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#The men by giving them way more diverse features and body shapes)

rocksunderscore · 11 months

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i really fucking wish folks would draw the hermits the way they look irl more often instead of drawing them as skinny, young people/characters

DRAW EVERYONE'S UNIQUE FACE SHAPES

DRAW FAT/CHUBBY CREATORS AS FAT/CHUBBY.

DRAW SCAR WITH HIS MOBILITY AIDS

DRAW THE WOMEN. JUST GENERALLY PLEASE

give these grown ass men their facial hair and five o'clock shadows i fucking BEG OF YOU. i just think it's a bit silly when we have such a diverse group of people on a server; different ages, nationalities, body types, facial features, etc and a large majority of art is all skinny young people like who is this??? not my hermits nuh uh

#this is a problem we as a community have addressed a bunch but ugh #im just tired of it #i saw this twink lookin doc fanart the other day and it set me off so #please give me salt+pepper hair and fat features #give me calloused hands and muscular women #thank you #hermitcraft #hermitblr #team zits #goodtimeswithscar #tangotek #zedaph #pearlecentmoon #zombiecleo #cubfan135

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commsroom · 6 months

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sorry if u answered this before but do you hc Eiffel as any particular race? I know him being white would probably match how he sees himself as the everyman. But on the other hand he gives me light skin vibes and I can't explain why. (Also no matter what he has long hair but curly haired Eiffel just speaks to me)

mm. i know you're just asking for my opinion, but that's a complicated question. and i am not the right person to be talking about this, so please take it with a grain of salt. one of the few legitimate criticisms i have of wolf 359 is that it's a show about personal identity, resisting dehumanization, and recognizing that other people navigate the world in different ways, but it tries to be raceblind. which. it can't. particularly when something like minkowski's identity as a polish immigrant is addressed.

i think one of the reasons that wolf 359 characters feel as real as they do is how collaborative the character development process was; they are really roles that are shaped by and belong to those actors. lovelace is played by a black actress, cecilia lynn-jacobs's input determined a lot of things about her, and the audience reaction to lovelace getting shot near the end of s3 was the way it was because there was an understanding of her as a black woman. whether she was initially written to be black is kind of irrelevant in that case, i think - she still is, and she resonates with people that way.

but every other main character in wolf 359 is played by, and similarly influenced by, a white person. and that's a problem. no matter how you approach it, wolf 359 is not a diverse show: if they were written as non-white, then being played by white people would be a problem. raceblindness also enforces a default assumption of whiteness. i think if eiffel wasn't meant to be read as white, then there are aspects of his character arc, his assumption of himself as the "default" person and general ignorance of how it feels to be "other", that probably could've been explored from a different angle.

i know people who see him as white because of that, and i know people who see him as another race because of how they connect with him as a character. and i can understand both perspectives on that, but i don't think there's a right way to approach it. i think the show unfortunately, in this one specific way, kind of dug its own grave. gabriel urbina has said however you see these characters, that's correct, and i can agree with the sentiment, but it's also mired in a lot of difficult context, because these are specific people, and these things should matter to them. it can't be interchangeable, and so it can't be that ambiguous. it could be handled a lot better. and based on his more recent work + politics, i wonder if he would've approached it differently, if he had all the information then.

about how i see eiffel: i've said many times before that i see him as a man who could be reasonably played by zach valenti, so the eiffel in my head is white. the eiffel in the art i commission, or the art where i'm like "oh!! eiffel!!" is not necessarily. the second most eiffel-like guy i can think of, who i also use as a reference sometimes, is iranian. but for me to say that eiffel was iranian is not really a claim i think it would be right for me to make, and i think it is probably not true.

the main features that i think eiffel must have are dark, wavy/curly hair, prominent nose, noticeable body hair, generally expressive. he absolutely cannot be light haired, clean shaven, or pale. and from a general standpoint, like... a wide variety of men could meet those qualifications. i don't want to reinforce an assumption of whiteness, but i'm also extremely wary about treating race as functionally cosmetic, since. again. it can't be. no show is removed from real life social contexts, and wolf 359 is about a lot of very real things.

i think if you do interpret eiffel as specifically a cis, able-bodied white guy, there's something very real and very unfortunate about the fact he initially ignores lovelace and hera, two marginalized women, and seeks reassurance from minkowski that they were overreacting. he listens eventually, but the person who gets through to him is presumably the Next Most Visibly Privileged Person, and that's... hm.

#genuinely i don't know. sorry you got an essay about it when you were just asking my opinion #i'm completely with you re: curly haired eiffel and i think however you personally see him like #if you connect with him in that way. i don't think that's something that needs justification.#like representation is such a complicated topic from the perspective of individual interpretation #i just. lovelace is black and that can't be said of any other wolf character in the same way and i'm not really sure #what the right approach is. or if there is one. obviously i am open to thoughts + perspectives on this. i'm not the right person for it #it's just something i wonder about a lot.#asks

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aseriesofunfortunatejan · 9 months

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Listen, I hate sexism as much as the next guy (in case this post falls into the wrong hands, this is a quirky way of saying I am a woman and a feminist) but drawing tutorials that explain how to draw masculine and feminine shapes are not the enemy.

