kippurbird: (._.; ... Yeah..)
I was at Barnes and Nobel yesterday and saw the oddest book... well I saw a very depressing book. It was in the kid's section for the preteen crowd and it was a book about a twelve year old girl who was also a vampire. I skimmed a bit through it and the girl had normal every day problems and none of them seemed to relate to being a vampire. She still ate normal food - like spaghetti and meatballs, went out in the sun and could tan, it didn't look like she was going to stay twelve. It's called "At First Bite" by Ruth Ames.

The first bit of it is available to read on Amazon.

I'm having hard time sympathizing with the protagonist. Because apparently the worst thing in her life involves the fact that she accidentally changes into a bat sometimes and that's worse than split ends and chipped nail polish. And if she suddenly became unpopular it would be worse than randomly changing into a bat. "Don't get me wrong. I'm still popular. I shudder to think what not being popular would be like (worse than surprised bat-shifting, possibly). Sorry, but as the Unpopular kid at school? Screw you. And really? Turning into a bat is worse than split ends and chipped nail polish? What about something more important like... stomach flu or your bike breaking or loosing your homework. I don't know. I was never that shallow. Also I never cared about split ends.

It just, I started reading the book and I just didn't give a damn about her. It feels like wish fulfillment again. The sort where girls wish they had the problem of losing popularity instead of not being popular at all. Or the only thing they have to worry about is split ends and chipped nail polish.

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kippurbird: (*_* SHINY!)
... Oh double balls: Paolini's considering writing a prequel and a stand alone sequel to the main series I guess I'm not going to be out of work any time soon.

In any case, theories and thoughts for book four?

I know you have them!

Here's a list of confirmed facts from the site

Looking at the list I'm thinking the following:

My thoughts, let me give them to you )

And that's what I've got.
kippurbird: (Writer at work)

Thirty thousand words later, I'm just hitting the beginning of the climax for my Fool's story.

This was supposed to be a shoooort story.


At least I've got a title for it now: "Forgotten Fool".
kippurbird: (Plot What Plot?)
As I'm writing my Fool's story, I've suddenly come to realize that I have a bit of an Edward/Bella Situation with the Fool to be and the Man in White. In this case the Man in White acts much like Edward does towards the Fool, expressing at times how he wants to make the Fool happy and give him everything and then at other times getting down right possessive and creepy.

Sometimes in the same scene. He's all but sneaking into the bedroom to watch the Fool sleep.

Fortunately the Fool to be doesn't find this at all attractive and is scared out of his wits whenever it happens.

As to why he hasn't left? Well, he's trying to. He's really trying to. But when you've got a guy this obsessed over you...

Damn thing is over 25k now.

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kippurbird: (._.; ... Yeah..)

Just a note.


Two to three pages of what has to be five hundred words? Does not a chapter make. It's not even a scene for god's sake. Okay. It's going up to the high point of the scene without resolving anything thus requiring you to turn the page never mind the fact that you don't seem to resolve it.

Sure it makes things go quickly but it also feels like you don't know how to finish things off.

And do you have wings or don't you?

How are you running around in a night gown if you have wings? What sort of stupid evil scientist has people with wings and doesn't clip them? We clip our parakeet's wings and we're not evil! ... well, the evil and the clipping of the parakeet's wings have nothing to do with each other in this case. And if you're going to create wolf/human hybrid things why are you calling them erasers? It sounds like that Arnold Schwarzenegger movie.

Okay. So it was more than just a note.

It was several notes.
kippurbird: (Chibi Greywolf)
You know, if I'm reading a book summary for something, I shouldn't end up going "of course" and rolling my eyes at the end of every plot point.

This is in regards to "I am number four". My mom and I had been seeing posters for this movie all over the place. At first I thought it would be like the Prisoner.

"Who is number one?"

"You are number six."

You know, like that.


I checked the wikipedia article and gosh darnit wouldn't you know it:

"Of course you need to go to high school and live a Normal Life when you've discovered that evil people are hunting you down and are now able to kill you."

