Latest Posts by aedysa - Page 3
Anyone wants to join us in this Unofficial AyakashiRR discord?
We are still a small community, but we are slowly gaining numbers. We hope you can join us.
Anyone wants to join this unofficial AyakashiRR discord?
https://discord.gg/RTWeEpA
We are still a small community, but we are slowly gaining numbers. We hope you can join us.
A Wondrous Adventure BE - Red Clan’s Bubble Speeches
Bubble speeches of red clan from current BE!
These adorable bunnies, I will literally follow them anywhere 😂
(Pls let me stay in rank for the overall sjsjjsjd I at least want the ranking hair)
Omg!! Thank you soo much for the support!!
Thank you Ikerev Fandom!!
Hi, I am ALYCIEL
P2RZCB33R
Please add me as friend :)
Source: https://m.facebook.com/story.php?story_fbid=2256688471076332&id=104685412943326
Hey Lynn, sorry to bother but does anyone know how old the SLBP lords are?
It’s all speculation & pulling clues from routes to try to map out ages. None of their ages are directly stated, I think to make it easier to self insert & play around with the suitors ages to your liking in your imagination.
((None of what is stated below is based on their historical age differences. This is only what I’ve inferred from playing SLBP.))
_____
According to Saizo’s route, MC is at least 20 (or early 20s). She explains an event that happened to her when she was around 5 years old & later in the route it is said that event happened over 15 years ago. Shingen has said in a few event stories that MC & Yukimura are close in age, so she may be closer to mid-20s.
Saizo & Yukimura are 4 years apart; Saizo is 4 years older. They met when Yukimura was 10 & Saizo was 14. In an event story, Yukimura said they have known each other for 16 years. That puts Yukimura at 26yo & Saizo at 30yo.
It is said several times that Masamune & Yukimura are the same age. Masamune is 26yo.
Shigezane is a few months-one year younger than Masamune. Shigezane is 25yo.
Shigezane teased MC in route by saying if Kojuro had been her father, he would have been a teenage dad, implying Kojuro is at least 13 years older than MC. Kojuro is likely in his mid-30s.
I don’t remember if it was an event story or an MS, but I read that Inuchiyo is 6-7 years older than MC (she said she was about 7 when they met, Inuchiyo was around 13), putting him around 26-27 years old.
Mitsunari is said to be younger than MC. He is the only one expressed as being younger than her. This likely puts him at 19 or very early 20s.
In an event story, MC was told it will be good for Ieyasu to have someone his own age around him. He’s the second youngest suitor, in very early 20s most likely.
Shingen & Kenshin are the oldest, but no hints as to a range is given that I recall. I just imagine late 30s for Kenshin, early-mid 40s for Shingen.
All we really know about Mitsuhide is that he’s older than Nobunaga. There was an event story where he was briefly worried about his age, so I assume once these men hit 30 they all start seeing themselves as “old.” My best guess is Mitsuhide is in his late 20s or early 30s, I’m leaning more toward early 30s for him.
Hideyoshi is depicted as being older than Inuchiyo, as for how much, I never read a mention of specifics in the game, but I assume it isn’t more than a year or two at most.
I don’t recall reading any specific hints regarding Nobunaga’s age, but I know he’s younger than Mitsuhide & likely older than Hideyoshi, which probably puts him around 28-29yo.
TL;DR
Mitsunari ~19-20
MC/Ieyasu early 20s
Shigezane 25
Masamune/Yukimura 26
Inuchiyo 26-27
Hideyoshi 27-28
Nobunaga 28-29
Saizo 30
Mitsuhide 31-33
Kojuro 33-35
Kenshin late 30s
Shingen early 40s - ?
Character Details to Hide from Your Readers
Hiding information from your readers on purpose will help you create tension in your novel. I know this doesn’t work for every novel, but if you’re writing something with elements of suspense and mystery, hiding details and revealing them later will improve your story. This also helps add dimensions to your characters and explore their motivations on a deeper level.
