There’s a difference between a female character who exists in a story and has a romantic relationship with a male character versus a female character who exists in a story to have a romantic relationship with a male character
A king who doesn't really want to and isn't able to run the kingdom properly catches wind of a noble woman who wants to kill him to take over and he realizes she is extremely competent so he decides to propose to her to save everyone the hassle and they have a surprisingly healthy relationship.
The reason the Hunger Games books are so good is because Suzanne Collins knows exactly what she's doing. Everything she writes, she writes for a reason. Every character she creates, every decor she describes, every part of the story is there because it needs to be.
And the result is, everything is relevant.
Not just to the story, but to the current world, because that's what she's writing about. The Hunger Games books are realistic in a way very few, if at all, other stories with teenage protagonists are. Because Katniss is only just a kid, but she's also only just a pawn. She's the symbol of the revolution, but not the leader of it.
I think the one quote that defines Katniss best is from Haymitch. "There are no victors, only survivors". Because from the beginning, Katniss has close to nothing, and keeps losing more and more as time goes. She loses everything. Her trust in others. Rue. Her sanity. Her free speech. Her relief. Cinna. Mags. Wiress. Her home. Peeta. Her free will. Bloch. Finnick. And Prim. No victors indeed.
The Hunger Games is not a story about the end of a dystopian system. It's a warning about the uprising of one.
If your animagus form is an animal that lives underwater, like idk, a salmon or a jellyfish or a fucking whale, and you transform on land, do you instantly die ? Or are you somehow protected by magic or something ? Or do you need to be in water (salted or not depending on the species) to transform ?
If a werewolf is also an animagus, and they're transformed during the full moon, do they still turn ? And if yes, when they turn back at the end of the night, do they turn back into the animal or their human self ?
If two animagi who don't know each other meet while transformed do they instinctively know the other is a wizard or do they think it's just a normal animal ? What about actual animals ? Crookshanks knew Sirius and Peter were wizards, but is it because he's magic, or an exception, or does that apply to every animal ?
How much does animal instinct play when tranformed ? If two friends' animagi are like, a cat and a mouse, is the mouse in danger ? And what about eating ? Does a vegetarian wizard whose animagus is a predator crave meat when transformed ? What about in human form ?
How easy is it to adapt to the animal form in the beginning ? Like if you're a pigeon, do you automatically know how to fly or do you crash ten times first ? Could a bird animagus still see windows or would they lose the ability once transformed ?
Does the animagus affect a wizard when in human form ? Would a dog animagus have a better sense of smell than other people ? Would a bat animagus be able to echo-locate ? Would they lose their sight ? Become more nocturnal ? What if the animal you turn into has a different perception of the color spectrum, would it switch with the transformation ? And if not, do you permanently have the human or the animal color receptors ?
When transformed, can you understand other animals of your species ? What about when not transformed ? Would someone who's animagus is a snake become a parselmouth?
Does Hominum Revelio work on people in animagus form or does the spell consider them not human ?
If for some reason you lose your memory, can you still turn into your animal or do you have to relearn it ? What about if you lose it when in animagus form ? Do you forget you're supposed to be a human ?
Are a patronus and an animagus form always the same or do some people have different animals for each ?
Also, imagine being a wizard spy or smth so you train to become an animagus for camouflage but then your animagus form turns out to be, like, a fucking camel, and you live in the middle of Europe lmao
➸ “This is a sentence with a dialogue tag at the end,” she said.
➸ “This,” he said, “is a sentence split by a dialogue tag.”
➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”
➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”
➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”
➸ “Use a comma when a dialogue tag follows a quote,” he said.
“Unless there is a question mark?” she asked.
“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”
➸ “Periods and commas should be inside closing quotations.”
➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”
However, if it’s not dialogue exclamation points can also be “outside”!
➸ “Does this apply to question marks too?” he asked.
If it’s not dialogue, can question marks be “outside”? (Yes, they can.)
➸ “This applies to dashes too. Inside quotations dashes typically express—“
“Interruption” — but there are situations dashes may be outside.
➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.
➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”
➸ “Use paragraph breaks to indicate a new speaker,” he said.
“The readers will know it’s someone else speaking.”
➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.
“This shows it’s the same character continuing to speak.”
⚠️The Hunger Games : Sunrise on the Reaping SPOILERS⚠️
The Hunger Games books never disappoint, and they always have something new to say. The way I understand it, everything is about the "how" (but every time with a new angle, a different approach of the same story, aka war and revolution).
In HG, how the system works (dehumanuzation). In CF, how it fragilizes (anger). And it how it ends (grief). In TBoSaS, how it starts (control). And SotR is about how it keeps going (manipulation).
In the fice books, there are four games that each also bring something new and different : the games themselves and volunteering in HG, the ultimate cruelty of pitting the survivors against each others in CF, the outsider/mentor/oppressor perspective in TBoSaS, and in SotR, Haymitch not believing for a minute he'll make it out alive, but finding other reasons to fight.
