[just after having helped River make a getaway from a heist of an astatine lace shawl — the rarest substance in the universe — without her even needing to ask beyond a simple “hello sweetie” scrawl in the sky]
[Eleventh Doctor] “I can see its worth — but Alice is right! What’s so special about a lace shawl?”
[River] “Ah, well, lace, you see, is the traditional gift for a thirteenth wedding anniversary…”
[Eleventh Doctor] “Wedding anniversary? Whose wedding anniversary?”
[River] “Spoilers…!” *winks*
[Thirteenth Doctor, reminiscing] “I love River.”
HAPPY THIRTEENTH WEDDING ANNIVERSARY TO THE DOCTOR AND RIVER SONG!
Sources: Diary of River Song: The Furies, Diary of River Song: The Lady in the Lake, The Day of the Moon, Doctor Who Magazine Special Edition #33, The Wedding of River Song, The Big Bang, The Angels Take Manhattan, The Many Lives of Doctor Who: Without a Paddle, The Time of the Doctor, Forest of the Dead, Let's Kill Hitler, Diary of River Song: The Wife of River Song, Eleventh Doctor Year Two: Physician Heal Thyself, A Good Man Goes to War, Eleventh Doctor Chronicles: Broken Hearts, The Husbands of River Song, Doctor Who Confidential: When Time Froze
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So I see folks pointing out that Louis' circle A tattoo is more likely an aesthetic choice than an announcement of a political commitment to anarchism, and saying basically that that maybe makes him a bit of a poser and I mean- I GUESS. But I don't like to look at things that way and I don't think it's useful. As I see it the subversive sexiness of the symbols of resistance have ALWAYS been gateways for people who are drawn to the struggle in vague ways and that's GOOD. Aligning yourself with those values is good no matter the reason, in my book, especially given the wretched options available out there, but also the journey doesn't necessarily stop there. Gatekeeping queerness victimizes people who are just trying things out and starting to discover that it may run deeper than just trying on a new look who should instead be welcomed and helped along their path, and I fail to see how gatekeeping political affiliations is any different (plus how counterproductive to actual movement building is that?)
ANYWAY. What I really want to say about Louis is that while I KNOW that Louis is probably not secretly a theory reading anti-state communalist anarchist, I think that actually Louis' optimism and idealism (and his unwavering commitment to allying himself with the working class and embracing those roots) are a perfect fit for the philosophy and always have been. I know that anarchism is mostly understood as being about throwing molotov cocktails and fighting the state (and the allure of its symbols are that they signify this, a terrific aesthetic for him to choose to sign on with in my book), but that's honestly largely cartoonish stereotyping that comes directly from anti-anarchist state propaganda. That resistance is necessary in this hellscape of oppression we live in and is super important, but in its heart anarchism is only about the state in that the state and capitalism currently stands in the way of its goals. The whole point of anarchism is that it's NOT about the state! It's about being able to imagine something better than a state, it's about how we live and about how we SHOULD live, it's about HOPE and picturing something utopian and something free of the ways capitalism pits us against one another! What could be more Louis than that?
"I need you and you need me and I love that" is as beautiful a way of talking about the cornerstone of anarchism that is mutual aid as any long winded essay I've read (even if what he meant was contextually different), and I think when he talks again and again about how special the space fans have made around him is he is expressing an intuitive understanding of the importance of autonomous zones, places and moments outside of the shitty life imposed on us by the system (also a huge part of anarchist thought). Maybe I'm just being an optimist but I think that Louis DOES understand that caring for people and wanting self-determination and freedom for all and allying himself with the working class involves a certain amount of resistance to and positioning yourself in opposition to the state. Thinking the symbols of smashing that state are cool isn't meaningless; it's a CHOICE. There are other cool symbols out there and I just happen to think that feeling a resonance with certain ones is something in and of itself, even if at this moment he does not choose to start a fight with the media about it all.