"Of course the girl you've known for all of a semester is your true love and you'll never forget her."

"Of course you get special magic/alien powers."

"Of course you're one of the last of your kind."

Blah, blah, blah.

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kippurbird: (Plot Bunny High)
In which Kippur has a bad thought in regards to characters and crossovers.

One of the conceits in the Dawn of the Old Gods world is that if you die and come back to life, be it by becoming an undead or by medical procedures and are still alive, you fall under a god of the undead's providence. This is a bit of a plot point in the first book.

That being said, if the god of the undead that I've created, Ashkari, were to end up in a Super Hero verse, say like DC or Marvel he would suddenly become ridiculously powerful.


Because think of all the superheros who have died and come back to life. Superman, Thor, Captain America, Phoenix/Jean Grey, Wonder Woman, the Batman, Hal Jordan Green Lantern, Magneto, Professor X and more. All of them died. All of them would fall under Ashkari's providence and he would have influence over them.

It would not be a good thing.

Ashkari's not the nicest of individuals.

Now I have to write this...

Are you allowed to write crossovers with your own novel to be characters?


Dec. 9th, 2010 10:18 pm
kippurbird: (You're Using Logic)
There was some discussion in response to the review of the fan fic about fantasy culture vs. Medieval European culture.

After some thought, I decided that it's the technology level. Most fantasy stories take place in a world where the technology level is equivalent to that of Medieval Europe. You've got swords and knights and kings. There are peasants and princesses and no middle class to speak of. But if you have an urban fantasy then you're in a fantasy world that has a technological equivalent to our modern world, though I have yet to see an urban fantasy that doesn't take place on Earth. (*kicks plot bunny* Go away)

However technology level doesn't always indicate society's mores. Some authors just use the medieval structure as a short hand or even just as an under layer without actually changing how things work. They may add a mageocracy or a special class for magic users but in the end a lot of times it looks and feels just like yea old merry England... or country of your choice with the added value dissonance of when you have the girl who suddenly thinks that she should be allowed to marry for love or have the same rights as men. It's like some sort of strange fungal mutation that shows up in the world.

True, this is done to cause conflict for the characters in the story and provide plot but it's an artificial and sort of fake way of doing it. For it to work better, aspects of the idea must already be present in the world. Maybe, for example, the lower classes can marry who they wish, including for love, because they don't have to worry about political alliances. The girl would have heard about it and maybe it was romanticized a little in songs and she thought it would be nice. Or maybe there are dignitaries from another country visiting where marrying for love is a common thing in the upper classes which makes the girl start thinking about maybe it might be okay to marry for Love.

It could be interesting if there was a culture that thought that marrying for love was a bad idea because that might make it difficult to raise children and have a family as people can fall out of love and then the entire unit would be filled with anger and tension. And someone who insists on marrying for love is considered to be funny in the head.

But that's a tangent.

The point is that it the technology and the culture shouldn't be dependent on one another. It'd be perfectly fine to have a matriarchal society in a world with medieval European technology levels if the rest of the world around it show sufficient enough changes. And those don't mean just a few characters with modern understandings who we're supposed to root for.

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kippurbird: (Chibi Greywolf)
I saw Deathly Hallows pt.1 Sunday night. I quite liked it. It was very tense from the first scenes making me squirm in my seat as I wondered what was going to happen. I mean, I knew what was going to happen, but I still squirmed in the tension. I liked Bill, but there was no Charlie. I hope he shows up in the next installment - if at all.

One of the things that I was thinking about in the aftermath was the difference between the villain(s) in the Harry Potter series and the one(s) in the Inheritance series. In the Harry Potter books the villain is actually present. In every book. There's always some sort of presence of Voldemort, even if it's just as simple as "he who should not be named".