Here are a few things to hide about your characters to create tension:
Whether or not your protagonist is lying
Even good characters lie, especially if they feel like it will protect other people in the long run. There are ways to hint that your character is hiding the truth without actually revealing what the truth is. If your protagonist gets nervous or changes the subject when they’re asked about a specific detail, this will help show your readers that something isn’t quite right. If your character’s deception is hidden and then revealed at the right time, you’ll be able to add exciting tension and shock value to your story.
Who the real villain is
Some of the best tension is created when we’re uncertain about who the real villain is. In mystery/crime novels, for example, there’s often evidence that points to one person who ends up not really being the one we need to worry about. If you hide this information from your readers, you keep them guessing throughout the course of your novel and this will aid in creating suspense.
The truth about their past
When you hide your character’s past from your readers, you have the ability to use it as an explanation for something important later on. For example, if you character has these mysterious powers they can’t explain, you can use their parents and back story in order to reveal later on why it’s happening. Revealing past details slowly over the course of your novel helps build the mystery.
What their secondary goals are
Sometimes characters will have goals no one else knows about but them OR they will have a false goal that their using to cover up their real goal. For example, a character might say they’re rescuing another character because they want to help, but it really might be all about finding some hidden treasure along the way. There are many reasons why a character might want to hide their goals. Explore character motivations on a deeper level and you’ll be able to realistically include this type of deception in your story.
-Kris Noel
5 ways to increase/decrease suspense in your writing
Suspense is one of the trickier parts of writing to manage effectively because, as the author, you can’t experience your story the way a reader does. If you don’t have enough suspense, it can be difficult to keep your readers interested. If you have too much, frustrated and stressed-out readers might throw your book against the wall. Too much suspense can even backfire - if you try to keep your readers constantly on edge, they can stop taking things seriously and the end result is as though you never included any suspense at all.
So how can you tell if you’ve reached the right balance? Unfortunately, I can’t answer that for you. Some things really do require feedback from honest and insightful readers. Once you have that feedback, however, there are easy tricks to adjusting the level of suspense without a drastic re-write. Here are my five favorite methods.
Promises and Payoffs
INCREASE SUSPENSE by promising something huge and then giving your reader something unexpected. To borrow an example from Buffy the Vampire Slayer, imagine a teenage boy and girl sneaking into an empty building. Everything from the costumes to the lighting is designed to make you uneasy about the girl’s safety but, in the end, she’s the vampire. Give the audience something sensational and they won’t be disappointed that you didn’t deliver on what you originally promised.
DECREASE SUSPENSE by promising less than you plan to deliver. For example, if you plan to kill off a character as they walk through a dark alley, let them worry about being mugged rather than murdered. Not only is it less suspenseful, the payoff is more shocking.
Characters are Crucial
INCREASE SUSPENSE by shifting the focus to a character who’s more involved in the action or one who has more at stake. Even if you have a single POV character, another can come in and demand that character’s attention, along with the readers’.
DECREASE SUSPENSE by focusing on a character who’s more concerned with a secondary goal. Subplots are a fantastic way to give your readers some room to breathe.
Calm vs. Chaos
INCREASE SUSPENSE by cutting back on the action. Suspense flourishes in the quiet moments when your characters have time to think and to anticipate what may be in store for them.
DECREASE SUSPENSE by giving your characters a big, exciting mess to deal with. Even when that mess causes more problems and puts more pressure on your characters in the long run, you’ve still created an oasis where both they and the readers are too distracted to worry about how the big picture will pan out.
Devil’s in the Details
INCREASE SUSPENSE by concentrating on the details of the setting. Horror movies are great at this - every creak of a door, every shadow across a wall keeps the audience immersed in the experience and tense with anticipation.
DECREASE SUSPENSE by breaking the “show, don’t tell” rule and allow exposition to help you move things along. You don’t need to take readers through every aspect of your story in excruciating detail. It’s okay to gloss over some things and it helps readers relax because they know you’re not going to be springing any surprises on them just yet.