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it's interesting, a few people on my post yesterday about the dandelion dynasty told me they were taking it as a rec for the series, but i didn't actually recommend the series in that post. it's making me think about whether i would rec it to people, a question i hadn't fully considered yet (as it is a very different question from "do i like this book?"). so this is me figuring out the answer to that question. i'll keep it spoiler-free (though i make no promises on brevity).
i just finished book 3 (of 4) and each installment has left me more invested than i was before, but the series started out very slow, and i didn't really get into it until halfway through book 2. i wouldn't be surprised if a lot of people bounce off the first book; i didn't, but only because 1) i almost never give up on a book that i've started (it's a character flaw of mine 😕) and 2) my trust in ken liu is ridiculously high because the other stuff i've read by him is so beloved to me. so my reaction to feeling kind of meh about book 1 was "okay, let's see where he's going with this" rather than "i guess this just isn't my cup of tea."
i should say that the problem might just be my own ignorance/lack of familiarity with the form. i don't read a lot of epic fantasy - in fact, lord of the rings is the one series that i have given up on reading a couple of times because it just left me totally indifferent. so if you like epics, you are starting out way ahead of me and can maybe just ignore the rest of this post lol, but i think i had to adjust to what the form is asking of me and what it's best suited to accomplish before i could get fully on board.
the main thing i struggled with is the writing, like the actual sentence-level mechanics of voice and style. this surprised me, because i usually find his writing very beautiful, or, when not beautiful, i can get a sense of the effect he means to achieve by employing a certain style. but in this series, the writing came across as kind of awkward and one-note to me at first, and i couldn't see a reason for it to be that way.* the dialogue especially - different characters don't really have different ways of speaking, they all feel pretty much the same. this was one of the main things i had to adjust to, but i do get it now. i don't just mean that i got used to the style and it doesn't bother me anymore, though that is true; i mean that i now understand the effect he means to achieve by employing this style, which gives it purpose and inextricably ties it to the story he's telling (this becomes especially clear in book 3, as it's directly related to a major theme of that book). if the style were different, he would be telling a different story; that's the sign of a successful execution, i think.
i said in the tags on yesterday's post that one reason the series doesn't have much of a fandom on here might be that the characters aren't natural blorbos. of course every character is probably the blorbo of somebody somewhere, but i don't know that these characters were designed to be blorbos, if that makes sense. not that they're plot devices either! every single one of them is conflicted and complicated and compelling, and most of them are followed over a period of many years, so we see them develop as people over time. but there is no protagonist, for example. you could also say that every character is a protagonist. the "list of major characters" at the beginning of book 3 is six pages long, and there are stories to be told about each of these characters, and none of them are told in isolation. but in a way, the characters themselves are not the point, or if they are, it's in aggregate - it's in the ways they're all complex, the ways they all have motivations that make sense to them (and that make sense to us, once we get to know them). and it's about power and the roles that the characters play in their society, rather than the roles the characters play in the story. or maybe those are the same thing! because ultimately, the main character of this story is the society. and the plot is the history of this society, rather than the journey or life of a single person or handful of people.**
(sidenote, there will be a period during book 1 when you will think to yourself, "wow, all the women characters are super one-dimensional and the narrative doesn't seem to respect them." this is on purpose. just keep going.)
the plotting is intricate while also feeling very organic. he's got dozens of plates in the air at once, he's maintaining them over a long period (these books are MASSIVE), and he's somehow making it seem like a real history, not like an author pulling strings. i haven't finished it yet, but my guess is that he's going to pull off a very satisfying conclusion that's at the same time very open-ended. definitely looking forward to it.
and the worldbuilding. oh, the worldbuilding. this is some of the most detailed, complex, realistic*** worldbuilding i've ever encountered, and he covers SO much ground. you want linguistic worldbuilding? you got it. philosophy? it's here. psychology of empire? coming right up. the nitty-gritty of everyday governance? buddy, pull up a chair. mechanical engineering? how much time you got?? (it better be enough time to read 3504 physical pages, because that's how long this series is.) and he's drawing on chinese history and cultural narratives rather than slapping lipstick on a tolkien clone (see his comments here, but stop reading at "In this continuation of the series" if you want to avoid spoilers). he WILL go on for a hundred pages about a single invention, but it's SO interesting that he is allowed. this is a story about how technology (including language, and schools of thought, and agriculture, and...) shapes, and is a product of, its time and place and people, so again, this is all to purpose. but it's also just. really cool.
the last thing i'll say, and this is mainly for other ken liu fans, is that one of the things i most love about his short stories is how they tap into emotions i didn't even know i had, as though they're reaching inside of me and drawing to the surface ways of experiencing consciousness and love and mortal life that i had no idea were in there. this series is not causing emotional revelation for me in the way his other stories do, which isn't a bad thing - i don't mean to say the series is not engaging or that it inspires no emotions! i just mean, iykyk. if you've read the paper menagerie and are expecting that experience, you will have a better time here if you leave those expectations at the door. i am invested in this book because it's engaging my intellect, curiosity, sense of wanting to find out what else the characters will learn and what's going to happen next...less because it's turning my heart inside out inside my chest. and like thank goodness, because i don't think i could survive four entire 900-page books' worth of that! but anyway. word to the wise.
tl;dr: yes, i recommend it, especially if you like epic fantasy. if you're a fan of ken liu's other work, this is quite different, so just know that going in!
