skygiants

I never got around to writing up Anne McCaffrey's The Mark of Merlin when I read it last year, but I've been thinking about McCaffrey a lot recently due to blitzing through the Dragons Made Me Did It Pern podcast (highly recommended btw) and osprey_archer asked for a post on my last-year-end round-up so now seems as good a time as any.

The important thing to know about The Mark of Merlin is that -- unlike many of the things I've read recently! -- it is not, in any way, the least little bit, Arthuriana. They are not in Great Britain. There are no thematic Arthurian connections. There is absolutely zero hint of anything magical. So why Merlin? Well, Merlin is the name of the heroine's dog, and he's a very good boy, so that's all that really needs to be said about that.

Anyway, this is McCaffrey writing in classic romantic suspense mode a la Mary Stewart or Barbara Michaels, and honestly it's a pretty fun time! Our Heroine Carla's father Tragically Died in the War, so he asked his second-in-command to be her guardian and now she's en route to stay with Major Laird in his isolated house in Cape Cod. Tragically scarred and war-traumatized Major Laird has no Gothic-trope concerns about this because Carla's full name is Carlysle and her dad accidentally forgot to tell him that the child in question was a daughter and not a son; Carla is fully aware of the mixup and but has not chosen to enlighten him because she thinks it's extremely funny to pop out at Major Laird like "ha ha! You THOUGHT I was a hapless youth and wrote me a patronizing letter about it, but INSTEAD I am a beautiful and plucky young co-ed so joke's on you!"

There is an actual suspense plot; the suspense plot is that Someone is hunting Carla for reasons of secret information her dad passed on in his luggage before he died, and also his death was under Mysterious Circumstances, and so we have to figure out what's going on with all of that and eventually have a big confrontation in the remote Cape Cod house. But mostly the book is just Carla and the Major being snowed in, romantically bickering, huddling for warmth, cooking delicious meals over the old Cape Cod stove, etc. etc. Cozy in the classic sense, very little substance but excellent for reading in a vacation cottage while drinking tea and eating a cheese toastie.

As a sidenote, I did not know until I started listening to Dragons Made Me Do It that McCaffrey's Dragonflight preceded The Flame and the Flower, the book that's credited as being the first bodice-ripper romance novel and launching the genre of historical romance as we know it today, by a good four years. It's interesting to place this very classic romantic suspense novel -- which was published almost a decade after Dragonflight, but, at least according to this Harvard student newspaper article I turned up, at least partially written in 1950 -- against the full tropetastic dubcon-at-best dragonsex Pern situations, which clearly belong to a later moment. And speaking of later moments, it's also a bit of a mindfuck for me to think very hard about McCaffrey's place in genre history and realize how very early she is. I was reading McCaffrey in the nineties, against Lackey and Bujold. Reading her in conversation with Russ and LeGuin is a whole different experience.

But this is all a tangent and not very much to do with The Mark of Merlin, a perfectly fun perfectly fine book, very short on the wtf moments that have characterized most of my experiences with McCaffrey, and if anything comes late to its moment rather than early.

I went into Lessons in Magic and Disaster somewhat trepidatiously due to the degree to which her YA novel Victories Greater Than Death did not work for me. The good news: I do think Lessons in Magic and Disaster is MUCH better than Victories Greater Than Death and actually does some things remarkably well. The bad news: other elements did continue to drive me up a wall ....

Lessons in Magic and Disaster centers on the relationship between Jamie, a trans PhD student struggling to finish her dissertation on 18th-century women writers at a [fictional] small Boston college, and her mother Serena, an abrasive lesbian lawyer who has been sunk deep in depression since her partner died a few years back and her career simultaneously blew up completely.

Jamie does small-scale lower-m magic -- little rituals to make things go a little better in her life, that usually seem to work, as long as she doesn't think about them too hard -- and the book starts when she takes the unprecedented-for-her step of telling her mother about the magic as a sort of mother-daughter bonding ritual to see if her mother can use it to help herself get less depressed! Unfortunately Serena is not looking for a little gentle self-help woo-woo; she would like to UNFUCK her life AND the world in SIGNIFICANT ways that go way beyond what Jamie has ever done with magic and also start blowing back on Jamie in ways that eventually threaten not only Jamie and Serena's relationship but also Jamie's marriage, Jamie's career, and Serena's life.