Ticking Time-Bomb
INCREASE SUSPENSE by imposing a deadline that your characters struggle to meet. It’s one of the oldest and most obvious tricks in the book, but very effective.
DECREASE SUSPENSE by allowing your characters to believe that the deadline has been met or pushed back. If they (and the readers) believe that they’ve accomplished their goal or bought themselves more time, it relieves pressure and allows everyone to relax until the truth’s revealed.
Types of antagonists: Creating riveting opponents
FROM: https://www.nownovel.com/blog/types-of-antagonists/
There are many types of antagonists. Sometimes in a story a primary antagonist starts out as a close ally. Characters who oppose your main character’s goals aren’t necessarily ‘bad’, yet they serve a primary function: Standing between another character and their destiny. Here are 5 types of antagonists with examples and points to remember:
1. The malevolent villain
The standard malevolent villain is particularly common in the fantasy genre, yet they appear in diverse stories. The character Iago from Shakespeare’s tragedy Othello is a classic example. Iago stokes his military superior Othello’s jealousy until Othello murders his wife, suspecting her of infidelity thanks to Iago’s lies and manipulations.
Writing a malevolent antagonist who has an appetite for destruction has pitfalls. A villain who does bad for ‘evil’s sake’ could lack development and motivations that make characters believable.
To create a believable straight-up villain:
Brainstorm reasons for their actions. Sauron in Tolkien’s Lord of the Rings cycle, for example, has lost physical form and craves restored power
Explain the origin of their corruption. Tolkien shows Sauron’s rise and fall in a prologue. Over the course of her Harry Potter series (particularly the second book), J.K. Rowling shows Lord Voldemort’s descent from being Tom Riddle to the most notorious and feared member of the wizard community
Give them vulnerabilities or weaknesses. These don’t have to be emotional or physical. They could be strategic. For example, a villain who surrounds themselves with greedy henchmen is more vulnerable to betrayal if their supporters are easily swayed by material rewards
The next type of antagonist is often surprising, as we don’t typically expect strong opposition from allies or friends:
2. The ally-antagonist
It’s particularly surprising in a story when an ally turns antagonist.
For example, in the first volume of Tolkien’s fantasy cycle, The Fellowship of the Ring, the warrior Boromir joins the main characters’ quest to destroy the One Ring. Yet Boromir disagrees with destroying it, arguing with his companions that they could use its mystical power to defeat the villain Sauron, or restore the city of Gondor. When Boromir tries to take the ring from Frodo by force, its a shocking moment where a morally complex character crosses the line from ally to antagonist.
The ally-antagonist is a useful character because they show how easy it is for a ‘good’ character to make a regrettable choice. In the wider context of Tolkien’s story, it reinforces the idea that doing good is a conscious choice and not always an easy one. It also adds secondary conflicts that illustratethe ring’s corrupting power and danger.
When writing an ally-antagonist, remember to:
Show the flaws in their personality that explain their behaviour. Boromir is headstrong and, as a warrior, used to fighting for his ideals and using force
Give them compelling motivations for their choices.Boromir thinks the ring’s dark power could be harnessed for good
Ally-antagonists add shades of grey in the ‘black and white’ of ‘good vs evil’. They show us how easily people can take destructive paths that result in negative outcomes. Some also refer to this type of antagonist as a ‘hero antagonist since they may be motivated by noble ideals. Boromir’s desire to uplift his city fits this description. The nobility or virtue of this underlying wish makes his actions more tragic, since it appears his intentions are good.
3. The interfering authority figure
The function of an antagonist, in terms of plot, is to stand between a primary character and their main goals.
An interfering authority figure is thus useful for creating challenges and complications that make life harder for your protagonist.
