried not to resent the fact that the Jarl of Markarth’s crusty old steward had looked him up and down as he’d stood in front of the so-called Mournful Throne, and decided that the orc was either entirely expendable or utterly stupid enough to take on an entire Forsworn camp. By himself.

Apparently it was the latter though, because with his two adopted girls waiting for his return in Whiterun, Rhuarc was most certainly not expendable these days. Perhaps twenty years ago, he might have hurled himself at the nearest frothing lunatic disrupting trade routes and abducting travellers off the roads without much care for the damage he took — the fact that he’d lost the sight in his right eye before he’d turned nineteen was testament to that — but these days, his contracts required thought and planning.

Kill the leader of Hag’s End, an old Nordic tomb complex nestled away in the frozen mountains to the northeast of Markarth.

Easy.

By himself.

Less easy.

The place was huge, and crawling with more Forsworn than termites in a mound, and there was every chance he would encounter a hagraven there too. Fuck, he hated those things. Whatever unnatural magic was used to create those half-bird, half-women, he didn’t want any part of it.

His own magic was fairly rudimentary by the standards of the average mage: a few fireballs here, a few healing spells there, and he could make a pretty decent lance out of ice if he had to. After all, orcs were known primarily for how ferociously they could bludgeon something into Oblivion, but magicka did coil its way through some of them too, and his mother had been both an alchemist and a mage.

Now though, as Rhuarc crept up behind the Briarheart warrior who led this bunch of rabid lunatics, and slipped his arm around the man’s throat to hold him still while he ripped the strange replacement heart out of the half-undead creature’s chest, he wondered exactly what kind of magic these people used that let them replace an otherwise healthy man’s beating heart with the poisoned seed of a Briarheart tree. And what special kind of lunacy allowed someone to undergo it willingly. Perhaps it wasn’t willing though? What did he know about these people?

As the orc’s fingers curled around the prickly seed that was about the size of an apple, the magic of it felt at once too cold and too hot; the way white hot metal feels in that moment of pure shock if you touch it by accident before the pain kicks in. He released the disgusting ‘heart’ and it fell with a splatter of gore onto the snowy carpet covering the cosy little platform, from where the man ruled over his clan of Forsworn. Rhuarc would have to find a scrap of cloth to wrap it in so that it didn’t leak everywhere between there and the city of Markarth, but he was looking forward to depositing it directly into the stuffy old steward’s lap as proof of the kill and the contract fulfilled.

The Briarheart warrior went instantly limp in his arms and Rhuarc laid him down silently on the frozen ground, already starting to plan his next move. A shout went up a second later from somewhere to his right — his blind side — and an arrow pinged off the bastion wall beside him. With a curse, he rolled and ducked behind the hide wall of the leader’s large tent, breathing hard. Of course he’d missed one of them, and if she alerted anyone else, or that lurking hagraven, Rhuarc was fucked. He was tired. And cold. His joints weren’t quite what they had once been, and his muscles were seizing with the cold and from crouching in dark doorways and corners on the long and winding way up to reach this part of the secret redoubt.

With a careful peek around the support structure of the leader’s tent, he realised that this new Forsworn hadn’t actually spotted him properly yet, and he hefted the haft of his war axe in his hand. Throwing a weapon away was never a great idea, but he didn’t have a bow on him, and if he called magicka to his hands, a hagraven would certainly sense it. Not a chance he wanted to take, and given that the place was called Hag’s End, he thought it pretty fucking likely that there was one of the bird-legged, psychotic matriarchs of the Forsworn roosting up at the top of the complex on that balcony almost directly above him.

So, he drew back his arm and sent the blade of his war axe whirling away to bite into the breastbone of the Forsworn before she could spot him or cry out again. She fell with the clatter and rattle of bone and fur armour, her silly antlered headdress skittering away behind her, and he was off running immediately to release the weapon from her corpse and seek a new hiding place in case the commotion had drawn others.

As it was, Rhuarc crouched for a long few minutes behind the gruesomely-displayed corpse of an elk that had been partly taxidermied by the cold and stuck on a stake, with his breath billowing all around him, and the stillness of snow in the air. Had he got them all? He was spattered all up one side of his body with blood and even had a red streak in his otherwise white hair that he’d shaved close to his skull above his ears and left long enough to tie back into a ponytail on top. What a mess. Still, it would be worth the groaning bag of coin he was going to get for clearing the whole bloody encampment and making The Reach a little bit safer for travellers.

Just as he’d begun to relax, half thinking of getting the girls each a new dress with his earnings, a scream like nothing he’d ever heard before tore the silence in two and his blood went cold.

It had come from the balcony above him where a spar of stonework jutted out into the winter sky like the bowsprit of a ship, and it hadn’t been the harsh shriek of a hagraven. The scream had come from a woman in blind, abject terror, and the sound of it shocked him back to his feet before he’d even realised it.

Rhuarc thundered up the stone stairs behind him and shouldered open the carved doors of the inner sanctum of the tomb, plunging into the relative darkness without stopping to think.

Not thinking was a sure way to get himself killed, and by some miracle of the fates, he skidded to a halt just in time to avoid a pressure plate in the floor that would no doubt have unleashed some kind of magical or poisoned trap on him. Whoever lived here clearly didn’t let just anyone inside, and blundering around like a panicked mammoth wasn’t going to help anyone.

“Think, you thick-skulled orc,” he growled at himself, chest heaving and heart pounding in his ears like a war-drum. He was only a few heartbeats away from slipping into that infamous, orcish berserker rage, and he never ever wanted to find himself on the far end of a state of mind like that again. Caked in blood and viscera and surrounded by an array of corpses with no memory of how they had been felled… He shuddered and forced himself to steady his breathing before moving on.

What he confronted as he wound his way carefully and methodically through the dark, blood-stained hallways of the upper Nordic tomb proved to be as great a test of his prowess with blade and his magic as any he’d ever faced in his forty-six years.

Savage witches clad in long, magicka-laced, black robes hurled spells and curses at him that he only just dodged or warded in time to sink his axe into their skulls, but what made his skin crawl the most was the hagraven who seemed to be taunting him, letting him get one or two shots in before a swirl of purple and black magic enveloped her and she vanished to somewhere else in the complex.

Was she an illusion? Had he lost his mind or, worse, accidentally imbibed some poison from one of his victims that was making him hallucinate? He’d spotted enough deadly mushrooms growing in the dank corners of the dungeon that the suspicion remained, even as he ploughed on through the coven of crazed witches towards the woman who had let out that heart-rending scream.

Just as he sensed he was gaining the top of the tower, the hagraven disappeared amid a final storm of eerie, flickering magicka, leaving him alone in an echoing chamber at the top of a staircase lined with mortuary shelves.

Over to his left, an arcane enchanting table crackled with residual magicka from a recent use, the blueish runes on its onyx surface glowing in the dim light, and on his right, an ancient monument reared up like a tombstone, carved with a script he couldn’t read. He had no time for any of that, and paused just long enough with his hand on the last door to gather his breath and the last ragged remains of his strength, before shoving all his weight into swinging them open and stepping out onto the snowy balcony beyond.

A blast of freezing air hit him full in the face, but it wasn’t the cold that stole his breath and his senses.