Serena is an extremely specific, well-observed character, and Serena and Jamie's relationship feels real and messy and complicated in ways that even the book's tendency towards therapy-speak couldn't actually ruin for me, because yeah, okay, I do think Jamie would sometimes talk like an annoying tumblr post, that's just part of the characterization and it doesn't actually fix everything and sometimes even hurts. But the book's strengths -- that it's grounded very much in a world and a community and a type of people that Charlie Jane Anders clearly knows really well and can paint extremely vividly -- are also its weaknesses, in that it's also constantly slipping into ... I guess I'd call it a kind of lazy-progressive writing? The book is full of these sharp, vivid, messy moments whenever it's focused on this particular relationship and Serena in specific, and without that flashpoint, the messiness vanishes. Jamie goes into her grad school classroom and thinks about how the white men are always so annoying but the queer and bipoc students Always pick up what she's putting down. Jamie's partner Ro sets down boundaries in their marriage after a magic incident goes wrong and they are Always right and Jamie is Always humble and respectful about it, because respecting boundaries is Always the Correct thing to do. (Ro is the sort of person who says things like "this is bringing back a lot of trauma for me" while Jamie's mother is actively, in that moment, on the verge of death. I'm all for honesty in relationships but maybe you could give it a minute?)

I don't know. I think there is quite a good book in here, but I also think that good book is kind of fighting its way a little bit to get out from under the conviction that We Progressive Right-Thinking People In The Year 2025 Know What Righteous Behavior Looks Like. You know. But sometimes it does indeed succeed!

I did really enjoy the book's hyper-local Cambridge setting. Yeah, I see you name-checking those favorite restaurants, and yes, I have been to them and they are pretty good. Also, as a b-plot, Jamie is uncovering some lesbian literary drama in her dissertation that gives Charlie Jane Anders a chance to play around with 18thc pastiche and write RPF about Sarah Fielding, Jane Collier, and Charlotte Clarke and sure, fine, I didn't know very much about any of those people and she has very successfully made me want to know more! There were a bunch of times she'd drop something int he book and I'd be like "that's SO unsubtle as pastiche" and then I'd look it up and it was just a real thing that had happened or been published, so point again to Charlie Jane Anders.

By sheer coincidence, I ended up reading Alix Harrow's The Everlasting almost immediately after The Isle in the Silver Sea. Both books are ringing changes on the same big themes -- the narratives of nationalism, fate and tragedy, Spenser and Malory, depressed lady knights and evil girlbosses -- and from what I had previously read of both Harrow and Suri's work I was tbh quite surprised to find myself liking The Everlasting a bit better.

The premise of The Everlasting: it's more or less the second-world equivalent of the 1920s and we have just had a Big War. Our protagonist Owen has a radical pacifist alcoholic father that he doesn't respect, a war medal that he didn't really earn, a academic career that doesn't seem to be going places, and a face that makes it pretty obvious that at least one parent came from The Other Side. However, his messy relationship with the war has not in any way altered his ardent passion for the greatest figure of his country's nationalist mythology, the knight Una Everlasting, who fought at the side of the nation's founding queen a thousand years ago and died tragically to bring the country stability.

Then he finds a book that purports to be the True History of Una Everlasting, and gets summoned to a secret meeting with the country's minister of war, an evil girlboss who immediately sends him back in time to experience and document Una Everlasting's Last Quest first hand. He gets to write the nationalist myth himself! What fun!

Alas, it turns out that the great knight Una Everlasting is violent, brutal, and extremely burned out about all the people she's killed as part of the bloody process of nation-forging: at this point the citizens think of her as a butcher and she's inclined to agree. Nonetheless, fanboy Owen convinces her to take on this one last quest for the sake of her honor & kingdom & legacy &cetera, with the promise of peace at the end of it, knowing full well that the end of the quest will in fact mean her death.