Depending on the interfering authority figure you create, their broader story role could be:
To show something about the nature of power and authority in your book’s society (for example, how little power people have faced with totalitarian leadership)
To show cultural values or practices that stand between your character and their goals (for example, traditionalist parents who oppose a ‘love match’ marriage in romance)
A good example of this type of antagonist is Allie’s mother in Nicholas Sparks’ romance novel The Notebook. Allie is from a wealthy family and her love interest Noah works as a labourer. Because of her class-conscious and controlling nature, Allie’s mother hides love letters from Noah to Allie.
This plot point shows how the interfering authority antagonist can make selfish or value-driven choices that get in your protagonist’s way.
Another example of an interfering authority antagonist would be a border patrol officer who delays characters. Perhaps they are a power-drunk bureaucrat and intentionally delay your protagonists just because they can. This would be a useful secondary antagonist if your characters’ primary goal at this moment is making it to a meeting or other event on time.
When writing this type of antagonist, ask:
What is their reason for interfering? In Allie’s mother’s case, it’s a controlling nature coupled with class snobbery
How will this character’s actions impact your protagonist and create complications in the way of their goal (e.g. being with their lover or making a vital meeting on time)?
4. The force of nature
One of the few types of antagonists that don’t need a clear motivation is the ‘force of nature’.
If you think of disaster novels and films, it’s the unpredictable shark that attacks in Jaws. Some call this antagonist type the ‘beast’, but it doesn’t have to be a living or sentient being. In a survival story, this antagonist could be something with as little intent or motive as a treacherous mountain range your character climbs.
This type of antagonist does not have a character arc, in the sense of (for example) a backstory explaining how they became corrupt. Yet you can still include change and vary this type of antagonist to create tension and unpredictability.
To create an interesting and gripping ‘irrational force of destruction’:
Make it unpredictable. For example, on a tough mountain ascent, where your antagonist is the environment itself, perhaps clouds roll in obstructing vision and making the going tougher
Vary the intensity of opposition. On a tricky mountain ascent, create the occasional surprise rockfall or relief-bringing plateau
Make the danger real. A shark or other antagonist is only fearful and tension-inducing if you show the repercussions of not overcoming them. Maybe someone falls; maybe someone has their leg bitten off
Although not entirely an antagonist in the sense of a separate oppoenent, a character’s ‘worse self’ is also a useful source of tension and opposition:
5. The inner saboteur
In a story where a character’s main struggle is an internal struggle (e.g. drug addiction), the protagonist and antagonist are rolled into one, in a sense. Rather than the main conflict being external, the conflict takes place within a single character.
The danger of this type of antagonistic situation is that your character’s thoughts could dominate the narration, without as much exchange with others. If your character’s main opponent is their own self, remember to:
Show destructive behaviour in action. Instead of having an addict constantly think about their addiction, show how they fight it and sometimes fail. Perhaps they might visit a street hoping to score a fix but end up empty-handed, for example
Think about the origins of their self-destructive choices.What motivated your character originally to embark on a path of self-destruction?
Include secondary antagonists who add external conflict to the mix. An addict character, for example, may have uncomfortable brushes with law enforcement or a dangerous dealer
There are many types of antagonist that bring gripping conflict and opposition to a story. Whichever type you create, make sure you realize each opponent with as much detail and thought as you would a protagonist.
Source: https://www.nownovel.com/blog/types-of-antagonists/
(Mild Spoilers) Thug Life: 🐶&🙊
H: Want me to off your bully, bro?😎
I: WTF! MAN!?😨
(paused, and then thought that was actually a good idea…)
I: Fine, let’s do it.😡
Nobunaga: “Bring back those who have strayed from my side.”
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I am always up to read Event Stories no matter how angsty, cheesy, outlandish or predictable they are.
But. CLIFFHANGERS.
“Everywhere you will find that the wealth of the wealthy springs from the poverty of the poor.”
— Peter Kropotkin, The Conquest of Bread
I sent a letter today - something I haven’t done for years
It’s full of plastic bread clips
It’s for Science
Sometimes progressing through your writing journey means learning to write one way very, very well so you can never write that way ever again.