So, based on all this —and I might be stupid for that because it's gonna be SO painful— you know what I really want next ? I want to read about the helplessness and the despair of someone outside the arena, the perspective of a tribute's loved one. I want to read about the loneliness of the previous Victors watching from the Capitol, so out of place among these people who love this show, aching to scream at them, to open their eyes, but forced to be all smiles because their role is to get sponsors, that's the only way they can help, no matter if it makes them sick to act like they're one of them.
In clear, I want to read about Annie's Games, and I want to read them from Finnick's perspective.
So someone pointed out that Annie and Finnick being from district four were probably careers, and that's one more thing I wanna see explored. How is life in the career districts before being selected ? And after ?
⚠️The Hunger Games : Sunrise on the Reaping SPOILERS⚠️
The Hunger Games books never disappoint, and they always have something new to say. The way I understand it, everything is about the "how" (but every time with a new angle, a different approach of the same story, aka war and revolution).
In HG, how the system works (dehumanuzation). In CF, how it fragilizes (anger). And it how it ends (grief). In TBoSaS, how it starts (control). And SotR is about how it keeps going (manipulation).
In the five books, there are four games that each also bring something new and different : the games themselves and volunteering in HG, the ultimate cruelty of pitting the survivors against each others in CF, the outsider/mentor/oppressor perspective in TBoSaS, and in SotR, Haymitch not believing for a minute he'll make it out alive, but finding other reasons to fight.
So, based on all this —and I might be stupid for that because it's gonna be SO painful— you know what I really want next ? I want to read about the helplessness and the despair of someone outside the arena, the perspective of a tribute's loved one. I want to read about the loneliness of the previous Victors watching from the Capitol, so out of place among these people who love this show, aching to scream at them, to open their eyes, but forced to be all smiles because their role is to get sponsors, that's the only way they can help, no matter if it makes them sick to act like they're one of them.
In clear, I want to read about Annie's Games, and I want to read them from Finnick's perspective.
You are a supervillain, and everyone was surprised when you declared another supervillain to be your arch nemesis instead of one of the heroes who constantly thwart your plans.
Coming from someone currently dangling from their feet over a vat of acid, the tone is remarkably unconcerned.
Nico glanced over his shoulder at the hero... what was his name? Lightbulb or something?
"Of course not," he replied. "I rob banks."
"I've got a buddy that I have to stop from killing people every time we hang out. You'd be suprised how mild that is for an anti-hero."
"Not an anti-hero."
"Sure," Lightbulb -- that couldn't be right, he was just getting misled by his powers -- started shifting in place a little, trying to spin in place for some reason. "But really, I don't get why you have to be a villain if your nemesis is going to be another villain."
"The label suits my methods more."
"You haven't killed anyone."
"I kidnapped you."
"Meh, this is like a regular Wednesday for me. Actually, you got me out of trig, so I'm kinda thankful."
"Out of..." Nico stopped tinkering and turned around to stare at the hero. Was that a pimple on his neck? "Wait, how old are you?"
Lightbulb stared at him, before his momentum made him turn away from him.
"... mind your business."
Nico rolled his eyes and turned back to his machines. "Amazing. Just wonderful."
"Oh, are you one of those people that don't like fighting teens?"
"You mean a normal person? Yes."
"I don't think normal people have giant vats of acid."
"Touché. But, yes, I find child endangerment distasteful."
"That's nice. As a teenage superhero, I wish more people did."
"... your life is horrible."
"I know."
"And I'm saying that as someone actively endangering your life."
"Yeah, I was meaning to ask, why are you endangering my life?"
"You are Doomsinger's chosen nemesis, are you not? Does he not do that thing where only-"
"'Only he has the honor of killing me', yeah, okay, I see what you're doing. Kinda insulted to be bait, that's sidekick stuff, but it's not a bad plan."
"Thank you," Nico nodded, finally putting the finishing touches on his death ray. He showed it to the teenager. "What do you think?"
"I dunno, I'm not a tech hero."
"You've been at this longer than me, I'd value your opinion anyways."
"Aww, thank you!" Lightbulb seemed genuinely flattered at that. "Well, it looks pretty robust. Probably won't explode if I hit it with a light beam."
"Glad to hear it. Is that something that happens often?"
"All the time. It's how I take out most death rays."
Nico nodded and carried the swivel chair over to the acid, since he was already caught in conversation with the child.
"So, what made you decide to become a hero?" he asked.
"Eh, woke up with powers, figured I might as well help people with them since it'd be kind of a waste not to. You?"
"My daughter died as collateral damage in your last fight against Doomsinger."
Lightbulb paled. People always did that, even though Nico made sure to keep his tone casual so as to put them at ease.
"Oh, I'm... I'm so sorry--"
"Don't be. You were helping people. It'd be ridiculous to hate you for a fight she started."
"Yeah, but... I don't know. I feel like I failed you."
"You are a child who is continually forced to fight a woman determined to explode the planet. If anyone was failed, it was you. Someone should have dealt with Doomsinger years ago."
Alarms blared. She was here.
"That's the thing though, isn't it?" Nico muttered, adjusting his mask and fixing on his labcoat. "Sir Terry Pratchett once wrote that people love to say that someone should do something, but they never follow it up with 'and that someone is me'."
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