There on a low, wide, stone altar, a Nord woman had been bound hand and foot, stretched out and completely naked, and she was thrashing weakly despite the wounds at her wrists and ankles from the ropes. Tears tracked pale lines through the dirt on her face and her bare chest heaved with broken, choking sobs as she arched her back in futile protest.

Over her prone figure loomed the emaciated figure of a hagraven with a glinting, black dagger raised in her taloned hands.

Rhuarc didn’t think.

He hurled a bolt of ice at the creature, and might have been surprised to find that it had actually struck her right in the stomach if he hadn’t already been concentrating on drawing the ambient moisture into his hand to freeze into another shard of ice as thick as a tree limb. The hagraven let out a shriek that should have made his ears bleed, and hurled a fireball at him for the indignity of him getting a hit in first.

Searing flames exploded all around him and he smelled singeing, though he wasn’t sure if it was his fur armour or his own skin, and he didn’t care. He leapt forwards, diving into a roll in the snow to douse any lingering flames, and as he came up he launched a second spike of ice directly at the hagraven’s weathered, distorted face. Her black, beady eyes narrowed and she bared rotten teeth with a snarl as she clenched her clawed hand and prepared to fling a second fireball at him.

Rhuarc had closed the distance between them in a few powerful strides though, and before she’d finished the spell, he grabbed her by her flimsy arm and felt the snap of it breaking in his grip as he yanked her away from the altar. Before she could even muster a screech, he lopped her head off with his axe. He didn’t stop to watch her abandoned carcass slide over the edge of the parapet, down into the void of snow and cooling corpses below, and turned instead to the woman laid out on the table.

The dagger had fallen from the hagraven’s claws to land beside her right hand and she was reaching frostbitten fingers for it.

“Easy,” Rhuarc said, holstering his messy axe at the loop on his belt and realising he probably looked as frightening as the hagraven had. Six foot six and broad as a barn door at the shoulder, Rhuarc now had blood all up his face from one of the witches, a nasty burn on his shoulder that was only just now making itself known, and a long cut on his abdomen that was oozing blood down his solid paunch. As he’d got older, he’d lost the iron definition he’d had in his youth, but he was probably the strongest now that he’d ever been in his life.

No wonder the woman was staring wild-eyed at him like he was some animal barbarian, but his heart physically hurt in his chest when he saw the welts and bruises standing out starkly on her pale, Nordic complexion. Her long, midnight black hair was loose and lank and greasy, her lip was split and swollen, and there was a vibrant, purple bruise all around her left eye socket. Those dark brown eyes glared up at him with fierce defiance though, and her fingers found the hilt of the knife.

He smiled. “I know I look a sight,” he said in a low, quiet rumble, holding both hands up, bloody palms towards her. “I’m gonna help you though. Let’s get you healed up and out of here. I’m not sure what you can wear though…”

“My… My clothes are in… were in… a chest… in there,” she croaked, twitching her head slightly towards the chamber he’d just left. The swelling in her lip clearly made talking painful, and she sounded like she hadn’t had any water for days. That, or the thick, raw, red line around her throat was responsible, flanked by distinct, finger-sized bruises the colour of a ripe plum. It made his orc blood boil to see marks like that on a person’s body, but he made himself focus on the more immediate task of helping her.

“Alright. I’ll untie you — may I use that dagger?”

She nodded and reluctantly let her fingers go loose again. With the rope lashed so tightly around her wrist, she didn’t have enough purchase to lift her hand free of the hilt, so Rhuarc carefully slid his bloody fingers underneath hers and he eased the blade out.

Concentrating, he sawed steadily through the thick rope, and she hissed as she flexed her fingers when the rope finally sheared and one arm came free. The raw chafing showed him just how hard she’d fought her captors, and he found the warmth of pride glowing in the pit of his stomach for this stranger and her resilience. Methodically, Rhuarc moved his way around the table to free her ankles next before finally cutting the ropes binding her left arm to the cold table, and all the while keeping his eyes off her naked body as best he could.

“We need to get you somewhere sheltered. Can you sit up?”

She tried valiantly when he asked, but her strength failed her in a rush and she slumped back down with a gasp.

Rhuarc dropped the knife to the stone at his feet and stuck his right hand under her head just in time to stop her cracking her skull on the stone platform of the altar, and he cradled her lolling head in the palm of his hand. His already-bruised knuckles clunked against the altar under the full weight of her head as she surrendered at last, spent.  

“Easy,” he said. “I’ve got some magic. I’m going to heal you, alright? Keep steady, then we’ll find you some clothes and get you out of here.”

Her dark eyes rolled as the golden light of healing magic washed around her, and she slumped at last into unconsciousness.

Rhuarc picked her up with detached efficiency and carried her out of the biting wind and back into the tower that formed the top part of the tomb’s inner sanctum, marvelling at the Nord’s resilience to the cold. He knew that her people were tougher than most humans in these conditions, but still, with everything she’d been through, she probably should be dead.

Her small body was soft where many Nords were made of hard muscle, and he suspected that she had not been raised to be a fighter. That the Forsworn would snatch her away from whatever battle-free life she’d led before and defile her like this made his blood sing all over again and his hands itched to sink his axe into a nice, crunchy, Forsworn skull. He let the thought go with a growl around his thick tusks and shouldered the doors open.

With her pressed against his bare chest, he felt the tingle of magic in her blood too, and he recalled the way her body had drunk his own restoration magic down like water poured onto dry sand. Perhaps the fact that she was probably a mage had been why the hagraven had been about to sacrifice her in that unholy ritual.

Inside the echoing, stone room with the enchanting table, Rhuarc found the chest she’d mentioned, and he crouched down awkwardly in front of it with her half-draped across his lap, her naked body propped up by his right arm. He really didn’t want to have to use one of the beds in the tower that the witches had clearly slept in, but if the woman needed to rest, then he would stay with her and see that she was safe.

Just as he was fiddling one-handed with the catch of the chest, which luckily wasn’t locked, she drew in a deeper breath and came-to with a mewling sob of discomfort. Her bare legs were touching the floor and the room wasn’t much warmer than the air outside because of a huge hole in the ceiling, but at least they were out of the wind.

“I know,” he said without looking at her. “I’m going to find you something to wear. Just give me a second.”

“Thank you,” she rasped, and the sound became a sob as she squirmed in his arms, trying to curl inwards on herself. Whether that was to cover her naked body better or simply because she was hurting in every way humanly possible, he wasn’t sure. “Thank you. I thought that was it, when… when she… she —”

“Shh,” he said, briefly tightening his hold around her shoulders with a slight curl of his right arm, worried that if she grew too distressed, he might drop her. “It’s over now. You’re safe.”

“Thank you,” she said again, and then added with a little sniffle, “My name is Syl, by the way.”

“Rhuarc,” he grunted, finally lifting the lid of the chest. “This your stuff?”

She peered forward and nodded. An undyed linen shirt and brown trousers had been roughly stuffed into the wooden chest, along with a pair of softly-worn, fur-lined boots, a thick, fur-lined jacket, and a small alchemist’s pouch that fitted on a belt around the hips. He had something similar himself for the road, choosing to forgo the usual traveller’s pack with a bedroll and cooking pot. He hunted or foraged for what he needed and cooked it over an open fire and slept under the stars when he absolutely had to, but mostly, he actually planned his journeys to halt at an inn for the night these days, because he was too damned old now to be sleeping out of doors in the grass like a bloody wild boar. He also thought he glimpsed some linen underwear and wrappings in the chest too, but he didn’t let his gaze linger.