Sometimes it means cutting out every adjective and extra clause and passive sentence until your prose is so active it’s lost all voice, so that when you add the voice back in your new prose is both poetic and clean.
Sometimes it means cutting down your first two stories to the bare bones of its plot so that the inconsequential and slower scenes you decide to include in your third book have the vibrancy and life you learned while creating those faster paced stories.
Sometimes it also means you do work that feels like it went nowhere. But that’s never true. However your writing journey progresses is still progress.
Take heart in the skills that you’ve built, and keep writing <3
Writing vs Storytelling Skills: Improving Storytelling
Though “writing skill” is often used to refer to all aspects of story crafting, it can be divided into ‘storytelling concepts’ and the ‘actual writing’. Addressed in the previous post: Writing vs Storytelling Skills (link embedded), now I’m here to tell you how to work on that specific storytelling skill.
1. Read a variety of books. Various authors, various genres, the more you expand your examples the better. Variation of reading means you’ll be exposed to more ideas, more ways of thought, more storytelling patterns, more everything that you can critique and help make decisions on how your own stories will unfold. Even take up books you may not like. Give them a chance, and if you still don’t like them then at least be able to explain why.
2. Learn genre expectations (and that tropes aren’t bad). Genres exist to classify stories into familiar concepts. Sometimes, novice writers try to throw out genre ideas because they’re all “cliche” or they want “something different”, yet they fail to grasp why those patterns exist in the first place. Familiar storytelling concepts (tropes) can be cliches, yes, but more often they fulfill one or more of these requirements:
A way to fast-track info to the reader without having to explain every ounce of meaning (Color-coded symbolism, character archetypes, etc.)
To create a familiar base, allowing for further growth of the concept with less time than it would have taken to set up something new.
Promises to fulfill a certain type of story (You can’t say you want to write a romance, but with no romance)
Those things only become cliche when executed poorly or if they cause predictability when the story is trying to rely on unpredictability. A story full of tropes is not automatically a bad story. Writing in a way that subverts expectations well requires having a strong understanding of the genre you’re trying to twist. A genre is a promise of a specific type of narrative– you can’t just throw it out the window and expect readers to be satisfied. It’s fine to write cross-genre or mess with tropes, but be wary of it coming from a place of “it’s all the same so I’m going to do it completely different!”.
By learning genre expectations, you can gain that knowledge that lets you subvert better, or the knowledge to play into it better. You can figure out where the true heart of the stories are and why readers care. You can figure out how to write in a genre that works with your personal goals and desires for the story.
3. Learn best practices for different storytelling mediums. “I saw this awesome scene on TV and I want to write it in my story, so I imagined how it’s going to play out and it’ll be perfect!” No, it won’t, because what works in visual media isn’t the same for books and what works in your head isn’t a clear idea of how it would work on paper. (link embedded)
TV, and other forms of visual media, are presented very differently than the written word. They can rely on music, camera angles, subtle background events– and endless list of things that writing cannot replicate and isn’t made to. Becoming a better storyteller means learning the strengths and weaknesses of different media so you can tailor stories to best fit how they’ll be told. The imagination is similar to visual media, but better and worse. Better, because you can learn over time how to tailor your imagination for the written word. Worse, because it can create unrealistic expectations and is harder to look past.
It’s natural to want to mimic what you see in other forms of storytelling, but one of the most important things a writer can learn is to get over the fact that they can’t translate ideas in every situation. It’s fine to be inspired by other forms of storytelling and what your imagination creates, but don’t become a slave to the unrealistic expectations. Learn to work with the paper, not against it.
4. Stress test plot ideas to catch issues before they become a problem. While this isn’t going to always work and there will still be times that you have to adjust in the middle of things, stress testing your ideas can help teach you where you keep going wrong so you can work on fixing it. There are two main things to keep in mind when doing this:
The plot structure (link embedded): Overarching plot concepts should fit into a specific structure. The structure can have small variations, but there should be an average line of best fit that naturally overlays against the story. The higher your skill, the more you can mess with the lines and have it not blow up in your face.
