>>527905585
Making me think that Hitler was right about some stuff and that some of you subhuman apes need to be euthanized, for one.

Oh, you thought branding Julia with the words “Semper Obedire” was supposed to be a shocking, emotional moment, didn’t you? Newsflash: It’s not. It's stupid, it's predictable, and it’s more painful to read than watching a monkey try to solve a Rubik’s cube. Seriously, Diana pulls out a branding iron, gets all dramatic, and literally says, “Don’t panic, it’s just a branding, you’ll be fine.” Then Julia just “sighs”, takes it, and gets a painful new tattoo that’s not even clever. It’s just bad writing. This is supposed to make me feel for Julia? Instead, I’m just waiting for this story to hurry up and get to the real action.
The Writing: “I’m Staring at My Screen, Wondering Why I’m Still Reading This”

Honestly, this writing feels like someone fed a word processor a bucket of clichés, and this is the result. Each character has the emotional depth of a paper cut. Julia’s internal monologue? Like listening to a robot try to empathize. Diana’s dialogue? So over-the-top evil, I almost expected her to twirl a mustache and laugh like a cartoon villain. You want a redemption arc? Good luck. You’re gonna have to wade through an ocean of tediously bad plot points before that ever happens.

The worst part? Every dramatic “moment” is telegraphed from miles away. “Oh no, Julia is about to be branded? I didn’t see that coming. Oh wait, I did, because this story is as predictable as the sunrise.” How many times are we going to sit through "Oh no, she’s about to die!" only to have her miraculously survive? This is like every bad tragedy mashed together into a gelatinous pile of “emotional impact” that misses the mark by a mile.
The Potions and Experiments: A Literal Dumpster Fire