When your character design teacher tells you that when your viewers see a tall silhouette with broad shoulders, they'll assume it is masculine, it is not them enforcing anything - it is them acknowledging what is already there.

It's common knowledge in art that you need to know the rules in order to break them. It's not always to be taken literally, but this is a situation where it applies. If I don't know what comes off as manly in the first place, how can I make it so it subverts expectations when I reveal my character is a feminine woman? How do I challenge the status quo if I refuse to acknowledge it?

It is a fact of life that by presenting outside the binary or outside your birth sex, you are "breaking the rules". How are visual representations of humans to go by different rules? I yearn for more diverse artworks and characters just like you do - but you can't expect artists to represent everyone accurately if you don't allow them to learn the basics. It would be unfair to blame artists for the extent of gender fuckery in their representations bring "androgynous nonbinary teenager" if you don't allow them to sit with a teacher who tells them how to draw what could be a beautiful and accurate pre-op trans woman.

I focused on subverting ideas of gender, but I have also observed issues with artists who don't know how to draw a feminine silhouette - leading to uncanny character designs, and to making women feel misrepresented, as though their bodies are misunderstood. Similarly - have you never wished some artists with anime styles would stop drawing all their gay men as thin pretty boys with soft features? There's more than just skill playing a role, of course, but when it comes to young artists I know for a fact many are intimidated by broad shoulders, fat and muscle mass. Perhaps a tutorial titled "how to draw a fat person" would sound offensive to some, but something along those lines is needed if we want to represent fat people, be it neutrally or positively, in media.

This is not to say all tutorials are made equal or that most tutorials are perfect. Far from that. This post was written in reaction to a post I saw, which mocked a tutorial for giving an example of how to draw a female shape and a male shape. The guidelines were widely different and the drawings were made to look like the average woman and the average man - but all their labels said was "female" and "male". Comments complained that this tutorial implied sexist things or enforced the binary... It's like some people forgot what "male" and "female" mean. And I don't mean that in the USian Conservative sense. I mean to remind you that I know men who are born female. Sex is different from gender - this is also one of the basics.

Of course, cis women don't all have a hourglass shape, and cis men aren't all over 170cm tall. But your art teacher isn't being an idiot if he tells you that if you tease a character by showing their silhouette with a short stature and curvy features, people will be surprised when they turn out to be a guy. He's helping you make an informed choice.

#this isn't well thought out I'm wasting time I'm busy

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emaciated-creechur · 1 year

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I don't understand how people can want to look like clones of each other simply because it's popular to look a certain way other than just feeling incredibly lonely and desperately wanting to fit in, or having such low self esteem you let others decide how you wanna look. And I feel so sad for those people, cause they must feel so awful about themselves and think getting external validation will somehow make them feel better about themselves but it won't, it'll never be enough. Sure, getting love and support helps a lot but it won't make you actually change the way you see yourself in the long run, that's an effort you have to make for yourself.

Idk I guess I don't understand how some people can find other people ugly simply because of some random thing that has no baring on the kind of person they are. I think everyone looks so cool and beautiful and unique and it's so wonderful how different we all are! I find so much beauty in diversity, in how different people can be, whether it's their body type, their skin, their hair, their facial features or other qualities. I'd find it so boring if everyone looked a certain way and there was no variation whatsoever.

I only think someone's ugly when I find their personality and behavior ugly, but maybe it's just that I don't understand a lot of social expectations because of my autism, or maybe it's because I'm in the ace spectrum.

Yeah, I might not feel attracted to certain people, I still have a type, but that doesn't mean I won't appreciate the beauty of someone who's not my type, despite not feeling attracted to them.

I never wanted to look a certain way because that's what other people would find more attractive.

I've been bullied for having freckles, countless people have insisted over and over again that I would look better with straight hair and that they want to see how it'd look like ironed out, I've been told my body hair's disgusting and I should get rid of it, that I should eat more cause I look like a skeleton, that my head would look too small if I cut my hair short, people would constantly compliment my sister's eyes because they're blue while ignoring my brown eyes, I've been told that gingers are bad luck/a jinx, like a black cat, I've been told I would look uglier if I transitioned, because men are uglier than women, apparently, amongst other things. But it never made me stop liking those things about me, it just frustrated me how other people would pester me about it constantly and try to make me feel bad about things that I like about myself.

I think all my insecurities when it comes to my appearance and the way I present myself have to do with gender dysphoria. I've always found my breasts annoying and cumbersome, like a burden, because I can't wear a lot of what I want without having to find a way to flatten them cause they'd make me look like a woman, I don't like my hips being so wide because they give me this hourglass shape, I don't like my stretch marks or cellulite cause I relate it to femininity, or my period for the same reason and also because it's painful, a hassle and makes my body weak and tired, and I feel the need to lose weight because I want to get rid of those things.

I used to find my voice high pitched and irritating despite other people finding it low and pretty, and now that it's actually irritating to other people because it cracks constantly I fucking love it and I even crack my voice on purpose to laugh at other people getting annoyed by it.