“You… need a hand?” he asked quietly, but she shook her head.

“I can just kneel here for a moment. I’ll be alright,” she said in a steady, if rough voice. “Thank you.”

He nodded once. “I’ll be over there,” he said, gesturing vaguely with his thumb over his left shoulder.

He helped her slide off his lap where he’d crouched beside the chest, and steadied her briefly with a hand at the small of her spine to stop her tipping backwards. Her flesh was still cold from lying out there on the table, but she couldn’t have been out there for too long before he’d found her, or she’d have died of exposure. Even a Nord couldn’t survive naked in the snow for very long.

Only then, with his rough palm pressed against the pale softness of her skin, did it strike him that it had actually been a very long time since he’d seen another naked body, and the feel of her skin beneath the calluses of his palm distantly stirred the cold embers of desire in him that had lain dormant and out of mind for longer than he cared to remember. Even for an orc, he wasn’t exactly short of people showing interest, but it just… hadn’t been something he’d wanted. Then of course, he’d found himself the adoptive father of a pair of ten and eleven year old girls, and all thoughts of romance and the so-called ‘Dibellan arts’ had evaporated completely from his life like autumn mist.

With a sigh, he banished the faint and inappropriate sensation and levered himself stiffly to his feet. As he did, he felt the cut in his lower belly pull with a sharp prick of pain and when he looked down at it, he found it already suppurating. His thick, naturally green, orcish skin had turned a nasty, angry red around the slash and something was oozing out of it that wasn’t blood. Poison. Fuck.

Glancing around the room, he wondered if there were any ingredients stashed way that the witches would have used, but he was in the wrong part of their stronghold for that and anyway, who knows what they might have been brewing in there? Thinking about what limited stocks he kept in the emergency pouch on his belt, he drew out two carefully-sealed glass bottles and tipped their contents into the cupped palm of his left hand. It was hardly ideal, but it would do for now, and he smeared it onto the open wound.

The flash of pain made him grunt, but with a soft fizzing, the powders got to work and nullified the festering poison before it could spread.

“Rhuarc?”

When he turned around at the sound of her voice, he found Syl looking at him from where she was still kneeling in front of the wooden chest.

“Are you alright?” she asked with a frown.

Her alto was still hoarse and rasping, and he wondered if she was still in pain. “I’m fine. Are you? Did I heal you enough?”

At his question, she smiled, and something in his chest slipped sideways when he saw it.

How could a woman who’d just been through the torment she had experienced still find the grace to smile like that? And at an orc of all creatures.

“Yes,” she said, and, now that she was dressed, she stood slowly; cautiously.

She wasn’t very tall for a human, perhaps five foot five at most, and her body seemed somehow even smaller in her loose-fitting, practical clothes. He could clearly see the swell of her hips though, and the definite curve of her breasts, and her dark eyes looked very large as she regarded him. In an attempt to tidy herself up, she had tied her lank, black hair back off her face in a low ponytail, but she still looked like she’d taken one hell of a battering, despite the healing magic.

And yet, there she was on her own two feet, and her resilience was suddenly as devastatingly attractive to him as were her natural good looks. Rhuarc swallowed thickly, utterly floored by what he was feeling for the first time in decades.

“You’re hurt,” she said, eyeing the wound in his stomach.

He felt her open herself up to start channelling magicka, and his own mismatching eyes went wide. “No, don’t!” he gasped, taking an involuntary step towards her and holding out both hands in a kind of warding gesture. “Please, you need to conserve your energy. I’ll heal myself in a moment. I was just waiting for the poison to work its way out first.” No point sealing up the cut with all the vileness still inside, after all.

Syl walked slowly towards him, moving like a black cat along a wall, with her gaze focused on his bare paunch.

Rhuarc’s breath caught and he froze. He couldn’t have moved so much as a muscle then, even if an army of hagravens had descended on him.

When Syl came to a halt in front of him, she brought her fingertips up to touch the fevered flesh around the wound. Very carefully, she let a tiny thread of golden magic seep into him, and he honestly did not mean to let out the noise that left his lips. He hadn’t even known he was still capable of making a sound like that.

Pleasure curled deep and visceral in his gut, both from the whisper-light contact of her fingertips against the trail of hair on his stomach, and from the way her magic coiled and twisted inside him, stitching him up from the inside out and cleansing the last of the poison’s putrefaction in the same deft stroke. She wasn’t just some hedge witch with a little magic: Syl had to be a master of the school of restoration with a healing that skilled.

“There,” she breathed. “Just looks a bit of a mess now,” she added, eyeing the blood that still covered him in a series of spatters and smears.

He couldn’t catch his breath for a moment, but he cleared his throat and stepped back. “Not much different from usual then,” he said a beat too late and painfully aware that his gruff bass sounded far more winded than when he had fought his way through the entire complex to reach her. “Thank you.”

With a long inhale, she let her hand fall back against her side and turned her big, dark eyes up to regard him. “So… what happens now?”

I hope you enjoyed this one? I'm fairly certain most people aren't going to read down to this point, so if you did, please consider reblogging it to help it find more of an audience, and give Rhuarc and Syl some love?

And if you want to learn more about how they fall in love on their journey away from Hag's End, be sure to leave me an ask or a comment! Otherwise I'll assume there's no interest and won't keep sharing it. :)

Masterlist | Ko-fi (tip jar)

#rhuarc the orc #orc #orc x human #male orc x female human #single dad orc #fantasy orc #exophilia #orc boyfriend #monster boyfriend #monster dad

[miyamiwu]

Unpopular opinion: There is no Link Click “trio.” It’s just the ShiGuang Duo + Qiao Ling

Now, before the Qiao Ling fans come after me, I just want to make it clear that I do not hate Qiao Ling. She’s a queen, and I love her. What I do hate, however, is the writers’ neglect of her character.

Warning: This will contain major Link Click season 1 and 2 spoilers.

Cheng Xiaoshi, Lu Guang, and Qiao Ling have been marketed as the main trio right from the OPs and EDs all the way to the different official artworks and PVs. But despite this, Qiao Ling has never been portrayed like a protagonist in the story itself. Her value has always been tied to some other character, and what’s sadder is that even as a supporting character, she’s still being neglected by the writers.

Cheng Xiaoshi and Lu Guang both have something in themselves that push the story forward. Cheng Xiaoshi’s recklessness in s1 is what gives tension to the dives and what leads to the overarching plot related to Emma. His planning in s2 also keeps the plot going. On the other hand, Lu Guang acts as the voice of reason, grounding the fantasy aspect of the show. His hypocrisy revealed in s2 also reshapes how we view the entire story.

But what about Qiao Ling?

Throughout most of season 1, she’s been kept in the dark about ShiGuang’s powers, which in turn excludes her from a big part of the story. In s1, it was only during the kidnapping arc that we see a bit more about her, but the focus wasn’t on her at all but on some random extra. And at the last episode when she finally gets to be in on the whole eye power thing, Li Tianchen possesses her, overshadowing Qiao Ling entirely and redirecting our attention and interest to him. (Extra: In season 1, between Qiao Ling and Emma, would you dare say Qiao Ling is the protagonist? I bet you won’t.)