This is the first section of the book and tbh I enjoyed it enormously. Owen is writing the narrative in first person and his voice is used to great effect: he's a twisted-up and self-contradictory character who shows the problems of nationalism much better as a guy who's genuinely trying to convince himself that he believes in it than he would if he started out already enlightened. I love his embarrassing radical pacifist dad and his judgmental thesis advisor, and, as heterosexualities go, I am absolutely not immune to the allure of large violent depressed woman/weaselly little worm man whom she could easily break in two who is obsessed with her but also fundamentally betraying her. If the book had ended at the end of its first section, I think it would have been a phenomenal standalone novella.

However, the book does keep going. I continued to have a good time, more or less, but the more it went on the more I felt that it had sort of overplayed its hand. Alix Harrow is extremely a Power of Fiction author in ways that didn't fully work for me in the other book of hers I read; I do appreciate that this book is the Power of Fiction [derogatory] but I still think that perhaps she is giving fiction a little too much power ... For the length of ninety pages I was willing to role with the importance of The Great Nationalist Myth, but the longer it went on and the deeper and more recursive it got with its timeloops the more I was like 'wait .... we only have one founding myth? changing the myth really directly and immediately impacts the future in predictable and manipulable ways and is in fact the only thing that does so? Hmm. Well."

Also I enjoyed the evil girlboss right up until it was revealed that every evil girlboss in the country's whole thousand-year-old history had been the very self-same evil girlboss and no other woman had ever done anything. You are telling me you have built up a whole thing about this country's founding myth of the Queen And Her Lady Knight from scratch and that didn't change the country's relationship to gender at all? NO other woman was ever inspired to do anything with that? I am not sure that's as feminist as you think it is ...

Anyway, I do think this book and The Island In the Silver Sea form a sort of spiritual duology and I'm glad to have read them back to back: for such similar books they have really interestingly different flaws and virtues.

I finished Tasha Suri's The Isle in the Silver Sea yesterday and I am wrestling with profoundly conflicted feelings about it. It's an interesting book, it's an ambitious book; it's a book with a great deal to say, sometimes with a sledgehammer; it went in places I didn't expect, and appreciated, and also I think it maybe fails at the central task it needed to succeed at in order to make it actually work for me as a book.

The premise: we're on an island, and this island is composed of Stories About Britain. London is there, constantly caught between Victorian London and Elizabethan London and Merrie Olde England depending on what sort of narrative you're in. The Glorious Eternal Queen reigns forever with her giant ruffs and bright red hair. Each bit of the island is tied to a bit of story, and that story attaches itself to particular people, Incarnates, who are blessed/cursed to live out the narrative and keep the landscape alive with it. At this point this has been going on for so long that incarnates are usually identified pretty early and brought to live safely at the Queen's court where they kick their heels resignedly waiting for their fate to come upon them.

Sometimes immigrants come to the island. When they come, they forget their language and their own stories in the process. They are not supposed to get caught up in incarnation situations, though -- in theory, that's reserved for True Born Englishmen -- but unfortunately for our heroine Simran, she appears to be an exception and immediately upon sighting the shores of the isle as a child also started seeing the ghost of her past incarnation, indicating that she is the latest round of the tragic tale of the Witch and the Knight, who are doomed to fall in love and then die in a murder-suicide situation For The Realm.

Simran's knight is Vina, the mixed-race daughter of a wealthy noble, who is happy to be a hot and charming lesbian knight-at-arms but does not really want to be the murderous Knight any more than Simran wants to be the Witch. However, the plot begins, Simran is targeted by an Incarnation Murderer who kidnaps her best friend and challenges her to meet him on her Fated Mountain, and they of course have to go on a quest where they of course fall in love despite themselves and also learn more about why the current order must be overthrown because trying to preserve static, perfect versions of old stories is not only dooming a lot of people to extremely depressing fates but also slowly killing the Isle. This quest makes up the first part of the book.

I am very interested in the conversation that Tasha Suri is using this book to have about national narratives and national identities and the various stories, both old and new, that they attempt to simplify and erase. Her points, as I said, aren't subtle, but given Our Current Landscape there is a fair argument to be made that this is not the time for subtlety. I also think there's also some really good and sharp jokes and commentary about the National Narratives of Britain, specifically (evil ever-ruling Gloriana is SUCH a funny choice and the way this ends up being a mirror image for Arthuriana I think is quite fun as well).