*this opinion is of course subjective and not universally shared. for instance, see this review of book 3 (full of spoilers, so don't actually read it lol) which says "There's Liu's voice to hold onto, though — beautifully deployed here and fully in command of the language of his imaginary universe." so ymmv. maybe it's an epic fantasy thing.
**this is making me realize that the story is commenting on this very thing through a tension between bureaucracy (founded on interchangeability) and monarchy (informed by a specific personality). dude. that's so meta!
***though sometimes i'm like, "really? you scaled up that invention to use untested on the battlefield in the span of like two weeks? sure, jan." so sometimes he falls down a little on translation of ideas into logistics, but it makes for such a great story that i'll allow it.
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Got any music you listen to for any FEH characters? Be it for vibes or brain animatics?
WAH.... I'VE BEEN......... SITTING ON THIS ..... mostly cause I worry my answer might be a bit lacking 🧍
I have. A small handful of songs that make me think of Alfonse! Some are silly, some not! In no particular order:
I Earn My Life - Lemon Demon
> THIS ONE..... IS SO FUNNY TO ME...... but it is so painfully Alfonse-core........ to me. Esp lines "I learned it from my father and my father never lied" and "I wouldn't be so worried if I wasn't always right". Biting him. Killing him, even
Devil's Train - The Lab Rats
> Not a direct one-to-one (it is a specific ass situation song and I love it for that) but! This one is so Book 3 to me... if any of these are animatics in my brain material it's this one! Esp if it's following the Alfonse who would become Líf... I also think it captures the generational cycles that are present with Alfonse, Gustav, and Grampa Askr as well!
Ghost - Mystery Skulls
> Some are more Líf leaning tbh LMFAO but! Speaking of! I've mentioned it before, but Lewis was actually a huge inspiration/reference for me when learning How To Draw Líf -- sorting out how to simplify him, get him to fit more w my cartoony style, and how I want him to look body-type wise (big broad guy!)
Also the way I emphasize heart motifs on Líf is very inspired by Lewis! While also trying to simplify the shapes/taking creative liberties and running with them LMFAO
So Ghost is like. Yeah I think the lyrics can fit! But there's Deeplore here too LMFAO
Sex With A Ghost - Teddy Hyde
> This one is very just vibes/up to interpretation. It also feels like a companion to Ghost LMFAO
Cupid - Jack Strauber
> THIS ONE. IS ANOTHER SILLY ONE. BUT. Hear me out. I get such a strong mental image when I listen to it. Bruno just dumped him/ghosted him. Alfonse is face down ass up laying flat on his bedroom floor. He's been playing this song on repeat for at least an hour. Sharena tentatively checks in on him very "Are ya winning, son?" but she knows he fucking isn't. I think it also captures the feelings of heartache and regret of letting someone in and getting hurt for it. AND AND it's because of THE CIRCUMSTANCES. Lamenting The Circumstances -- "Cupid, how could you be so cruel?"
Fist Bump - Sonic Forces themesong
> SONIC THE HEDGEHOG JUMPSCARE‼️‼️‼️‼️‼️‼️‼️ It is. So fitting though. I am ALWAYS thinking of him when listening to it...........
This December - Ricky Montgomery
> This one..... is so him...... it makes me soft. If you check out any of these I def recommend this one!!! And Devil's Train, both are also just so fun to listen to in a Music That Sounds way (I like the flow!)
I could have SWORN I had more but........... I never made a complete collection...... honorable mention to The Black Parade and a handful of MCR songs tbh (This Is How I Disappear feels very distinctly Líf, I Don't Love You honestly could be either depending on the circumstances, Famous Last Words feels a little more Alfonse-leaning). I think if you introduced Alfonse to MCR it WOULD rearrange his brain chemistry, it Would be the closest thing he's had to therapy. And in addition to music I would introduce him to personally, I think The Wonder Years is another good one (but all of TWY's stuff feels so deeply personal... like diary entries and poetry.... cannot be entirely Blorboified. To me)
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