Then in s2, despite Qiao Ling’s extra screen time and more involvement in the plot, the neglect of her character is even more palpable. She got possessed by a murderer, nearly killed her friend, and even tried to stab her own brother, but even after all these, we barely get to see how she had to process everything.

It’s really no surprise many people loved this scene:

This, for me, is the one time, the ONE time Qiao Ling is portrayed as a character on equal grounds with Cheng Xiaoshi and Lu Guang. If Link Click were a sports anime, this would be the scene where she discards her role as the female manager over a bunch of male athletes and expresses her desire to become a player as well.

But unfortunately, after this episode, Qiao Ling is once again pushed to the sidelines. She’s a player now, yes, but a player who’s just being pushed along the game. She may take the initiative in some things (like talking to Li Tianxi), but even then, the things she do are all still just to help her friends. You know, like a supporting character. None of what she’s doing is for herself alone. (If any Blue Lock fans are reading this, Qiao Ling has no “ego,” so to speak.)

Qiao Ling has no goals of her own, and this is how the writers failed her.

All the other major characters have their own goals. Heck, even the antagonists are more like protagonists than Qiao Ling.

Cheng Xiaoshi wants to find his parents. And he also just wants to help the people he meets in dives

Lu Guang selfishly broke the rules of time travel just to keep one man alive and will do it again if he must

Li Tianxi betrays her brother and Qian Jin just to find a way home

Li Tianchen approaches ShiGuang and later kidnaps Cheng Xiaoshi because he also wants to go home

And Liu Xiao wants to, I don’t know, change the rules of time and space entirely?

God, writing that last bullet makes me realize that even Liu Xiao, who only showed up in the last episode of season 2, has more weight in the story than Qiao Ling. This is ridiculous.

Seriously, what is Qiao Ling even here for??? Play big sister???

Just market her as a supporting character. It’s fine. She’s still badass.

I also don’t have much hopes over how she will be in season 3 because of how season 2 ended. Qiao Ling seeing Lu Guang’s memories means her worth in s3 will inevitably be tied to this secret. It’s the s1 ending all over again. At the end of s1, her worth was tied to the mysterious Red Eyes. At the end of s2, it’s tied to Lu Guang.

If the Link Click writers are gonna keep pushing her as a protagonist, then they better start treating her like one!

It’s not enough to just give Qiao Ling a goal, by the way (although it is very important too). She must also become a player who has the power to control how the game goes. If she ends up inheriting Li Tianxi’s powers, as many theories have said, then may the drama around her not be focused on how she may leak Lu Guang’s secret at any time.

I don’t know what she could do with her powers, but I think it would be very interesting if she ends up opposing Lu Guang.

Lu Guang wants to keep Cheng Xiaoshi alive, but...

...he’s no longer alive. The Cheng Xiaoshi we see is just a glimpse of the past...

What if… as Qiao Ling sees more of Lu Guang’s memories, she sees more of the real Cheng Xiaoshi and suddenly… wants to let go… wants to move on?

The fandom have talked a lot about how ShiGuang may react once the secret is out. But what about how Qiao Ling would react to it over time as she realizes those memories weren’t just her overthinking things?

In season 1, she couldn’t bear to face that kid’s father for years, and at the end of s2, she couldn’t bear to confront Lu Guang… In s3, how long can she bear looking at her dead brother?

The chances of her “giving up” Cheng Xiaoshi and returning to the original timeline is slim, though. I’m just giving an example of how she can be more like a protagonist.

Anyways, I’ll end here… I still have so many thoughts, but I can’t figure out how to organize them. This has also been in my drafts for over two weeks and I just want to post it already!

#qiao ling #qiao ling meta #shiguang dailiren #link click #时光代理人 #link click spoilers #miyamiwu.meta #miyamiwu.src #link click meta

[raisedbythetv89]

Sometimes I just sit and imagine what btvs could have been like if the women characters and their perspectives were TRULY centered and what all could have been.

How much wasn’t explored

How angel gets his own show but is completely reliant on the presence of Cordelia and the most interesting story lines revolve around her, darla, and drusilla. And how they needed Spike, the most female gaze male character, to even have a 5th season

How Riley gets to live and be a hero with a hot badass wife but Tara, Anya, and Kendra all are dead

How much xander’s abusive, toxic monologues passing judgment on everyone but himself often serve as the “facts or true reality” of the narrative rather than the rantings of a jealous, bitter, repressed, weak and pathetic boy

So much of the show is about a woman but still with men and men’s opinions, needs, desires at the center. We can see jane and marti’s efforts to center women’s narratives more especially in season 6 and 7 but much like I mourn what the first 32 years of my life could have been without patriarchy, what could have been for this show with so many incredible women that left so much potential unrealized.

Fan fiction is a reclamation of this lost potential. It’s a powerful and radical thing to do. Correcting the narrative to center who should have been centered all along heals the parts of us society wants us to neglect within ourselves for the sake of men (or straight people or white people or cis people) and their own narratives. It’s a way to decenter men not only in our real life spaces but our fictional ones too

#female gaze #decentering men #btvs #cordelia #tara mclay #kendra young #kendra btvs #drusilla btvs #darla btvs #anti riley finn #anti xander harris #anti angel #buffy summers

[victimsofyaoipoll]

Semifinals

Sakura Haruno

Her husband is gay and her author doesn't know how to write women. So many people say she's the worst but she. DESERVES. BETTER!!! Save her from this franchise.

My baby girl my bestie my best friend. She committed the crime of um being written by kishimoto who both doesn’t know how to write women and somehow writes men in the gayest way possible specifically naruto and sasuke. Like the thing is naruto and sasuke ARE gay and also she gets so much hate for the crime of kishimoto writing her one dimensionally in love with sasuke. I know her personally she is a butch lesbian to me just trust me she’s in love with Ino and has a lesbian thing going on with Karin okay just trust me. My everything. She needs to divorce the loveless lavender marriage she’s in 

What is there to say, even? The OG Threat to my 90s anime brain, the only woman I've ever hated with such a passion she made me turn away from the color pink. I used to write fics with my friend where she got left behind on purpose so our OCs could join the Naruto and Sasuke team instead. I loathed this bitch until I was 16 and realized the author simply couldnt write women and decided it was time to make peace with Sakura. It is not her fault she's vaguely written and obsessive over Sasuke. She deserves better. Sasuke and Naruto still should be together and Sakura shouldnt be with Sasuke but I no longer believe this because I hate Sakura, it is because I love her. She deserves a spouse who will actually put in the time to treat her like the hero she is.

Casca

She is part of a weird fucked up love triangle with two dudes. All three of them are honestly kind of terrible for each other but she gets shoved aside in favor of the two dudes in most fics and is not allowed to grow past the toxic relationships of her past. Also she’s a cis woman who dresses pretty masculinely (because she’s in a mercenary band) so she gets type casted as the mean lesbian friend, when she’s straight in canon

I've seen more than one Yaoi Shipper say that Casca should have died during this one big canon event as opposed to being assaulted by one of the people in the Yaoi Ship, which of course conveniently would remove her from the narrative and as an obstacle to said Yaoi Ship. Aside from that specifically, though, I think it's particularly cruel to imply that being killed is a better outcome than being a victim of SA, and is an example of the contempt fandom on the whole has for female characters who act traumatized - particularly when both male characters in the ship have similar trauma and its never implied they should have died rather than be assaulted.