On the other hand, the conversation is so big and the Themes so Thematic that they do end up entirely overshadowing the characters for me, which I do think is also a thematic failure. The first part of the book is about Vina and Simran's struggle to interact with each other and their lives as individuals, rather than the archetypes that overshadow them, but as Vina and Simran they also never quite felt like they transcended their own archetypes of Cranky Immigrant Witch and Charming Lesbian Knight With A Hero Complex. Which startled me, tbh, because I've liked several of Tasha Suri's previous books quite a lot and this hasn't struck me as a problem before. But I think here it's really highlighted for me by the struggle with Fate; I kept, perhaps unfairly, compare-contrasting with Princess Tutu, a work I love that's also about fighting with narrative archetypes, and how extremely specific Duck and Fakir and Rue feel as characters. I finished part one feeling like I still had no idea whether Vina and Simran had fallen in love as Fated Entities or as human beings distinct from their fate, and I think given the book this is it really needs to commit hard on that score one way or another.

Part two, I think, is much more interesting than part one, and changes up the status quo in unexpected ways. If I pretend that part one landed for me then I'm much happier to roll with the ride on part two, though there is an instance of Gay Found Family Syndrome that I found really funny; you can fix any concerning man with a sweet trans husband and a cottage and a baby! genarti will argue with me that she thinks it was more complicated than that, to which I will argue, I think it could have been more complicated IF part two had had room to breathe and lean into any of those complexities. Making part one half its length and part two double its length would I think fix several of my problems with the book. "but you just said that Vina and Simran don't feel specific enough" yes that's true AND they take three hundred pages to do it! I'd be less annoyed about them feeling kind of flat if we were moving on more quickly to other things ...

Anyway. I didn't find this book satisfying but I did find it interesting; others may find it to be both. Curious to talk about it with anyone else who's read it!

Sidenote: the Tales and Incarnations are maintained by archivists, who keep the island and the stories it contains static and weed out any narratives they think don't belong. This of course is evil. I went and complained about the evil archivist propaganda to genarti, who read this book first, and she said 'read further.' So I did! It turns out that in contrast to the evil archivists, the woods are populated by good and righteous librarians!! who secretly collect oral histories and discarded tales that have been deemed subversive by the archivists but which of course the island needs to thrive. I do appreciate that not all institutional memory workers are Evil in this book and I understand the need in fiction to have a clear and easy distinguishing term between your good guys and your bad guys, but Tasha Suri, may I politely protest that this is in fact also archivist work --

Sidenote two: v. interesting to me that of the two big high-profile recent Arthurianas I've read the thing I've found most interesting about both of them is their use of the Questing Beast. we simply love a beast!!

For the first few chapters that I read, I was enjoying Ava Morgyn's The Bane Witch, as heroine Piers Corbin heroically Gone Girled herself out of an abusive marriage by faking a combo poisoning-drowning and flailed her injured way north to seek refuge with a mysterious aunt, accidentally leaving a fairly significant trail behind her. Satisfying! Suspenseful! I was looking forward to seeing how she was gonna get out of this one!

Then Piers did indeed get north to the aunt and tap into her Family Birthright of Magical Revenge Poisoning. As the actual plot geared up, the more I understood what type of good time I was being expected to have, and, alas, the more it did, the less of a good time I was having.

So the way the family magic works is that all of the Corbin women have the magical ability -- nay, compulsion! -- to eat poison ingredients and convert them internally into a toxin that they can -- nay, must! -- use to murder Bad Men. It's always Men. They're always Bad. They know the men are Bad because they are also granted magical visions explaining how Bad they are. They absolutely never kill women (there are only ever women born in this family; they have to give male babies away at birth in case they accidentally kill them with their poison, and I don't think Ava Morgyn has ever heard of a trans person) or the innocent!

