Larissa

Fandom 50 #20

Untitled Ouizzy Neighbor AU by derekstilinski
Fandom: Our Flag Means Death
Relationship: Frenchie/Izzy Hands
Medium: Gifset
Length: 3 gifs
Rating: SFW
My Bookmark Tags: romance, happy ending, getting together, constructed reality, au: modern, domesticity, nature

Description:

In the first gif, Izzy wanders out into a field and happens upon Frenchie, who's sitting alone and obviously having a bad time alone with his thoughts. In the second, the two men are each in their houses, looking out the window at each other's places. In the third, they've finally come together, Frenchie handing a wary Izzy a cup of tea.

I am such a sucker for constructed reality graphics and vids, and all the ways a little tactical harnessing of the Kuleshov effect can bring us the crossovers, AUs, and visual adaptations we crave. I've got a few from this same creator to rec, but I'm starting with this Neighbor AU that imagines a modern day Frenchie and Izzy living next door to each other in the country and catching each other's eye.

First off, I just love how it's put together, from the progression of running into each other by chance, then scoping out each other from their houses, to finally coming together for tea. But I also love how the choice of sources colours the story being told here. I'm pretty sure the Con O'Neill clips are from Vengeance Is Mine and the Joel Fry ones are from In the Earth. These are both harrowing movies where the actual characters are going through some awful things. I appreciate how those scenes get recontextualized here into something cozier that nonetheless paints a picture of both characters having gone through some rough times.

You can easily imagine that this modern Frenchie has just as many terrible things locked up in that little box in his head as his 18th century counterpart had, and that this Izzy has just been through an emotionally and/or physically traumatic breakup with Ed, and now here they are, a little bruised and cautious but finding some potential comfort and love in their own backyard.

Cloudward, Ho! is the newest Dimension 20 campaign of actual-play D&D with its classic cast of comedy improvisers. This one is an aeronautical adventure set in a steampunk universe, about a motley crew who set out on a quest in search of a lost continent and the expedition that disappeared before them. The first episode just came out yesterday, and I really enjoyed it!



( Some Notes About the Premise (Moderate Spoilers) )
I'm looking forward to seeing where the campaign goes from here! Anyone else watching or planning to watch?

✓ kingstoken's 2025 Book Bingo: YA/Children's

Wildwood is a 2011 children's novel by Colin Meloy, also known for his work as frontman for the Decemberists, with illustrations by Carson Ellis. It follows the adventures of two pretty much contemporary American children, Prue and Curtis, as they set off into the woods to rescue Prue's baby brother (who was carried off by crows) and discover a secret civilization of people and talking animals who have lived in the Impassable Wilderness for centuries and are now locked in a brewing war for control over it.

Things that would have made me love this when I was a kid:

• The world-within-a-world element. A magical society living just outside a regular city? Hell, yeah.
• Rich and vivid language, with an appealing narrative voice.
• Its worldbuilding (although I'm going to put a pin in this), which generally walks a nice line between whimsy and grit, with rules that establish themselves with a light touch.
• The length. This is a brick by children's book standards. It's well-paced and the sort of a thing that could keep a voracious reader busy all the way to their next trip to the library.
• Its sensibility about the independence of kid protagonists in the real world.
• The nomadic society of bandits and their king.
• The illustrations, particularly the full-colour inserts.

This didn't quite hit for me as an adult, but I'm glad I finally checked it out after years of meaning to.

I think the main thing that kept me from really loving it was wanting a little more interiority for the main characters. I get that the book is aiming for more of a fairy tale and Narnia vibe, but: 1) some of the characters' important choices really do hinge on personal decisions and relationships, and 2) this is a 540-page book. Fairy tales aren't built to run for 500+ pages, and it's longer than the first two Narnia books put together. I found myself craving more depth and emotional weight, especially as it went on.

( For example... (Cut for Moderate Spoilers) )
Getting back to that asterisk next to the worldbuilding, I also found the story's decisions about diversity (or the relative lack thereof) occasionally distracting. I get it. Portland's pretty white, by design, and was even more so fifteen years ago. There are really only two characters from the real world and their direct relatives, and it wouldn't necessarily land well to be like, "All the characters of colour in this story are people lost in time, living in the woods."

But at the same time, among the predominantly 19th and 20th century settler-coded residents of the woods, you get these moments of groups with Indigenous coding who are either talking animals or white people—with the stereotypical two stripes of war paint and feathers in hair showing up in a picture of the latter. The text takes pains to characterize this group as Celtic, but that raises its own questions when a reference is made that seems to place them there before that territory's colonization, positioning a "since time immemorial" Irish population in the Oregon wilderness.

I often found myself looking at the aesthetics and thinking about those musical festivals full of severed pieces of Indigenous, Roma, and Celtic cosplay and felt like the fantasy here might be coming from a similar place.

The overall whiteness (and straightness, for that matter) of the book kept standing out because it's such a long story with such a huge cast. I did quite like large swathes of this book, but I think the length worked against it because the text kept offering more without necessarily offering more, if that makes sense.

This is the first book in a trilogy, and I have no idea if the subsequent books address or change any of this. I'm not racing to pick up the next one, but I might flip through it at the library sometime to see what it's like.

( An Excerpt )