In the first two books we only get a hint of it. Harry is new to the world - so the touch of Voldemort is light. Just a face and the whispers from students and others who grew up with the hanging fear over them. In book two we get a hint of who Voldemort could have been, book three what he did to people and friendships through Wormtail and the others. And so on. Each book reveals a little bit more about him leading up to the final confrontation in book seven. While Harry wins the confrontations, he loses a bit of something important to him each time once Voldemort has fully returned. It's a constant give and take over the books. In many ways Voldemort takes Harry's innocence.

However in the Eragon books what we get instead is more like a series of boss battles. Sure, each time he 'loses' something but it's soon repaired. In book one he hurt his back in the fight with the Shade, in book two he got Magical Dragon Healinz, leaving no lingering effects. In book two he lost his sword and found out that Morzan is his father. Book three he finds out that no, Morzan isn't his father and he got a new sword. Everything taken away is replaced. He doesn't permanently lose anything important to him. Every final battle he has is like killing time until he reaches enough levels to fight the big bad.

Harry loses Cedric a classmate, Sirius his godfather, Dumbledore his mentor/ father figure and a whole slew of people in the last book. None of these are replaced.

Eragon doesn't permanently lose anything important to him.

Every final battle he has is like killing time until he reaches enough levels to fight the big bad. Galbatorix never confronts him, never tries to get rid of him personally. Why? Because Eragon isn't allowed to lose his big battle against him and once they have their big battle what would be left for the rest of the books? He's not allowed to have small but uneven victories against his enemy as they test each other. Galbatorix isn't allowed to learn that hey, maybe Eragon isn't as nonthreatening as he thought he would be. He's just going to come down on Eragon like a ton of bricks at the end of the last book.

There will likely be no build up. It'll just happen randomly, much like the end of Brisingr and its final battle. I refuse to say climax because that would indicate that there was building up to that particular battle.

I'm reminded a little of Inigo Montoya and his search for the six fingered man. He too only meets up with him at the climax of the film/book. However they long ago had a confrontation when he was just a boy. And he makes sure that people know he is hunting this man down. With his constant "And when I meet him I shall say 'Hello, my name is Inigo Montoya. You killed my father. Prepare to die'." This is his driving urge. His quest. He makes this his driving force for his life. We see his disappointment when he meets the Dread Pirate Roberts and discovers that he's not the six fingered man. We have seen the same man and his evilness and know that there will be a confrontation. However it's not a driving force of the story.

Eragon doesn't even have that. His father died of wounds and he killed the man who did it before he even knew about it. Even then there was no 'revenge' in his motives when he killed Durza. Harry has revenge in his eyes, but must learn how to overcome it in book six. But Eragon has been denied any sort of personal motivation.

He doesn't have to save Murtagh, because he's dismissed him easily as evil for enjoying killing and fighting and therefor does not deserve redemption. He has no personal stake and this is what makes the story drag and wander aimlessly. While the Deathly Hallows is mocked about the constant wandering that the main characters do in the first half of the book, there is a goal in mind, they're just unable to obtain it: Find the Horcuxes.

And this is why Brisingr goes no where and arrives at nothing while Harry Potter actually does something.

Longer piece to follow. Plans to finish book over Thanksgiving.
kippurbird: (Writer at work)
I have a confession to make.

Death God Rising and the ensuing universe came from a daydream of mine of a specific scene where Theo stood on a rooftop talking into a headset as they prepared a raid on a sorcerer. It was a fantastic scene.

It has yet to make an appearance in the book.

I don't think it ever will, it just doesn't fit with the story line that I came up with to explain who and what this world was about. However the germ of the idea - that scene - was a good idea and it sent things spinning.

I think what makes this different between myself and Meyers is that I didn't write an entire book around that one scene to see how it happened. Hers was Edward and Bella laying together in the meadow. Mine was Lorac asking Alec to dinner and then seducing him, after watching him practice with his sword and his shirt off in a courtyard.