Plot is essentially cause-and-effect (link embedded): The events of a plot should be a relatively smooth slide from start to finish. Not “smooth” as in “no conflict or tension”, “smooth” as in “logically glides from one point to another”. Make sure you can connect the dots.
If you catch and fix enough of your own mistakes then you can start teaching yourself not to make them.
5. Critique the storytelling of others. What did you like? What didn’t you like? What choices did the writer make and what were the consequences of those choices? I’m going to repeat that last one again because it’s one of the most important things a writer can learn: Every story is made from a set of choices and those choices have consequences. Not all bad, not all good; it’s a neutral term that just refers to outcomes. One of the biggest separators of storytelling skill is how well a writer can work with the natural consequences of their choices.
When you critique others, you look at those consequences and weigh them against what you consider to be a “good story”. While a writer can only critique at a close level to their skill, the more they critique, the higher skill climbs, and the better they get. To become a better storyteller, you should get used to tearing other’s, and your own, work apart. It can help to keep a journal or some kind of record of critiques, since writing thoughts down helps bridge the gap between the mind’s assumptions and reality (just like the bridge between an imagined scene and actually writing it down).
6. Brush up on literary concepts. They’re not just for English class! While some are more technical in nature, there are plenty of storytelling-inclined literary techniques that gaining a better understanding of can improve your own work. Also, literary concepts are just tropes that happen to apply to “work of literary merit”. They’re not fancy or pretentious to include– just study and practice them well so they work with your story rather than against it. (Study tropes too!)
All that said, there’s no such thing as a “perfect storyteller”. Brushing up on storytelling skills isn’t about being perfect, it’s about getting better relative to where you were before (and potentially helping close the gap between writing and storytelling skills).
Keep writing, keep practicing– keep storytelling.
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“I will not be modest. Humble, as much as you like, but not modest. Modesty is the virtue of the lukewarm.”
— Jean-Paul Sartre, The Devil and the Good Lord
Three Little Sisters (ft. me and my two co-ES/MS Allies)
This, when Mitsunari joins the fray...
“Don’t poke my cheeks. The seeds will spill.”
Giant Lord Squeak Ieyasu is not amused 😆
(tried manga style)
Yasu is willing to wear hamster outfit as long as MC gives him a lot of ichigo daifuku...
Tenka’s gorgeous event promo pic
They’re having another buffet event and this time all 15 Hana lords (when is the Ninjas’ tuuuurrrnn?) pose with kikyou flower.
Nobubu is vogueing like a pro
These tree make a great BL manga cover
Also these three
These three is a beautiful gay family
And these three are Daddy Father, Son and Holly Taiyaki Ghost
They’d be selling merch (of course) of this set in the event
??
Wait, isn’t this dragon a castle item last BE?
Err... @voltageslbp ?
Wait, isn’t this dragon a castle item last BE?
Wow! Nobuyuki, did you just used your tactics what I think you did? 😂😂 Good work on this one @ichigo-daifuku 😉😉.
Beloved
SLBP Fanfiction [Read on AO3]
Sanada Yukimura/MC; Sanada Nobuyuki/MC
Rated E | Warning: Mildly Dubious Consent. If you have decided to proceed reading, please do so with caution. Thank you!
Word Count: ~5k
In a place called Shinano, she was beloved.
Keep reading
A good thread on Lashon Hara (“evil tongue”) and how it threatens vulnerable communities in particular
Heyy thanks for the tag :)
Ieyasu (7) is INDEED nasty in namecalling MC but he had some good (if not complicated) side of him. TBH not what I expect for the one who waits, but he did try to wore out MC's patience (and failed). Still, their backtaking episode was GOOD.
Hide (6) is Kind and Charming as usual, but I kind of know how he works; sometimes come off as manipulative off-screen. But for someone who made the cuckoo sing, his actions are understandable. And the best monent was how he responded to Inichiyo when he discovered who wrote that letter.