That's also why, unlike other trans guys, I don't have height dysphoria either, despite being 162cm(5'3") tall, because there's lots of cis men who are really short and cis women who are really tall and they're all super cool and trans people are really cool too no matter their height. It's just annoying when I can't reach something that's too high up and I have to ask for help or get a stool or a chair to get it but it doesn't affect me on my day to day life all that much tbh, so I never really pay much attention to it.

I just don't like it when people call me short king, or king in general. Idk why it feels patronizing to me in particular. It's not that there's anything wrong with the frase, it just feels personally icky to be called that for me. I think it's because a lot of people tend to infantilize me, and being called short king just feels like another form of that in the contexts I've been called that. Like they feel sorry for me being short so they have to give me a cute nickname to make me feel better about it, like some king of consolation prize. They don't call tall men tall kings or something like that.

I never wanted to look like someone else, just a male version of myself. Whenever I felt like someone gave me gender envy, it was because they look like me but with a masculine body, the way I would look like if I was amab, or finished with my transition. Because then I'd truly feel like myself. Because I'm not a woman, I'm a man, and I want my body to represent that.

So I never straightened my hair and I always make sure it's extra fluffy and curly, I cut my hair whatever length I want and style it however I think looks the coolest at the time, I let my body hair grow and never shave it, I enjoy the sun against my skin and just wear sunscreen so I don't get burnt, I started taking testosterone, and I might get top surgery no matter if people think my breasts are already really small or that I should like them because people find boobs attractive, because that's what makes me feel more comfortable with myself.

I eat as little as I can because it makes me look less curvy, therefore more masculine, and because it's a coping mechanism and an eating disorder, something that's a literal metal illness and an addiction. Something I'm just relying on for support now that my life's so complicated, until I'm in a better place and can finally start working on recovery.

And I'm just so very happy that my body's finally looking, feeling and sounding the way it makes me the most comfortable, the way it's supposed to be: not because that's what others expect it to be, or what other people would find more attractive, but because it's finally starting to feel mine. I feel like myself when I see these changes, not like some random stranger in the mirror I can't connect with, some hollow doll body my mind happens to control, something I can hurt and neglect because it's nothing more than an object I happen to be trapped in, like a genie in a lamp.

That's why I always get so irritated when other people compare my transition and gender affirming healthcare in general to other cosmetic surgeries, because it's not like we're trying to escape who we are, or make our lives easier to become someone else, or look a certain way because that's what society expects of us, it's literally the opposite, it's us wanting our bodies to reflect who we truly are on the inside. And it offends me how people will convolute such different things on purpose just to make our lives harder.

Idk, I just wanted to rant about all of these feelings I've been having lately, both positive and negative, and how sad I think society putting so much weight on something that defines so little about someone's inner self as their appearance is, and how I don't understand how some people can just let themselves be guided by something so unimportant, how they can just let something so insignificant define so much of their lives and their relationships.

#body positivity #body neutrality #eating disoder trigger warning #male ed #trans ed #trans ana #ftm ed #transmasc #ftm trans #diversity #rambles of an emaciated creature

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merii-the-little-prince · 1 month

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Quick preface: i watch a lot of well known anime, but not a lot of "mainstream" anime, and i never associate with "weebs", so even as an avid anime fan, sometimes common tropes baffle me

Watching clannad with some friends and the main characters basically all suffer from same face syndrome, which i can live with, its common in anime, people complain about clannads art style all the time, whatever. Then THESE SIDE CHARACTERS SUDDENLY SHOW UP and i suddenly realise just how bad the issue really is.

The studio is clearly capable of drawing other facial features and shapes in a way that still fits the anime's artstyle, they just choose not too for any main characters - and when i mentioned this to my friends, one of them said "oh its because their ugly", and it made me realise just how bad this twinkification is in so many animes. None of these men are ugly. I'm not saying that because of body positivity, i mean it quite literally. I dont simp for them or find them "hot", but their features, while different from your typical anime facial structure, aren't depicted in an unflattering way.

The boy on the right has naturally chubbier cheeks and a wider neck, without having exaggerated curves or skin folds. His eyes are smaller but they are placed flatteringly evenly on his wider face. The boy in the middle has a large but nonexaggerated nose and downturned eyes, giving him a softer, but not traditionally ugly look. The boy on the left has a sharper jaw, nose and cheekbones, which many people actually consider adheres to societal beauty standards!

I know one of the main reasons these anime producers make their protagonists have that same face syndrome is because they consider it the most attractive face in the artstyle, and want their protagonists to be the most likeable, and attractive characters (especially in more romantic themed animes). But it like physically pains me to see how much more interesting the characters could have looked. Neither of these 3 boys look evil, gross, or ugly (like how some other animes make their characters with "less attractive" features look like a downright caricature), and if they were protagonists and were given more complex personalities, I could even see them being simped over!!