The last time I tried to include the 'genesis' scene in a book, it didn't fit and made everything awkward, breaking the flow of the story. So, I cut it out three drafts later. It amused me when I realized I did this, but in the end it made everything better. I didn't need to have that scene because the necessary plot point or turning in the plot it represented was achieved elsewhere.

The plot scene was the seed of my Master's Thesis and the beginning of the four book series based around Alec and de-Stuing him. So it turned out to be a good thing all in all.

I've completely forgotten where I was originally planning to go with this as I've been dropping it on and off all week.

In the mean time broke 40k on Nano!
kippurbird: (Fat Baby!)

I'm actually using this as an opportunity to hopefully finish Death God Rising, so I'm starting in near the beginning here, but there's already written stuff. I've just incapacitated four out of eight of the team members. Two of the team members got whammied when they undid a series of Wards in Maine. The backlash took out two other members. Adrian, the ritual mage, is one of a trio of triplets. His sisters are in Los Angeles. While they don't have the MYSTICAL MAGICAL UBERSPECIAL twin/triplet bond found in a lot of fantasy fiction.

For which they're grateful for considering some of their sex lives. Actually, now that I think about it, a lot of people don't seem to get the full repercussions of having a 'twin bond'. If you can feel anything that your twin is feeling, that has got to be awkward when one is having sex and the other isn't. Especially if you're a guy, if you know what I mean. Sure they talk about violence that the twins feel against one another (Oh NO MY TWIN IS HURT!) but emotions and physical feelings aren't just restricted to violence.

Someone should explore this.

Anyway, what happens with the triplets is that since they developed together in the same womb their magical connections are tied together. When Adrian used up all of his reserves the connection went to his sisters to take some of theirs to keep him alive. Sort of like a mystical life line. Kale and Trever - the Delvar twins- would have a stronger reaction as they're identical instead of fraternal twins, though they still don't have a 'twin bond'.

And that is what I did to my characters.

I'm trying to do a massive word count the next three days because on Friday I'm going to Disneyland for my brother's birthday and we're staying overnight. There is no way in hell I'll be able to do any sort of writing after a day at Disneyland, so I'm buffering up my count so I don't miss any deadlines.
kippurbird: (Witic)
Why Oromis’ statement that Galbatorix’s confidence would be shaken learning that he’s still around won’t work, but Paolini thinks it might because this is what happened in Star Wars.

Long title.

In our chapter entitled Leave Taking, Oromis says that Galbatorix might believe that there are other dragon Riders still alive when he learns of his existence. This comes, likely, from the idea in Star Wars where after Yoda and Obi Wan Kenobi are dead, other Jedi come out of the woodwork once the Empire is defeated. Also there have been smaller resistances of Jedi in various places during the war, it’s just for their own safety they had to remain hidden.

This is possible for one reason: the Star Wars universe takes place in an entire Galaxy. Galaxy which means hundreds of thousands of planets and hundreds of billions of people. Trying to find several thousand Jedi who may have survived the purge is like trying to find a needle in a haystack the size of Montana. Not all Jedi would have been working on the front lines with the Clone Troopers when Order 66 went down. Some Jedi might have survived the attacks, like Yoda did. The thing is, when you get down to it, there’s no real way to know who lived and who died with any certainty. Especially when you consider “I am not the Jedi you are looking for” at their disposal.

With a galaxy so large, the Jedi were able to hide away from the Empire as long as they were smart about it.

Now lets look at Eragon’s empire. For starters it’s only on one continent. Not even an entire continent. Varying sizes exist, but it can’t be more than the size of North America. This makes it a much smaller territory to explore and try to find people in it. The second part is that the Riders have... you know... dragons.

Dragons are big. They can get to the size of a mountain big. Or so we’re told. In any case they’re pretty hard to hide. That’s why Saphira couldn’t leave the Varden. People would notice she was missing. There are only so many places that a dragon could hide in safety where they can be taken care of and their riders can be taken care of. Remember, they require lots of food to eat. As we’re told by Oromis that he’s the only one with the elves, the Riders would have to live else where.