She's an incredibly interesting character in her own right with really good dynamics and parallels to Griffith and Guts, and the way those three play off of each other is integral to the story, but most of what I've seen completely ignores her in favor of focusing on only Griffith and Guts

#poll #round 5 #sakura haruno #naruto #casca berserk #casca #berserk

[arcadiabaytornado]

My most unhinged thought about the Life Is Strange series is that I think True Colors might have partially been a test to see what their player base looks for in a game. I know that sounds degraded, but this makes so much sense to me.

Life Is Strange 2 was a game that didn't sell particularly well. Don't get me wrong, it's made 2 million dollars in gross revenue, so to say that it was flop would be untrue. However, it is the worst selling game in the entire franchise. Before The Storm made 9 million dollars, Life Is Strange made 56.8 million dollars, and True Colors made 16.4 million dollars. Compared to how much the other games made, 2 million is underperforming.

I bring this up because it makes sense that the devs would see this number and say, "We should figure out EXACTLY what the player base is looking for so we can make more money because, capitalism." That's where I think True Colors comes into play.

There are a lot of things that could figured out by watching what choices players make in TC. For example: Alex can have two main desires throughout TC. She can either want to travel and make music, or she can want to find a home and community in Haven. Depending on what the players pick, the devs would know if players lean more toward an adventures MC like Sean who travels around a lot, or if they lean more toward a grounded MC like Max who's life is mostly centered to one place.

Other things the devs could gauge from the game: Whether players like doing small side quests such as finding the bird for that one lady. Whether players lean more toward a male or female love interest. Whether players prefer a more grounded or adventures love interest. Whether players would want to forgive an antagonist in the franchise. Whether players would want to a protagonist to treat a power like it was a blessing or a curse. Whether players would be more drawn to a pessimistic or optimistic main character.

I had this thought because Alex is so much more ambiguous than Sean and Max. Sean and Max have pretty concrete personalities and opinions despite being in a choice-based game, while what Alex wants and her personality are mostly selected through dialogue. The developers could easily use that dialogue to gauge what kind of protagonist the fans most like playing as. Then I had the other thought that the entire game would be a great test board actually...and now we're here. 

#lis #life is strange #life is strange true colors #true colors

[nenilein]

Hello! Apologies for sending an ask out of the blue but considering your familiarity with localisation differences in persona 4/golden, I was wondering if anything comes to your mind regarding this aspect and how the game depicts queerness and queer themes? Thank you!

Heya! Don't worry, I was thinking people would probably ask stuff like this. After all, I already replied to somebody's tags asking this same thing previously, but I know not many people saw that, so let me use the chance to go into more detail:

Unfortunately, Persona 4's treatment of queer themes is not a result of the translation. The only things that were down to translation choices were small things, such as which pronouns are used in which situation (because Japanese does not at all have the same concept of third person pronouns as English, and the way first person classifiers that mean "I" work is very complex and a lot more vibes-based than actually tied to gender.)

But for the most part, everything is pretty much the same. Kanji's reaction to Chie mumbling about something being "off" about how he interacted with Naoto that first time, the tent scene, Yosuke's extreme insecurity in his own sexuality in addition to everyone else's... I think maybe the only thing that's a biiit better in Japanese is that Teddie is kiiinda genderfluid in Japanese, with the artbook outright stating that he doesn't necessarily consider himself "male" when he's in his bear form, unless it's necessary for a joke.

A lot of this can be traced to the really odd relationship the game's director, Katsura Hashino, has to queer themes. In interviews about Catherine Fullbody (a game which infamously has a rather weirdly handled gay romance route which, however, is notably also the only romance route in the game that cannot possibly result in a bad ending), he talks about how he's always admired queer people for being "strong" and wanted to write queer stories, but couldn't really do it until Fullbody because Atlus higher ups were afraid of backlash from the fans.

Traces of this are actually seen in Persona 4 Vanilla's data, where remnants of a surprisingly well done romance route for YOSUKE, of all people, are still present. That route made it far enough into development to have voiced lines in both, English and Japanese. However, it was dummied out in the final game and its script content was removed. Yosuke STILL has the "girlfriend flag" in the code that all the female romance options also have, but in the finished game it only checks whether you can hug him during his social link or not. Everything else was dummied out. You can still find the voice files on the cutting room floor if you want:

And yes, the "I like you" line is unambiguously romantic in Japanese. His wording is very hard to misinterpret.

However, in the finished game and the rest of the franchise Yosuke's bisexuality was reduced to an in-joke of the developers. It's most poignant in Persona Q (the first one), where if you get the "marriage" scene with Yosuke in the second dungeon, his reactions differ WILDLY depending on which Protagonist you are playing as, far more than other male characters. With Makoto Yuki he acts nonchallant and deadpan about it. With Yu Narukami he acts like a blushy Tsundere and panics constantly. So, yeah.

Okay, so, if the director had interest in writing queer stories since before Persona 4, why is Persona 4 the way it is then?

Well, because - and there's no way around it - he sucks at it.

Katsura Hashino has to be one of the clumsiest "gay activists" I've ever seen in my whole darn life. He finds queer people "cool", but seemingly never had any queer writers or sensitivity readers on his teams and it's caused enormous blunders in how these themes have been handled. For example, when after Persona 3 it was pointed out to him that the writing of the female characters in interaction with the male characters was bad, he immediately hired more female writers and gave them free reign for how to handle the female characters from then on out. But apparently the same thing never happened with his mishandling of queer themes. He wants Catherine's Erica and Rin to be empowering figures for trans women and gay men, but makes a lot of blunders in how he has other characters interact with them to the point it buries his good intentions. Erica's boyfriend having gay panic upon realizing she's trans is treated as "funny and cute", even by Erica herself. Rin technically being a monogender alien really undermines his story of becoming more secure in his sexuality. It goes on and on like that.

The intention with Naoto's story was to point out the extreme sexism in Japanese society and how it forces female nerds to find alternate modes of self-expression, but the clumsy choice of including surgery themes in Naoto's dungeon completely buried that for especially western queer audiences. Most people don't even remember Naoto's dungeon was outright modeled after a Kamen Rider villain hideout. They completely shot themselves in the foot with this one. Additionally, the way Naoto is handled AFTER the dungeon makes her (I'm using that pronoun because she calls herself a "woman" in Japanese in the game) seem more like someone who's on the verge of discovering they are X-gender (the japanese word for "nonbinary") than a repressed girl. Like, right down to how she has Rise help her experiment with clothes in the canonical drama CDs only to realize she really is uncomfortable with skirts and go for an androgynous but less restrictive look going forward. The way she dresses in the Golden epilogue and P4D is pretty X-gender core if you ask me. If they had leaned into that they could have genuinely have had something AMAZING, while also presenting the themes of sexism they wanted to explore, but the lack of queer sensitivity readers kind of ruined it.