...except of course that the whole family is actually threatening to kill Piers, to protect themselves, if she doesn't accept her powers and start heroically murdering Bad Men. But OTHER THAN THAT they absolutely never kill women, or the innocent, so please have no qualms on that account! Piers' aunt explains: "Yes, Piers. Whatever has happened to you, you must never forget that there are predators and there are prey. We hunt the former, not the latter."

By the way, both irredeemably Bad Men that form the focus of Badness in this book -- Piers' evil and abusive husband, and the local serial killer who is also incidentally on the loose -- are shown to have been abused in childhood by irredeemably Bad Women, but we're not getting into that. There are Predators and there are Prey!

The book wants to make sure we understand that it's very important, righteous and ethical for the Cobin family to keep doing what they're doing because everybody knows nobody believes abused women and therefore vigilante justice is the only form of justice available. There are two cops in the book, by the way. One of them is the nice and ethical local sheriff who is Piers' love interest, who is allowing her to help him hunt the local serial killer despite being suspicious that she may have poisoned several people. The other is the nice and ethical local cop investigating her supposed murder back home, who is desperate to prove she's alive because she saved his life and he's very grateful. He understands about abuse, because his name is Reyes and he's from the Big City and his mother and sister were both abused by Bad Men. The problem with these good and handsome cops is that they're actually not willing enough to murder people, which is where Piers comes in:

HANDSOME GOOD COP BOYFRIEND: You don't want to help me arrest him, do you? You want to kill him.
PIERS: Doesn't he deserve it?
HANDSOME GOOD COP BOYFRIEND: That's not for us to decide.
PIERS: Isn't it? This is our community. You're an authority in maintaining law and order, and I'm a victim of domestic and sexual violence. Surely, there is no one more qualified than us.

This book was a USA Today bestseller, which does not surprise me. It taps into exactly the part of the cultural hindbrain that loves true crime, and serial killers, and violence that you can feel good about, in an uncomplicated way, because it's being meted out to Unquestionably Bad People. Justice is when bad people suffer and die. We're not too worried about how they turned out to be bad people. There are predators, and there are prey.

Aha! it's Yuletide reveals time!

So my Yuletide recipient this year was genarti, who is either just about to find out this fact from my post, or has known for weeks and is just biding her time to reveal her knowledge and I'm just about to find out that fact after she reads this. Stay tuned for breaking developments!

So, for her, I wrote The Villainous Princess Saves Her Kingdom, a fix-it fic for the kdrama Jeongnyeon: The Star Is Born about the most dysfunctional lesbian of that whole cast of lesbians picking up various postcanon pieces of herself and incidentally the rest of the troupe.

HOWEVER, for obvious reasons, I had to immediately come up with a decoy fic, so from the beginning having read raven's Yuletide letter at the same time I happened to be rereading The Dispossessed I decided I was also going to write a treat for raven that I would present to genarti as my assignment, which ended up as More A Comment Than A Question, a strange little timebending fic about Shevek's daughter contacting Laia Aseio Odo through time and space and not really necessarily making the most of it.

Tangled webs, etc; after I had confidently reported submitting my decoy fic on deadline to genarti, raven's prompt went to the pinch-hit list and I had to frantically fake a different panic than the panic I was actually feeling -- ANYWAY. Hilariously, raven discovered my identity immediately due to the usernames reveal error whereas genarti was at church through that entire event and thus remained completely oblivious (unless, of course, she isn't, see first paragraph above.) A very chaotic Yuletide on several fronts! But I had a lot of fun writing both fics although I would prefer not to be wrangling quite this much deception every year.

For my last post of 2025 I feel it is incumbent upon me to talk about the wildest television show I watched in 2025, the kdrama Genie, Make A Wish.

The high-level premise of this show: a GENIE, who is also SATAN, has been IMPRISONED for ONE THOUSAND YEARS because he's supposed to seduce humans into CORRUPTING THEMSELVES and instead he met a PURE SOUL who used her WISHES FOR GOOD and caused him to LOSE his BARGAIN with GOD.