Where exactly would you hide a dragon?

Admittedly, they could have also hidden with the elves, but then that leaves us with this problem. If they were hiding with the elves, then why? Shouldn’t they still be out fighting the evil empire? After all there’s now only Galby and he’s just one man. If Eragon, not even quarter trained as he is, is supposedly capable enough of destroying Galbatorix with maybe six months at the most training, what could three or four dragon Riders who have had full training be able to do?

If Galbatorix had half a brain, he’d be able to figure this out rather quickly.

But for some reason, if the dragons decided to hide, where would they hide. If you had a bunch of dragons with the elves, their territory isn’t large enough to support them. They would need cattle or other domesticated animals because the native forest life like deer wouldn’t be enough to feed them. The domesticated animals would be noticeable because they need a place to graze. Forests don’t have good grazing grounds. Forests aren’t grazing grounds, if they were we wouldn’t need to deforest things. It’d make life a lot easier.

So, the dragons couldn’t have hidden with the elves. They most certainly wouldn’t have been welcomed with the dwarves. That leaves... well, very few places to hide where they wouldn’t be seen and Galby’s men would have picked them out. If the dragons attacked the men, then it would get back that hey there’s something eating the men over that way. Again, not good for hiding.

Therefore they couldn’t have been lazing about hiding somewhere in safety.

Then why even mention it?

Because that’s what happened in Star Wars. There were Jedi in hiding and the Emperor knew about it. That’s why he had Jedi hunting squads like the Inquisitors and his Hands. He had people searching out young Force Sensitives so that he could bend them to his will and change them to the Dark Side. There was always a possibility for there to be more Jedi to be turned against him. Case in point: Luke Skywalker.

Even though, in Paolini’s world it’s impossible for there to be more Riders, the idea must be brought up for that’s what happened in Star Wars, the Inheritance novel’s template. While it may bring some moral bonuses to the common folk, (I think I’d be more pissed off that they were hiding a Rider all this time) it shouldn’t do any harm to Galbatorix’s confidence.

At least, it shouldn’t if these books were written in some sort of logical manner. However, we’ll never know for certain, I don’t think, because we never see Galbatorix’s point of view.
kippurbird: (Writer at work)
I was trying to write up 300 words on the personality of one of my characters from Death God Rising for a RP and was having some trouble with it. Mostly because I tend to have personality show in reaction to things when I actually write the story having just the basics in my head on what they're like. Showing, not telling blah blah blah.

As I was banging my head against the screen trying to come up with it, I realized that he didn't have an angsty past. He didn't have any big emotional trauma hit him over the head and give him a drive to do whatever it is he does. In fact, most of his problems don't even start until just before the novel starts.

Looking over the cast list in my head, I realized that most of them are fairly well adjusted human beings before the novel starts. Some of them, like the Fraser triplets, had bad stuff happen to them in their childhood, but when they're adults, they've managed to work through it in their own ways and don't spend pages angsting about it in the book.

In fact, it's only when the books start, or a few years before they do, that rocks start falling on them and causing them problems.

A rather random realization on my part.

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kippurbird: (What goes on in Kippur's head)
I've been sitting on this bit of logic in my head for a bit.

It's X-Men fandom related, so feel free to skip over if you don't care.

In New X-Men 138 Cyclopes - Scott Summers- and Emma Frost start a telepathic affair because Scott is having emotional issues and Emma is a bitch like that. While Emma supposedly is really falling in love with Scott, Jean doesn't take to kindly to being cheated on. Cheating on the Phoenix is never really a good idea anyway.

Later Jean dies -again- and comes back as the full Phoenix and encourages, nudges Scott to accept the relationship with Emma.

I started to wonder why she would do that. After all, earlier she was right pissed at Scott and Emma.