Nobu (5) is NOT easy if I were in MCs shoes, imagine being forced to marry just like that...and all because he wanted a cook? Haha. Nope. But it would have been better if MC made some a little bit more resistance to him (and see how Nobu goes about rhat in full measure). Anyways, knowing his character, the story did paint Nobu as such a very forceful "you will be my wife whether you like it or not" suitor.
SLBP Cuckoo Event Review
MC as the cuckoo in that famous samurai cuckoo saying… I definitely liked the premise of the event. And here’s what I thought of the contents, in increasing order of happiness!
Ieyasu’s story starts out on a bizarre note: when MC visits his temporary shop because of his random love letter, his goons capture her and Yahiko (poor Y gets rope burns…!), he proposes marriage sweetly, MC calls him out on his fake bullshit, and he reverts to his pissy, insulting self. The guy spends the next few weeks visiting MC’s restaurant, not eating anything, and calling MC stupid. And because MC’s a masochist and highly susceptible to reverse psychology, she works way harder to impress his picky palate than I personally would’ve… Eventually Ieyasu asks MC to move back with him, gets pissy when she doesn’t immediately accept, and disappears for months so that MC can wallow in angst, before coming back and sweeping her away.
…Ugh. WTF did I just read? Why did Ieyasu even like MC in the first place?! He claims he saw her working and instantly fell in love, but that’s BS and his motivations are unclear. And why did MC want to impress this rude idiot anyway? In this story Ieyasu deserves a punch to the face, not delicious food and true love. I hated it. Ieyasu fans may disagree, but I personally can’t stand his stupid “poison smile” right now. ^_^
Personal enjoyment: 1/10
In this story it’s clear that Hideyoshi’s been harboring a crush on MC for a while because she’s “cute and hardworking.” Giving Inichiyo an aneurysm with his flirty tactics is simply a plus for this charmer. MC’s shy, but he spends his days allowing himself to be friend zoned and being nice to her and helping with groceries and such. And making MC jealous with his perfumes handkerchieves and fixing women’s sandals, but hey, we always knew this guy was a rogue, lol. In the end, right before he gives up on MC forever, he realizes that MC’s jealousy stems from mutual feelings, and the story ends on a hopeful note (“Perhaps this doesn’t have to be the end of things just yet?”).
I thought H was pretty likeable in this event personally, but as with Ieyasu, I found his romantic motivations to be unclear. How was it possible he had a crush on MC if he’d never talked to her before? What made her so special, besides plot reasons?! In any case, I don’t love jealousy plots and the story itself was pretty simplistic imho, but H was sweet and I thought it wasn’t too bad overall.
Personal enjoyment: 5.5/10
Nobunaga’s ES starts out in a classically Nobunaga-ish fashion, with the guy demanding marriage from MC out of nowhere. And MC’s having none of it! He eventually reveals he actually wanted MC for her one-of-a-kind cooking skills, lmfao. Of course. This makes total sense 😂. Anyway, Nobunaga drags MC to hang out several times during his stay in Kyoto, and the pair eventually do grow genuine feeelings for each other over sugar-fueled dates. The guy comes back from a battle to rescue MC at a critical moment, confesses his final reason for wanting MC (“because I couldn’t think of dying and leaving you behind”), and everyone lives happily ever after.
Nobunaga is an absolute treat when he’s not hurting anyone with his ridiculous antics, and he was definitely in fine form in this story! He gives off strong YA novel love interest vibes with his stupid imperiousness (that MC doesn’t take seriously thank goodness), and I am A-ok with that, lol. I also liked how his motivations were clear throughout the entire story! Overall, I thought this ES was delightful to read and it was definitely my favorite of the lot.
Personal enjoyment: 9/10
All in all, I wouldn’t say this was my favorite event, but I came in with no expectations so from that perspective it could’ve been worse.
If you want another (more thirsty, lol) perspective you should check out @aedysa’s recap! I have no idea how to link on mobile though ^_^
Anyway, what did you all think of this event? :)