Same for Kanji. The way they write him makes it seem like he's bisexual or pansexual, rather than straight, but they kinda shove that part of him aside after his dungeon is done, leaving his actual orientation up in the air and wasting a really good chance for representation. NOW, given what happened to Yosuke's social link, it's quite possible the original intent WAS to explore this more and it got cut, but as it stands, we'll never know. The huge problem of the internalized toxic stereotypes his Shadow presented never being reflected on and put into their right context in the rest of the game, when his social link could've given a great opportunity for that is also a huge shame.

All of this happened because of Atlus being unwilling to let their writers go all out with queer themes in fears of alienating a cishet audience AND because Hashino never sat his writing team down with any actual queer writers to sort this shit out and learn how to get across what the team was ACTUALLY trying to say. Now, given, Persona 4 was far from the only Japanese media property with that exact issue at the time, but it hurts especially much in its case because of the game's themes of exploring the truth to its logical conclusion, as well as psychology. These are issues that a remake REALLY would do well to address and correct. I feel like they actually will HAVE to do that, because sensitivity readers have become the NORM in handling these themes now in Japanese media, rather than the exception. You can thank trail blazing mainstream works like Zombie Land Saga for that.

All in all, Persona 4's handling of queer themes is an exercise in frustration that I hope is corrected soon.

#Persona 4 #Neni Replies #Naoto Shirogane #Kanji Tatsumi

[middle-earth-mythopoeia]

No, Amazon’s Rings of Power is not “woke”

It annoys me so much when people complain about Rings of Power being “woke.” First of all, because of the way they overuse the word, woke has become a next-to-meaningless term that can be applied to anything conservatives don’t like. Second, Rings of Power is only progressive in the most surface-level way; underneath that it is in fact extremely regressive. People who whine about Rings of Power being woke are not only annoying, they’re also just plain wrong.

Ever since the casting was announced, right-wing idiots have been shrieking about Black actors being cast in Rings of Power. These trolls have made all kinds of dumb statements about how Middle-earth = Europe, but they seem willfully ignorant of the fact that Europe has never been exclusively white, and there is no reason to exclude people of color from the cast of any Tolkien adaptation. Still, this didn’t make the show progressive in its casting (which was tokenistic) or its writing (which ranges from bad to horrible).

For instance, the only storyline Amazon writers could apparently think of to introduce Arondir was literally him being enslaved. I mean, really? Is that really the best plotline to go with? To be clear, I’m not criticizing the actor, I’m criticizing the writing. In addition, Amazon cast actors of color overwhelmingly in parts invented for the show—rather than as actual Tolkien characters—which more easily allows them to be sidelined by the narrative, and the casting overall was in no way diverse enough. So I find it bizarre that people criticize the show for its so-called wokeness, when very little effort was made from a diversity and inclusion standpoint.

Right-wing nutjobs also threw a fit about Amazon portraying Galadriel as a warrior, to the point where they started calling her “Guyladriel.” They whined about Galadriel being too feminist and too masculine in the show, but that’s the opposite of what happened and betrays a fundamental misunderstanding of Galadriel as a character. First of all, she fought at Alqualondë in one version of the story, so no one should have a problem with her wielding a sword. What IS a problem is everything else about her portrayal.

Amazon’s writers took one of Tolkien’s most interesting characters and stripped her of her power, her authority, her gravitas, her wisdom, and her ambition. They had Gil-galad, her younger cousin, order her around. They had Elendil compare her to his children, even though she’s older than the sun and moon. And they made her a petty, naïve, incompetent brat whose entire first season involves being manipulated by Sauron, and as if that wasn’t bad enough, having a bizarre will-they-won’t-they relationship with him. In addition, Galadriel is canonically tall and strong, and one of her names means “man-maiden,” but they made her short and waif-like instead.

Galadriel in Amazon’s show doesn’t even resemble the character Tolkien wrote—the character named Nerwen, who never trusted Annatar, who certainly never had some creepy Reylo thing with him, who was powerful and wise and authoritative, who had a marvelous gift of insight into the minds of others—not a quippy, rude, annoying idiot who is constantly being controlled by the men around her. I don’t know why anyone would look at Rings of Power and think this portrayal is progressive. It’s actually a failure of imagination: Amazon’s writers literally cannot conceive of a powerful woman even when all of the work of imagining her has been done for them. In addition to the faux-feminist-and-actually-sexist portrayal of Galadriel, Rings of Power is also on the whole weirdly regressive from the standpoint of gender roles and gender expression. Tolkien’s Elves are canonically tall, beautiful, and long-haired, regardless of gender. Tolkien’s Dwarves all have beards. So what did Amazon do? They gave most of their male Elves short hair, while the female Elves still have long hair, and they did away with female Dwarves’ beards. They patted themselves on the back for “letting” Galadriel fight, but don’t show other female warriors—in battle scenes, for instance, why are all the soldiers male? In general, they made their characters adhere to conservative gender roles and gender expression, which is especially glaring because it contradicts what Tolkien actually wrote.

On top of all this, they decided to throw in some anti-Irish stereotypes with a side of classism, just for fun. They had the ragged, dirty, primitive Harfoots speaking in Irish accents, while the regal, ethereal, advanced Elves speak with English accents. None of the actors playing the Harfoots are Irish themselves, to my knowledge, which makes the choice to have them speak this way especially questionable. Seriously, who thought this was a good idea?

All in all, it makes absolutely no fucking sense to criticize Rings of Power for being woke. It may look progressive on the surface because there’s a Black Elf and a woman with a sword, but that’s as far as it goes. The show isn’t particularly diverse to begin with, and it treats its characters of color poorly. Galadriel’s portrayal is disgustingly regressive, as is the show’s overarching take on gender. This is to say nothing of the caliber of the writing in general, which is unsurprisingly low. There is so much to criticize—like the nonsense about mithril, or the fact that Celebrimbor of all people doesn’t understand alloys, or the fact that you can apparently swim across the Sundering Seas now—which makes complaining about the show’s supposed wokeness especially irrational.

I also have to wonder if the people still whining about wokeness know anything about Tolkien’s works. Do they know that the crown of Gondor was based on the crown of the Pharaohs of Egypt? Do they know that Tolkien considered Byzantium the basis for Minas Tirith? Do they know that female warriors already exist in Tolkien’s books? Do they know when they rant about how much they hate “Guyladriel” that Amazon’s portrayal is actually too feminine? Ultimately, people who complain about wokeness in Rings of Power—or any Tolkien adaptation—are just betraying their own idiocy. I honestly think if Tolkien’s books were published now conservatives would scream that they’re woke too.