Over-sexualisation is one prominant issue in media. Same face syndrome is another. But the issue i see less talked about is the over-romanticisation of certain facial features. I understand people want some sort of fan service in their favourite romance animes (in this context, im using fan service to mean audiences want to be able to simp for the characters and romanticise them). But in shows like clannad, so much artistic quality is thrown away for the sake of making these characters "attractive" and at this point they just get so overly-yassified to the point where the silly, "ugly" side characters just look more human and attractive anyways.

The effect this has on audience's perceptions is real, my friend actually thought these boys were ugly; they are some of the ONLY characters in the show that dont have huge bug eyes and the same copy pasted face shape. And if you thought seeing diverse male characters was rare, i havent seen a single unique looking female character thus far in my watching the show.

#clannad #anime review #clannad review #film review #okay this isnt really a review moreso a a rant but you get the idea #anime artstyles suck (a lot of the time)#fyi everytime “attractive” “ugly” other terms etc are mentioned dont take it too seriously #taste is subjective so maybe you think these 3 boys are hideous and the normal clannad face is the most gorgeous simpable thing in the worl #but its clear whether the artists may have tried to make these guys look “ugly” or not that they are not drawn particularly unflatteringly #also i genuinely got multiple female characters mixed up if they had similar hair due to their faces

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jadewanas · 7 months

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HELLO!

CLICK, CLICK, CLICK

SNAP, SNAP, SNAP

Hi! Jade here ready to give you an insight about men's evolving fashion that smacks!

Ever wonder why men nowadays use women's clothes? I'm here to answer that. Firstly, women's clothes aren't just for women. It is for everyone. Everyone is free to wear anything they want whether it is for men, women, gays, etc. Androgynous which means having both male and female characteristics, seems to be the fashion statement for guys in the 21st century. The diversity of genders is growing more common and it is one of the reasons why men have found the feminine wear to be good looking. Over time, trends have evolved, and most of the time, for reasons other than likes and dislikes. Some of these reasons include societal and gender exploration, freedom of expression, and culture.

As a man who tends to wear feminine clothes, I strongly agree that feminine clothes are the type of clothing that suits me. The way it shows the shape of my body, my skin, my body features? It just makes me see my physique. It really boosts my confidence to the max. It is my own way of expressing my own fashion, my own style, and my own self. Because the days of defining fashion as strictly masculine or feminine are gone. I started adding items in my drawers or closets that are often associated with women's clothing, which made me take on stereotypes that I receive from the people around me. For many men, wearing women's clothing is not just about style. It’s a powerful expression of their gender identity. A more accepting and understanding view of gender and self-expression can be created in society by acknowledging and respecting these individual paths. The lines dividing gendered clothing are beginning to disappear thanks to enormous colors and flowing clothes, allowing people to express who they truly are. Our culture, which has a lot of standards and the fashion business in particular, is greatly influenced by pop. A lot of individuals in music, movies, and social media are going against the tradition by attempting to dress like women. By that, it really inspired me to experiment with my style by thinking that whatever it is that I am wearing, I’m still me. People have long recognized that clothing is a form of expressing oneself that helps them show the world who they are. Men who dress femininely are using fashion as an effective tool to challenge stereotypes and promote a culture that values uniqueness instead of rejecting the people who they actually are.

I have actually heard a lot for anyone because of the way I dress myself and by doing the things that women do. Some called me “bakla”, “ganda”, “binabae”, and many more just because of the clothes that I am wearing. I have learned to ignore all of those stereotypes and began to just ignore the negative people that tell me that I shouldn't dress like that. Men's acceptance of what women wear symbolizes an important change in the fashion industry and shows how identity and self-expression are constantly developing. It's important to acknowledge the wide range of personal style, remove disinformation, and clear the path for an environment where everyone may proudly wear the clothes that speak to their true self as we watch this movement come to reality.

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ciyapaofficial · 11 months

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Embracing the Relaxed Vibe: Men's Oversize T-Shirt Redefine Comfort and Style

Although fads come and go, the men's oversize t-shirt has become an international phenomenon that shows no signs of abating. The oversize t-shirt, with its casual sophistication, has become a wardrobe staple for any self-respecting modern guy.

This trend has gone mainstream, appearing in both streetwear and high fashion. This article delves into the world of oversized men's t-shirts, discussing why they've become the go-to garment for individuals seeking ease and sophistication.

The Pinnacle of Convenience and Flexibility

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Furthermore, there is no limit to the number of ways in which guys can wear an oversized t-shirt. You may wear them with your favorite jeans for a laid-back daytime approach, dress them up with a blazer, or give yourself an edge with a knotted waist for a streetwear look. The popularity of oversized shirt for men is largely attributed to their versatility.

The big t-shirt's acceptance message is more than just a fashion statement. Unlike typical slim-fit garments, these tees are designed for guys of varying body types. This diversity promotes the idea that clothing should be pleasurable for people of all shapes and sizes, encouraging a more positive view of one's body.

Acceptance of Oneself and One's Own Unique Expression

Oversized t-shirt for mens are a great way to exhibit one's originality and creativity in today's environment. With such a wide variety of styles, colors, and materials, it's never been easier for guys to dress to reflect their individuality. Because there are so many options for large t-shirts, guys may create a wardrobe that truly reflects who they are.