Now! he has met her REINCARNATION! however! instead of being a PURE INGENUE WAIF! the reincarnation is an ETHICAL SOCIOPATH who has been STRICTLY TRAINED in NOT MURDERING PEOPLE by her BELOVED GRANDMOTHER! and whose first reaction on meeting a magical immortal genie is 'at last! someone I can ethically shove off a building!!'

(This meeting happens in Dubai, btw. The show is very obviously at least in part sponsored by the Tourism Board of Dubai and the cast are frequently hopping back and forth there to Shop Our Beautiful Bazaars and speak in variably competent Arabic; however, as a result, this means the backstory involves historical trade routes! the last time I saw that was in Queen Seondeok!)

ANYWAY, now, the challenge is on: will ethical sociopath Ki Ka-young be CORRUPTED by SATAN the GENIE? or will she once again make SELFLESS WISHES and condemn the genie to have his THROAT SLIT by an ANGRY ANGEL OF DEATH?

There are also some side characters! People in Ki Ka-young's orbit include her SAINTLY GRANDMOTHER and her BEST FRIEND, a LESBIAN DENTIST. People in the genie's orbit include his GIANT PANTHER MINION, the ANGRY ANGEL OF DEATH, and a SMALL BOY who consistently beats him in Mortal Kombat. There are also some LOCAL COTTAGECORE YOUTUBERS, a circle of ADDITIONAL JUDGMENTAL GRANNIES, a RELATIVELY UNIMPORTANT SERIAL KILLER, an EVIL IMMORTAL CHILD, and DANIEL HENNEY, in a role that ( I will not spoil except under a cut )

Let me be clear: is this drama good? no, I do not think so. Do I have arguments with its determinations about what does and does not count as a selfless wish? sure. Did I enjoy it? TREMENDOUSLY. Did I at any point have any idea what was going to happen next in this absolute mad libs of a plot? NEVER ONCE.

however, the thing that made me shriek most about the drama is a major mid-show spoiler ( regarding Beloved Grandma )

Every year I'm like "I should really read the Neon Hemlock novellas" and then perhaps I actually manage to get around to reading one of them, but this year I ... thought I had read all of them because I thought there were only four published but it turns out in fact now that I check there were several more than that. Well! I read four of them! They were all very gay and very tropey; under these subheadings, I enjoyed two of them quite a bit, one of them didn't hit for me, and the last one I found incredibly frustrating, for personal reasons.

The two I liked were No Such Thing as Duty, by Lara Elena Donnelly, and The Oblivion Bride, by Caitlin Starling. Both of these have a definite air of fanfiction about them: No Such Thing As Duty is a 'what if my favorite historical guy met a sexy vampire' fic, the favorite historical guy in question is W. Somerset Maughan. I have come to the conclusion that I'm really quite charmed by this sort of thing as long as the favorite historical guy in question is not a pre-existing big seller like Christopher Marlowe or Charlotte Bronte but someone who I actually have to look up:* the author's real victory is in making me Wikipedia their special historical guy and go 'whoa, sure, lot going on here actually'

*I'm aware this is very subjective and there are many people out there who don't have to go to Google to know basic things about W. Somerset Maughan. But they ARE a lot fewer I think than the people who don't have to go to Google to know basic things about i.e. Lord Byron. That said, if you are experiencing boredom at the idea of Yet Another Sexy W. Somserset Maughan fic, I'd love to know about it.

The Oblivion Bride meanwhile is a classic Lesbian Arranged Marriage fic that, per the author's note, appears to have grown out of a Dishonored fic the author wrote several years back. I don't know anything about Dishonored so I can't tell you much about that. What I can tell you is that she's a normalgirl cadet member of an important family who's been thrust into an important political position because all her actual aristocratic relatives have mysteriously died, she's an icy cold Murder Alchemist General and also Magical Detective who's marrying her by order of the prince to solve the mysterious deaths and keep the political assets in the hands of someone loyal to the throne; could they actually fall in love? The answer will shock you! Anyway, I like tropes, and I like lesbians, and I like that Caitlin Starling is never afraid to lean into her id; I was as happy to read this in novella form as I would have been on AO3.