So, I thought, well Jean pushed Scott to Emma because obviously if he wants the conniving betraying bitch he should have her. And all the problems that are associated with it. Like eventual betrayal and perhaps cheating on and all sorts of fun things that will likely hurt him, as opposed to being with Jean.
kippurbird: (Deadpool little yellow boxes)
Some world building things that I've come up with for the urban fantasy I'm working on. Mostly it's dealing with the fact that you have immortal people wandering around and having a working government/democracy/what have you.

In the United States, it is illegal for any immortal being to hold any sort of public office. Especially if you're a god.

In fact there is a treaty out there signed by the UN and the major living gods/exceptionally powerful long lived individuals still around that they will not seek power to rule over countries. Most were okay with this, especially after the mess that was World War II.

Also you cannot become a citizen of the United States if you were born before it was created and are still living today. This includes vampires.

Vampires actually lose their status as citizens because they are dead. They can either live and die as a normal human with all the rights it entails or immortality. Same goes for liches and any other higher-intelligent undead.

Urban fantasy as a genre is practically non-existent. It'd be like writing a normal novel and calling it part of the urban life genre. Books like Harry Potter, Percy Jackson and the Olympians, Mercedes Lackey's bard series, the SERRAted Edge series, the Dresden Files don't exist because a lot of their worlds depends on the fact that magic is hidden from the rest of the world. The White Wolf games are rather different. Shadowrun is mostly the same.

Actually, now that I think about it, urban fantasy might be worlds where there isn't magic.

I haven't figured out comic books yet though.

Fantasy remains the same, though some of it might be considered historical fiction. Like the Lord of the Rings.

And that's what I've got.
kippurbird: (Writer Porn)
I was going to do the next chapter of Brisingr tonight but the cat is using it as a pillow and every time I move it, he moves to sleep on it. Instead I'm going to wander down a thought I had about the characters and Galby more importantly that came to me while walking back from the grocery store.

Anyone who works for Galby is compelled to do it by oaths they're forced to swear using their true names and the ancient language. No one seems to join up willingly. No one believes in his cause. If he had a cause. That's just it, he doesn't have one, does he?

He's just There. Being Evil.

Since no one in their right mind would want to work for Evil they all have to be Forced into it. He doesn't have anything to offer them. No future, nothing that we've seen. He has nothing to make people loyal to him. He doesn't have any good points.

It reiterates the idea that A. He's EVIL and B. He's a cardboard cut out of a character with no real motives or desires than what the author has. In fact a cardboard cut out has more character than he does. He's not a character, he's an idea that Paolini has of what an Evil Person should be. And since he has nothing in him, he has nothing to keep people to him and so he is 'require' or 'forced' to magically make people work for him. This is probably the only way Paolini could figure out how to get people to join his cause and not all be up and arms. Or something.

To me it shows that he hasn't thought these things out very well beyond the need for a villain. Even in Star Wars with the Evil Emperor there were willing followers. Admittedly some followed out of fear, but others followed out of the desire of the emperor's dreams of a galaxy under their rule.

Everyone needs a motive to do something. Everyone needs to have a purpose. And being "evil" is not a purpose. Motive gives reason to do actions which drives plot and which gives other characters reason to do things. And it you know, gives characters character.

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kippurbird: (Default)
A matter of view

Recently I was told that I was brave for writing in third person as opposed to first person POV because it was much harder for them to do third person. Most of my work has been in third person limited, with only a few pieces being in first person because I find it harder to write in first person.

For starters the biggest problem I have is that I don't know who the protagonist is speaking to. Obviously they're speaking to someone otherwise they wouldn't be using the "I" pronoun. If they're speaking to someone they know then it's sort of silly all the things they have to explain that the 'reader' doesn't know. It's a sort of "As you know Bob" for me. Especially when they use descriptions to describe people. It can get a bit flowery sometimes. Usually when talking to someone you don't give a full body description of a person you mention.