The recent popularity of baggy t-shirts is a throwback to the '90s. These tees combine throwback style with contemporary flair, harking back to the era when baggy clothes were all the rage. The modern updates to the classic style make for a modern classic that will please any fashionista. Approval from the Stars Celebrities usually plays a major role in spreading the word about new fashion trends.

Oversized t-shirts for guys have become increasingly popular after being seen by several celebrities and influential people. Famous people have been seen wearing this style on and off the red carpet, furthering the trend's acceptance in the fashion industry.

Conclusion

The relaxed fit and countless styling options of the men's large tee have made it an instant classic. This style is a great way to relax comfortably at home, at a party, or out and about. Men's oversize t-shirt has won the hearts of fashionistas worldwide because of their various styles, which allow for individual expression while also paying homage to ancient times.

Don't be afraid to invest in some fashionable men's large t-shirts if you want to up your fashion game while exuding an easygoing, self-assured air. Let your sense of style speak for itself as you confidently stride forward in the ease, uniqueness, and acceptance they provide.

Original Source: https://bityl.co/K8ZS

#mens oversize tshirt #oversized shirt for men

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mosesdumpin · 11 months

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It's kinda disheartening at times, although it definitely feels like... a stupid gripe to have. As much as I try, its not always easy to take situations (scenarios? cultural pivot points? whatever) without directly comparing it to situations that are not as personally relevant but obviously facing a more severe version or more pressing negatives.

Without sitting down to think about it too much (again, not the point of this musing) an easy comparison would be how dark your skin is allowed to be while also being a western sex symbol (this even... horrifyingly... translates to the global south and east asia) along with the elevation of "white" features vs the more representative features in a cultural/ethnic group.

The above is obviously a more damaging and wide reaching problem than the one I am presenting here, but since I am quite white and skirting on mostly scots-irish features in a german/ashkenazim body type, the above issue only indirectly chafes my experiences.

I know that overall personal hygiene is almost universally (source: I am so horny for a counter example tbh) considered a desirable physical trait, with exceptions tending to be for CONTEXT around why someone isn't appearing hygienic. That isn't really what the gripe is about (I am not going to say "white men should be allowed to be sloppy and also expect immediate physical validation" lol)

Its just... tbh most white men I have consistently hung around were not someone who could be posted on twitter to hunt for a mob of sweaty gifs. I nearly called them "ugly," quotations and all, there but fucking hell, they arent. And I don't mean their personality made them more attractive, or even the nebulous "how they carry" themselves. I mean like... physically they were interesting, distinct, and attractive.

For example, the first guy that comes to mind was the incredibly skinny and average heighted kid I was close with in the later years of high school. When I say skinny, I don't mean slim. I mean skeletal, even though he wasn't unhealthy or anything. His skin was worn tight around his features, his muscles more function over flash, his movements highlighted by features that seemed longer by the visible joints and bone.

He had large eyes, but they weren't bulging. A crooked hairline, and even in those young years his crown was thinning. The classic thin white boy lips, and angular features. We were all awkward, but his stumbling coming-of-age screamed eternal. He didn't have the height that other boys with similar body types could lean on, and wasn't inclined to strenuous physical activity like sports or weight lifting (not lazy, mind you)

I remember him, along with a surprisingly diverse group of friends he and I belonged to, because he felt the anger and despair that comes with thinking you just simply weren't born the right way to get the kind of love you deserve. It manifested exactly how a funny jokester on twitter might lay out - a bitterness towards women and more physically acceptable men that stretched far outside what was reasonable without tracing the problem any further than that.

Now me. I am strikingly average. Not in the "all white men look the same" kind of way, but in a bell curve kind of way. I was average weight, average height, average face shape, etc. Looking at my individual features might paint a more novel picture but somehow putting them all together gives me god damn chameleon powers. I will note that these judgements come from YEARS of self-assessment both internally and with external validation, and is not meant to be self-deprecation NOR am I implying that this is the conclusion people will always make when they look at me.

My point is actually that people have yet to be compelled to look at me without some non-physical stimulus. With adjustments and realizations, this suits me quite well tbh. I will never be eye-grabbing, but I can play any social role a white man can play with just a little prep time, and I've had to work on who I am internally in order to be remembered.

I bring up my friend and myself because I considered us both in the same boat, when I know he did not. I was just close enough to the general acceptance of physical attractiveness to not be a problem, but far enough away to make him feel isolated. That he was the only "ugly" one in the room.

I will skip some of the obvious problematic lessons this boy had to learn. You can probably guess some of them. These days, however, he wears his hair wavy-messy in a way that doesn't cover up his bald spot since it seems to just affect his crown, but changes it from a problem to a quirk. He is still skinny, and pale (did I mention that?) and frankly doesn't really look much different to me after all these years besides the hair. HOWEVER, the awkwardness that prophesized to be eternal did leave him at some point, and now when he moves all the tight skin and telltale bones and joints seem intentional. He moves his arms, hands and fingers deliberately and slowly but most of all, he moves them at the same time. It generates a grace that doesn't come from your typical sources of agility like sports, yoga, dancing, etc. He simply accepted his body in a very subtle and (to me) impressive way.

this isn't going to be a "he loved himself for who he was" story.