#anti rings of power #my writing #to be clear I have not watched this monstrosity and never will #I have unfortunately learned all these things about its horrible plot regardless #please no one comment on this post telling me that I have to watch it in order to make criticisms - just no

[saintsenara]

if you are still doing ship game, thoughts on jily?

thank you very much, anon - i am always taking questions both on romantic ships and on characters' platonic vibes, the more unhinged the better.

although jily can't really be described in those terms, not least because their narrative purpose in canon is to be little more than blank canvases onto which harry can project as he goes through his series-long character arc, shedding his initial hero worship of james when confronted with the reality of his father's behaviour in order of the phoenix and starting both to fully appreciate lily's centrality to the course his life is taking and to see his dad with nuance as a real and fully-rounded person, flaws and all.

this narrative role means that the glimpses we get of them in canon feel kind of superficial - their bantering during snape's worst memory is basically high-school-teen-movie level, the snapshots of their life under lockdown in deathly hallows lovely and bittersweet but also just colour to a storyline which is already all of those things.

and this is not to say that i find jily uninteresting as a ship - i completely reject the common anti-jily position that they didn't really like each other, that they had nothing in common, or that their backgrounds made them incompatible [i'll expand on this below, but while i do think that their respective blood statuses and the impact of these on their relationship are worth thinking about, i loathe fics which portray james as chafing against his marriage because, as a pureblood, he'd be more comfortable with someone 'of his own kind'. this is bullshit, and there's far, far too much of it in this fandom]. my views on one of james' most frequent non-lily partnerships are well known, and i share the outrage many jily fans have for the way lily in particular is treated in a subfandom increasingly dominated by rigid fanon which prioritises giving depth to male characters [even if those characters are, in essence, oc's] and slash relationships over exploring the canon female characters, partnered or not.

but i do also find that a lot of jily falls into the same trap as much of the hinny i dislike - that is, a tendency to present as a sunshine-and-roses fairytale a relationship which is much more interesting if the things which canon implies [and which can be reasonably inferred outside of canon scenes from a canon coherent engagement with the text] might have introduced an element of dysfunction into james and lily's partnership are taken into account.

the shadow of the war is obviously one of these things. what role lily actually plays in the resistance is something which preoccupies me [she is never mentioned in canon to have taken a combat role - and i find it considerably more plausible that any attempt voldemort made to recruit her was at snape's request and connected to her potions prowess] particularly because, as we see in the way her death is memorialised in deathly hallows, the series regards the defence of the integrity of the nuclear family as a key aim for the good guys. how does she interact with james and his wartime role when she's pregnant, nursing, or in hiding for the vast majority of her time in the order? how does she feel about her husband being a soldier if she's behind the scenes?

indeed, what role james [and sirius] plays in the order is also something i'm obsessed with thinking about - not least because so much of the inherent tragedy of the marauders' storyline is caused by the fact that james and sirius think they're fucking invincible and that their plans to keep the potters safe are foolproof. it's entirely reasonable to read james and sirius as being pretty gung-ho about being paramilitaries - and my headcanon is absolutely that more battled-hardened order members didn't like them very much [moody does not, after all, seem massively fond of sirius] - and lily seems affected by this too [she's not holding her wand either!], and what they thought they were doing as 1981 rolls around is compelling to me.

james and lily's divergent backgrounds is also something i'd like to see explored more in fandom - not, as i've said, in the dull 'james should have married a pureblood' way, but in a way which deals with the fact that their relationship follows wizarding norms. molly weasley can blame the war all she likes, but [although i doubt this was jkr's intention] the evidence of canon is that witches and wizards marry and have children extremely young as a social standard, that couples generally don't live together before marriage, that divorce doesn't seem to be common, and that married women tend not to work. lily - a mother at twenty and, therefore, presumably married at nineteen - is coming of age, then, in a magical world which thinks about gender very differently from the muggle world of the 1970s, and i think that tension is worth exploring.

[similarly, the way in which her marriage is self-protective - lily gains a pureblood name and the social cachet which comes with it at a time when she's in rising danger on account of her birth - is something i think it's worth looking at when considering the pairing.]

there are other flashes of dysfuntion which i adore thinking about in relation to jily - lily's relationship with the other marauders [you can pry the reading that sirius resents her for stealing the love of his life - and i certainly don't mean lupin - away from him from my cold, dead hands]; how much of his misbehaviour at school james conceals from her; the fact that lily becoming more overtly interested in james from her sixth year onward must have a little bit of attempting to make snape jealous mixed into it - and whenever i stumble upon them in fics i say oh ho like horace slughorn and kick my little feet in the air.

i care rather less about 'we're so hot and flawless and not doomed' as a trope.

but i do stan james for beefing with vernon dursley even though lily told him to behave. the man really is just that annoying.

#asks answered #asenora's opinions on ships #jily #james potter #lily evans #is this an 'i'm in danger' one? #only time will tell

[hedgehog-moss]

Do you have any advice on picking books for readers with limited time? I love to read, but in the past couple years I've been dissatisfied with almost everything I've read and I've purposely been trying to pick a variety: obscure, best-sellers, internet-recs, vintage, recents and I can't seem to pick well. I know the key to finding more good things is to read more quantity, but I've only got so much free time and can only read so fast.

Oh I feel you! There was a whole period of my life when I was desperately trying to find some alchemical formula to ensure that most of the books I read are good-to-great rather than okay-to-good. I had this scientific process where I tried to log a lot of details about the books I read and then look at the numbers year after year to find a common denominator. Is it a matter of reading more, or is it reading more older books vs. recent ones, male vs. female authors, books from my to-read list vs. impulsive reads, books recommended by friends vs. books I find myself? etc. etc. I made line graphs.

In the end the only factor that seemed to correlate with how many good books I read in a year was the number of unfinished reads, so the one piece of advice I have is to not hesitate to give up on a book you're not enjoying. I read multiple books at a time so it's easy to see if there's one that I keep neglecting in favour of the others; and I get most of my books for free or very cheap (from my local library, or OpenLibrary or Zlibrary, or secondhand bookshops where they're like 50cts apiece, or swapping books with friends), the ones I buy new are mostly books I've already read & enjoyed, so I don't have qualms about giving up 20 pages in if I'm not feeling it.

Other than that, I've kind of made my peace with the fact that finding a good book is a mysterious serendipitous process and most of the books I read will be just okay, plus a few bad ones and some great ones.

That said if most books you read end up being unsatisfying rather than at least okay, maybe you're not sure what you're looking for? It helps to identify what you want from a book at a particular time (fun escapism, learning more about a given topic, immersion in a specific atmosphere and if so, which one...) I tend to start a new read with a precise idea of what it would take for this book to be satisfying, e.g. "rn I feel like reading about someone's quiet daily life, maybe a diary or letters, set in a place or context I don't know much about, without turmoil or tragedy" or "a story set in the 17/1800s with flowery prose, interesting female characters, focused on intricate social shenanigans rather than romance or adventure" etc, so it allows me to narrow things down and eliminate potential reads where too many criteria are missing.

And I like to read a few 1-star goodreads reviews—some prefer to focus on 3-star reviews which are more balanced; personally I figure, if the people who hated this book the most cite reasons for disliking it that aren’t dealbreakers for me, that’s a good sign. And if the worst reviews cite stuff I'm actually looking for right now ("too long, too many digressions, long-winded prose, too quiet / not enough action", etc) then it’s a book that comes recommended both by 5-star and 1-star reviewers :)

#ask #(@ la française qui m'a envoyé un message ce weekend; je t'ai fait une réponse assez longue que tumblr a mangée 😭 #c'est stressant pour tout le monde ce qu'il se passe en ce moment; n'hésite pas à m'envoyer un message privé si tu veux discuter <3)

[wiz-writes]

Magic comes with a price. That is an inevitability every mage has to face. But when you lose your powers in a freak accident, you are certain that the price has been paid in full. You settle down in the peaceful countryside, far away from any conflicts or conspiracies, all the while focusing on your recovery. And for two years, your life is quiet. Until an untimely visit thrusts your fate into a stranger’s hands and you are forced to embark on one last journey to save yourself and your family. Yet the secrets you uncover might very well bring about your downfall, as well as the undoing of everyone in Waledria. The Withering approaches. Will you make it before you lose yourself?