If I am going to say something about my brother in conversation to someone whose never heard of him I would still say, "My brother, name, did such and such" as opposed to "My brother, name, who though younger than I am, is a good four inches taller causing many people to mistake him for being the elder of us. He's got the tight curly hair that would poof out into an cotton ball as opposed to falling straight if he were to grow it long and gray blue eyes. He did such and such." It just feels awkward to me to write.

Never mind trying to get the protagonist's name into the story in a smooth manner. Again since the protagonist is supposedly talking to someone, the someone should already know their name so they wouldn't introduce themselves. In fact it's entirely possible that the entire story could be told without the reader ever knowing the protagonist's name. Usually, this is rectified by someone else calling them by their name or them talking about their name. But who actually talks about their name in real life? Unless they're a complete egotist.

That's another thing that bothers me about first person povs, it makes the speaker sound rather egotistical in that they are assuming that the listener wants to know every detail about their lives. They're just that interesting.

And then I just realized that I'm rambling on here in first person, using 'I' like they're pennies. But then again, I'm giving an opinion piece. This is all my lovely personal opinion. It's getting filtered though my own personal bias. Which is also true about first person narrators. It gives you an excellent opportunity for unreliable narrators.

But, I don't really like them. If I'm being told a story, I want to be able to trust that it's true otherwise it just feels fake (duh). Almost like a 'it was all a dream' endings. Of course we can't always know that it's an unreliable narrator.

With third person however, it feels more natural to me to add in such things as what a person looks like because it's like telling a story. You're painting pictures. You're giving a report of what is in reality. You're not expecting the reader to know things because they're not part of the world. You're making it up, you're not holding a conversation.

I actually had a lot more to say on this, but my brain went blank in the intervening days since I got back to it.

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kippurbird: (Oooh Shinny! Dragon)
Amusing thing I saw in the store yesterday: Some already dyed eggs for Easter in the egg section had the warning "product contains eggs".

Milk also contains milk by the way.

Cheese has cheese, which also contains milk.

Peanuts don't contain though nuts. They contain peanuts.

My family on the other hand does contain nuts. And herring.
kippurbird: (Sylar stole Spock's brain.)
I was thinking. GASP the HORROR THE HORROR!! More than some of you have 'villainous' characters in the works that you are working on. And likely more than some of you have done drawings of said characters.

Anyone want to share?

I'll go, of course.

Lorac Card by ~Kippur on deviantART

This is Lorac Seriph. He's the closest thing I have to a villain. His deal is that he met Alec and fell madly in love with him. The only problem was that Alec was (as of this time) semi-amnesic, fey screwed over and didn't remember his life before coming to Lorac's time. (There's a thousand years difference between the two). When he does regain his memory, he flees back to his own time. Lorac is so distraught he makes a deal with the fair folk to be able to see Alec again. It requires him destroying all the element wizards. This includes destroying the main home of the wizards. The problem with the fey's promise is that they said that he would be able to find Alec again, they just meant that he had to live until Alec was born. In the intervening years he went a bit batshit.
kippurbird: (Pretty sane...except for the duck)
We finally have a picture of Galby:


He doesn't really, well he looks like any other generic fantasy villain. He looks evil. Sour. Exactly what he 'should be'.

And yet not. We are told that the human Dragon Riders are supposed to become more elf like as they grow older, of course the only person we've seen that to be true with is is Eragon. Brom certainly didn't look like an elf, more beautiful than any man. Nor has any descriptions of Morzan. I'm not putting in Murtagh in here, because he's obviously not special enough to have gone through the transformation early.

In drawing Galby stereotypically evil, Paolini flies in the face of his own canon. He's trying to have it both ways. He wants Eragon to be beautiful because he's the hero so he comes up with some reason for Eragon to become more elf like. However, he doesn't apply it across the board, even if it should be because that would make Glaby good looking, which would make him good. Since, according to Paolini's lay of the land Good is good looking, evil is not. If Galby becomes good looking he is no longer evil. Therefor even if he should be good looking, he can't be.

If that makes sense.

February 2016

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