He aged a bit, got some laugh lines and forehead creases. His pronounced skull is now defined as sharp and handsome. Of course, he didn't physically change. He adapted and adjusted. How he got there from the MRA-incel adjacent angsty 19 year old I left him to be is a mystery, but he isn't far off from my own personal ideological vagary of egalitarian compassion. Its not something it happens often and knowing him and feeling the same bitterness its hard... sometimes... to remember that what awful man he COULD have been is the unexpected abberant... and not a reasonable response from a kid that was stoked through progressive lefts calling every bad person ugly or creepy on twitter as a clapback or being told he has to earn love, somehow, through means that are a mystery to him from some chode who clearly landed upper management at their father's lawfirm with the Chris Hemsworth face.

Obviously the less-than-ideal white men aren't destined for the worst outcome, and its not what I'd call an excuse since clearly there is a path out. I will eat my PC if that path was exclusively internal and without some kind of validation though, and with how we treat people... why be surprised? You helped make this hell casserole. Stop putting shit in the casserole.

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akaraboonline · 1 year

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The Truth About Small Boobs: Insights from Men

As a woman, I've always been self-conscious about my body, but my breasts have always been a source of concern for me. I've always had small breasts and often wondered what men thought of them. Do they find them appealing? Do they favor bigger breasts? These are concerns that have plagued me for years, and I know I am not alone in them. In this article, I will investigate the truth about small breasts and share male perspectives on the subject. The Truth About Small Boobs: Insights from Men

Introduction to the Topic of Small Breasts

Small breasts, also known as small boobs, are breasts that are smaller than average or desirable size. While there is no universal breast size, society has created an ideal that is frequently unrealistic and unattainable. Women with small breasts may feel insecure because they do not fit the ideal body type mold.

Society's Perception of Small Breasts

The media and popular culture have shaped society's perception of small breasts. Women with large breasts have been portrayed as desirable and attractive in magazines, TV shows, and movies. As a result, many people believe that bigger is better when it comes to breasts. Women with small breasts may feel less feminine or attractive than women with larger breasts.

Insights from Men on Small Breasts

I decided to poll a group of men on their thoughts on small breasts. The responses varied, but one thing remained consistent: men do not care as much about breast size as women do. Many of the men I spoke with said they thought small breasts were attractive and that size didn't matter as long as the woman was confident and comfortable in her own skin. Some people even prefer small breasts because they believe they are more natural and less distracting.

The Pros and Cons of Having Small Breasts

Small breasts, like any other physical feature, have advantages and disadvantages. One of the most significant benefits of small breasts is that they are less likely to sag or cause back pain. Women with small breasts can also wear a wider range of clothing without fear of their breasts leaking. Small breasts, on the other hand, may make some women feel self-conscious and less feminine. Some men may regard them as less attractive.

The Impact on Body Image and Self-Esteem

Small breasts can have a significant impact on body image and self-esteem. Women with small breasts may feel insecure and unattractive in comparison to those with larger breasts. Insecurity and low self-esteem can result from this. Women must remember that their self-worth is not determined by their breast size and that they are beautiful and desirable regardless of their physical appearance.

Fashion and Dressing for Small-Breasted Women

Women with small breasts have a diverse range of fashion options. They can wear plunging necklines and backless dresses without fear of their breasts showing. They can also wear fitted clothing without worrying about their chest size. Women with small breasts should accept their body type and try on different styles to see what works best for them.

Breast Augmentation Surgery: Is It Worth It?

Breast augmentation surgery is a popular option for women who are dissatisfied with the size of their breasts. While the procedure can give women larger breasts, it is critical to consider the risks and potential complications. Breast augmentation surgery is not cheap, and the recovery period can be lengthy. Before deciding on surgery, women should carefully weigh the pros and cons.

Natural Ways to Enhance Breast Size

Exercise and diet are two natural methods for increasing breast size. Exercising the chest muscles can help lift and tone the breasts. Eating a well-balanced, protein-rich diet can also aid in breast growth. Before beginning any exercise or diet program, women should consult with their doctor.

Celebrating Small Breasts: Empowering Women to Love Their Bodies

Women with small breasts should embrace their individual beauty and celebrate their bodies. Smaller breasts are just as desirable as larger breasts, and women should not be self-conscious about their chest size. Women can feel more confident and empowered in their daily lives if they love and accept their bodies.

Conclusion

Small breasts are a natural and beautiful feature that should be admired rather than criticized. Men are less concerned with breast size than women are, and women should not base their self-worth on their physical appearance. Women with small breasts should accept their body type and try on different styles to see what works best for them. Women can feel more confident and empowered in their daily lives if they love and accept their bodies. Read the full article

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chaotic-kitty · 2 years

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So because I enjoy my own suffering apparently, I’ve decided to see how many characters nix hydra as a whole has come up with from both fictif & the arcana (it obviously is an approximation, I tried to find every main character/side character I could. Though I’m definitely sure I missed a few)

Fictif + The Arcana Total Characters:

Female- 50 Male- 53 Non-binary- 8

And of those characters these are the Love Interests:

Female- 10 Male- 20 Non-binary- 3

Technically, there is 12 female love interests (Nahara & Adra) BUT!! Nahara you could only romance in one story & Adra you couldn’t actually romance at all.