Aesemyr: The Withering (previously named A Rhapsody in Blue) is a fantasy IF game with a focus on story and characters, with some elements of romance and adventure. It’s planned to be a two-part series.

Play as a man, woman or non-binary.

Customise your appearance and shape your personality.

Follow the teachings of a specialised Way and gain access to different skill sets.

Find romance with one of the five ROs; or choose to stay as friends.

Set off on a journey that will bring you closer to the truth about the accident that nearly cost you your life.

Unearth a secret that might mean the end of the kingdom you call home.

Be devoured from within; or fight till the last breath.

Welcome to Lyyra, a kingdom where magic means innovation. As the leading force in the acquisition of Ruun - a natural source of magical energy - Lyyra has thrived for almost a century now. Being the foundation upon which the kingdom continues to build, it comes as a great honour to be born as Ruun-touched. These so-called mages are able to manipulate and shape the magical energies that criss-cross the world around them. You are one such person. Trained by the prestigious Academy, a place of wisdom and learning, you are part of one of many teams tasked with protecting the citizens, as well as Lyyra's interests. However, when you find yourself caught in a devastating explosion, your old life is torn away from you as you are stripped of the very essence of your being - your magic. For two years, you stay in a small town called Helys, focusing on recovery and figuring out your life; that is, until the peace and quiet is interrupted by an unexpected visitor. What follows is a series of events that no one could have predicted. Your life hangs in the balance once more as you struggle on the path you were set upon by others. The secrets that come to light bring nothing but ill tidings, both for yourself and the kingdom; and as tensions rise to a boiling point, you are caught in the middle of it all with only a few trusted allies by your side. However, the worst is yet to come.

DEMO

COG FORUMS | KO-FI

Romance Options

There are altogether 5 ROs so far: one female, one male, two gender-selectable and the last one is unfortunately a bit spoilery ;)

Valia Kainen (F, 28)

You’ve known Valia for more than a decade now. Having met while studying at the Academy, she has always been a quick study and a diligent learner. Hence it is no surprise that she has risen through the ranks to the position of the Academy’s Headmistress at a much younger age than most of her predecessors. This is often attributed to both her exceptional skills and ruthlessness - her cold exterior only adding to her reputation. In spite of all that, she is mainly driven by her love for her friends and family and she makes quick work of anyone who dares hurt them.

While she’s no longer the girl you used to know, some things still remain the same; her dislike of you being one of them.

Appearance: Average height and athletic build. Shorter light brown hair that barely touches her chin. Light green eyes. Permanently set jaw and furrowed brows. A small scar across the left eyebrow. Tanned skin.

Lucenis Yu Jie Veldari (M, 32)

A popular poet and the younger brother of the current king of Lyyra, Lucenis tends to keep his distance from the affairs of the royal court. In the past year, he has seemingly withdrawn from the public eye as well, though that doesn’t appear to dim the love the general populace has for him. He is well-known for his gentle nature, soothing voice and willingness to help those in need - be it an unfortunate soul or a struggling researcher. Throughout the years, numerous rumours have emerged, about both him and his mother; none have ever been proven true.

He is a good friend of your brother and Valia, the three of them often seen together in the city.

Appearance: Tall and lean build. Long dark brown hair that reaches to his mid-back and that usually frames his face as he keeps it loose. Black eyes and warm beige skin with a sickly pallor.

Tevshedi “Tev” Zanue (F/M, 36)

Tev has been a mercenary since a young age. They have travelled around the world in search of work for many years and that has not only hardened them, but also turned them into a fierce warrior. Not too long ago, however, they left that life behind, instead applying for the position of Lucenis’ personal bodyguard. Good humoured and loyal to a fault, they often joke that they are not paid enough for keeping the man safe, especially from himself. But even so, they seem to be enjoying their new life in the royal palace, as adaptability and being able to handle unexpected situations is something they excel at.

Their amiable personality has helped them in establishing various connections among both the common folk and nobility. This has allowed them to build a vast information-gathering network without any interference.

Appearance: On the taller side with a muscular build. Short black hair, coiled. Brown eyes. Dark brown skin. Has a rather nasty scar travelling from their collarbone to their chin.

Cerin Melista (F/M, 25)

Cerin is a part-time librarian in one of the capital’s largest public libraries. At the same time, they are also finishing up their studies to officially become a professor of history at the most prestigious university in Lyyra. They are a passionate collector of ancient tomes and relics, often going to great lengths to acquire them. Despite their popularity among their students, they are usually feared or shunned by the more superstitious folk - their heterochromatic eyes being seen as an ill omen in many places. However, that doesn’t seem to dampen their spirit, their outgoing personality and boundless enthusiasm being the proof of that.

Yet there is an unsettling presence about them, something in the sharpness of their gaze, as if they can see straight into your soul.

Appearance: Average height and slim build. Shoulder-length red hair kept in a messy ponytail. Heterochromatic eyes – one is a striking blue, one hazel. A smattering of freckles across the cheeks. Fair skin.

Other characters & teammates:

MC’s twin brother (28)

Your younger twin brother, by two minutes. Raised by your father, you both joined the Academy at the age of fourteen when your magic manifested. Since then, you started growing apart as you decided to pursue different fields of study. Unlike you, he chose the path of research, rather than combat; he is quite well known in his circles, mainly for his study of Ruun in connection to translocation.

Appearance: Similar to the MC. Short hair, brushing his ears. Very dark circles underneath his eyes. Faint smile lines around his mouth.

Captain Kal Poita (42)

The captain of your team and someone you could always depend on. Your group is like a family to him and he is very protective of you all, even if it doesn’t feel like it sometimes.

Appearance: Average height, broad shouldered. Close-cropped brown hair. Light brown eyes. Tanned skin. Various small scars on his hands and arms, a scar across the corner of his mouth.

Vera Harwe (29)

Charismatic and always up to no good, Vera liked you from the moment she met you. While she regrets choosing this path in her life and often talks about retiring, she would never abandon any of you.

Appearance: Average height, lean build. Short blond hair, falling into her eyes. Light blue eyes. Fair skin.

Ash Riven (30)

Reckless and seemingly without any regard for their own life, the fun-loving Ash participates in most of Vera’s escapades; except for those that involve too many people, as they tend to shy away from larger crowds and strangers.

Appearance: Tall and lanky. Shoulder-length white hair, kept in a ponytail when needed. Stormy grey eyes. Sharp cheekbones. Very pale skin.

Delos Kyysta (29)

Delos, or “Del” as everyone calls him, is the quiet conscience of the group, with a careful and contemplative nature. Often at odds with Vera, he is all but fed up with the shenanigans his teammates think of.

Appearance: Average height, athletic build. Short curly black hair. Dark brown eyes. Olive skin.

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