The Dead Withheld by L.D. Lewis is the one that didn't quite hit for me -- it's a supernatural noir about a PI who can talk to the dead investigating the cold case death of her wife, and it is doing exactly what it says on the tin but something about it never quite grabbed me. Too short? Not enough oomph? Anyway, it might grab you!

and The Iron Below Remembers by Sharang Biswas drove me up a wall, in large part because the worldbuilding it's doing is extremely playful and interesting and fun -- it's set in an alternate universe where a South Asian empire was the major early colonial power instead of Rome, and their abandoned artifacts and technology power contemporary superheroes. The protagonist is an academic dating a superhero; the text is heavily footnote-studded and 50% of the footnotes are really fun and interesting little explorations of this alternate history. Unfortunately for me, the actual plot laid on top of this rich worldbuilding is all Gay Superhero Relationship Drama and the other 50% of the footnotes are gossipy anecdotes about the protagonist's sex life. This is certainly going to be a feature for some people but was, alas, a bug for me; every time I went through the effort to click through the annoying footnotes format on my digital edition I was really hoping to get a meaty paragraph about what happened after Siddhartha marched into the city of Rime and did not feel rewarded any time I got a smug half-sentence about shibari instead.

Sometimes I hit a romance in media and I'm like well. I don't know that I'd say that I ship this. I wouldn't be sad if these people broke up. But unfortunately I do actually believe that they are in love and find it compelling to watch what happens about it ....

anyway that's how I felt about the central relationship in The Legend of ShenLi, which is a xianxia cdrama about ✨ The Greatest General Of The Demon Realm ✨ and her epic romance with -- well. For the first five or six episodes ShenLi, the Greatest General of the Demon Realm, is trapped on Earth in the form of an angry CGI chicken, in the care of a sickly human scholar who has discovered that his angry CGI chicken is in fact some sort of supernatural entity and thinks the whole situation is very funny.

Here, for the record, is angry chicken ShenLi:



and here is ShenLi and her love interest when nobody is a chicken:



This whole introductory arc is really charming. Incredibly happy for that sickly scholar and his angry bird wife. But alas! all things must end, the lovers are parted, and ShenLi The Greatest General of the Demon Realm grimly returns home to confront her upcoming political marriage to a playboy from the Divine Realm, in the full assumption that she will never see her sickly scholar again because even aside from the political pressures one day in the Demon Realm equals a year in the human realm so the time difference is not workable.

However! then some monster nonsense starts happening in the Demon Realm, and so the Divine Realm sends its last surviving actual factual god to help out -- who bears a Mysterious Resemblance to ShenLi's sickly human boyfriend .... ( spoilers )

But enough about the leads! ( Here's a short list of my other favorite people in the drama, cut for some images as well )

Everything I've previously read by M.T. Anderson emotionally devastated me, so I despite the fact that Nicked was billed as a comedy I went in bravely prepared to be emotionally devastated once again.

This did not happen .... although M.T. Anderson cannot stop himself from wielding a sharp knife on occasion, it it turns out the book is indeed mostly a comedy .....

Nicked is based on a Real Historical Medieval Heist: the city of Bari is plague-ridden, and due to various political pressures the City's powers have decided that the way to resolve this is to steal the bones of St. Nicholas from their home in Myra and bring them to Bari to heal the sick, revive the tourism trade, and generally boost the city's fortunes. The central figures on this quest are Nicephorus, a very nice young monk who had the dubious fortune of receiving a dream about St. Nicholas that might possibly serve as some sort of justification for this endeavor, and Tyun, a professional relic hunter (or con artist? Who Could Say) who is not at really very nice at all but is Very Charismatic And Sexy, which is A Problem for Nicephorus.

The two books that Nicked kept reminding me of, as I read it, were Pratchett's Small Gods and Tolmie's All the Horses of Iceland. Both of those books are slightly better books than this, but as both of them are indeed exceptionally good books I don't think it takes too much away from Nicked to say that it's not quite on their level: it's still really very fun! And, unlike in those other somewhat better books, the unlikely companions do indeed get to make out!

I did end it, unsurprisingly, desperately wanting to know more about the sources on which it was based to know what we do know about this Real Historical Medieval Heist, but it turns out they are mostly not translated into English. Foiled again!