(Edit: that’s also not including the major arcana characters)

And going through the character designs & profiles for these characters, while it seems diverse, it also feels like they stick heavily to stereotypes.

For one, all of their characters seems to be weirdly tall. Out of the females the shortest are Volta & Portia, with Portia standing at roughly 5’0 (Volta I’m not quite sure, but I’d say even shorter than that) the majority of the other women are 5’7 and taller. And I know that that isn’t that tall but still. Then the male characters, Felix from what I can find is the shortest standing at 5’6 and Muriel is the tallest at 6’10, all of the other men fall at roughly around the 6’0 mark. And our lovely enby characters fall more on the taller side from what I can find.

As for body types, there isn’t much diversity there either, especially for the LIs. Most of the woman are thinner, with a more hourglass shape and average-bigger breasts. The men are pretty much tall, buff/muscular and really chiseled in their appearances. The non-binary characters seems a little more relaxed to a degree in their physical appearances and seems to be covered up a lot compared to the other characters. (Though they tend to follow the stereotype bodies as well. Like the amab characters having more “masculine features” ect.)

While the characters have a wide range of skin tones,ethnicities, ect. I’ve seen people talk about how a lot of poc characters have features that they wouldn’t necessarily have (e.g. eye colour) and how that they don’t necessarily properly represent POC individuals and going through all of the characters…..all of these characters all seem to be very similar in appearance as well.

So with all of this in mind, it really makes me further doubt nix hydra when it comes to their arguments about being inclusive/diverse and a being all for lgbt+ and women empowerment ect. The way I see it, they use those arguments as nothing but an advertising tool to lure in players who are being promised proper representation, just to constantly let those same people down. How are we as a fandom supposed to believe and support them when they constantly queer-bait and give false representation? What makes it worse though, is that nix hydra is a company run by women and they should know better than anyone what it’s like to grow up with no good representation, what it feels like to constantly have characters that are the stereotype and nothing close to the real thing. And then going as far as to blame us for not showing enough interest? We do show interest! Everyday on Tumblr, Instagram I see people expressing their love for these beautiful female and non-binary characters saying how much they would love stories with them. The beautiful artwork and stories they make for them (…coz you won’t). If you actually took a minute to look past what you want to see, you would find a community full of beautiful people wanting these stories & characters.

Nix Hydra ( @fictifgames) ,you had a great opportunity to break the mould and to be a company/storyteller to give actual proper representation. But time after time you have failed in that. I get that making these stories takes time and effort and I applaud every single writer/artist/developer ect for their work but come on! You need to stop targeting the lgbt community, women & poc individuals if you’re only gonna use us. We are not a marketing tool for you to exploit!! Especially as so many of your fans are younger people who are figuring out their identity, what kind of message are you sending them? And covering all this up with posts about women empowerment and whatnot isn’t gonna change anything. You guys need to learn that it’s okay to try different things! Make smaller characters! Make bigger & curvy characters! Make male characters with realistic body types! Make wlw stories! Give us the representation we deserve and you’ve been promising! It’s really not that hard. I’m sure there are plenty of good people who can give you pointers if you’re struggling to write certain characters properly. Stop buying into outdated stereotypes and concepts! Stop writing women the way we’ve wanted people to stop writing us for decades! You may think it’s nothing but it is harmful especially when we still live in a world we’re we don’t get proper, realistic characters.

Edit: And furthermore, while it’s upsetting not getting proper lgbt, women & poc representation, you’re not necessarily giving your male audience much representation either. You’re writing your male characters through your own fantasies and ideals and what society as a whole has deemed to be the male standard by making them buff and tall and “classically handsome”. That’s not proper representation either.

But anyways, rant over! Sorry for any mistakes ect.

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ficsnroses · 4 years

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—𝑨𝒏 𝑬𝒗𝒆𝒏 𝑬𝒙𝒄𝒉𝒂𝒏𝒈𝒆. 𝑱𝒐𝒉𝒏 𝑾𝒊𝒄𝒌 𝒙 𝑹𝒆𝒂𝒅𝒆𝒓—

summary : you sell your virginity to John Wick.

warnings : smut, consensual sex. oral sex. x f! reader. 5.5k.

notes : hope ya like it! I’m hoping to actually maybe make a part two. I think it would be nice to explore how this turns out for them. please leave feedback! I’m a little nervous about this one, feedback would be so so appreciated. enjoy! xx

John Wick is a man of focus; little diversions that fray from his work were often absent of his mind. It’s been years since his semblance of hope, the light at the end of the tunnel had gave out on him, and he’d been dragged back into the world of gruesome sin for good.

Bound, serving under the table. A life liberate of vice was something John had stopped dreaming of long ago.

Work had been all that engrossed John, absorbed each inch of energy his battered bones could muster up for far too long. To be working, meant to be seldom alone. Being alone, translated to being unaccompanied, with himself. Listening to the weary, dark loomed thoughts that crawled in the crevices of his mind.

A crisp pour of amber bourbon sloshes into the clear crystal glass; a lone cube of sparkler ice accompanies the liquor John would soon shoot. Something that burns, something that might ease the part of him that thinks, ponders, wonders if this was alright.

Is what he’s doing, really, alright?

He stands, leaning on the high raised counter of the bar equipped in his hotel room. The crème walls of the Continental held many secrets, secured home to the worst of folk he’d had the ill-fate of dwelling among.

The men in here were awful. Cold, indifferent, chilled blood coursing wicked veins; John knew well of the evil that rummages within the corridors of this so called, safe haven.

Anyone else would destroy her.

Could ruin her.

John wouldn’t do that. Something separates John from the bulk of the crowds, something that differs him from the norm. John would on no occasion hurt an innocent being. John wouldn’t rip her to shreds. John would treat her as human; something people often forgot that John too, is.

Temporary relief, relaxation, substance; he’d vexed them all. Often, after a job well complete, he’d find himself in dire need of long repose; a minute to rest his somnolent composure. A moment to recharge, before he’d be forced to do it all over. Human contact, connection, was something he’d scarcely recalled.

A Bourbon would often have to do, the familiar scald down the cascade of his throat the only comfort he’d been accustomed to as of late. Yet recent, he’d been craving more. He’d been yearning for something more; something physical to satiate relief.

A heavy inhale floods his lungs, a lone hand held to his drink as his other toys with the collar of his brittle white dress shirt. Her eyes stayed on him, drinking in each of his features, desperate to understand how he’d be. John Wick is a man of few words, a stoic nature barely illuminating enough light to read.

He turns, the crystal glass set down on the hotel room table as he turns to her, on his bed, her legs crossed closed, silent. Like a lover, the silk of her short black dress seduces each curve of her devourable body, thin straps kissed to her satin shoulders, her silken skin gleaming under the hotel room lights. His voice is deep, ravishingly rich, throaty with gruff as it protrudes her ears. “You’ve never done this before?” He confirms, walking closer to her delicate frame, watching her equally unreadable expression.

When he’d first laid eyes on her, he’d found himself unable to look away. Captivatingly beautiful, enough to make any man week in his knees. John wasn’t one to fantasize, to want a woman, let alone offer a second look.

Yet seeing her, he’d downed in the enchant of her beautiful features; and the best part of all,

She was selling. She’d been looking to give herself to the highest bidder.

John Wick had found himself at the right place, at the right time. An impulsive buy, one might say. But he couldn’t leave her. Not only did his body yearn for someone, something to channel his deep need into, he also knew. She was far too precious, pure; whatever circumstances had brought her to do such a thing, he wouldn’t ask.

He’d buy her. And he’d use her service.

He needed it. Sex hungry, his body longs for someone real to take care of him.

Her eyes are soft, lips stained a rosy shade of mauve as she makes direct eye contact. Blushy cheeks, soft, shining hair flutters gentle in free air as she shakes her head ‘no’.

She’d never been with anyone before. She was pure. Untouched.

With a down of the final few drops of drink in his glass, John’s shirt unbuttons, peeled off his torso in a swift motion, revealing beautifully toned, bulked muscles; rosy skin, a broad back, tattooed with bold ink on display. John must have been 20 years her senior, yet his shape proved peak. Firm biceps, defined torso, beautifully groomed, lengthy chocolate locks only adding to his splendour.

She’d expected to be bought by some middle aged, unattractive man looking to be with anyone other than his wife. John was far from that. She didn’t know if he’d seen seeing anyone else, if he was married, taken.

Not that it was any of her business.

She watches his hands move to fondle a heavy worn belt, working the buckle as it comes off his dark slacks.

“Is there anything you don’t want me to do.”

John’s rich voice surges through her ears, his question falling his thin taut lips as more of a statement, an establishment of boundaries.

She didn’t think she’d get that choice. She’d expected to be used however her buyer pleased.

With a gentle clear of throat, she nods her head no, gazing out the window of the high story hotel suite. Busy New York city life buzzes below, the nightlife pulsing through the city heart. Endless opportunity. Endless chance.

John’s belt thuds to the marble floor with a heavy clink, his body inching closer, hand dangerously close to her feeble frame as he asks, the question sending shivers down her spine. “Can I undress you?”

The question came with surprise. Part of her thanked the universe for delivering her to John, of all men. He’d been hard to read, reserved, but he hadn’t done what she’d prepared herself for immense. Although she knew, her body was merely a vessel for him to use, to get what he wanted, he hadn’t treated her as such. Hadn’t treated her as she’d gave up her right to respect when she’d bartered her purity.

When Y/N nodded, John moves in closer, placing his dense frame beside hers as he begins, unravelling her as if a present. Yearning, wondering of what held underneath the rippling drapes of the sleek fabric, his eyes gloss over her skin, thick fingers removing the straps of her dress, before reaching behind her to unzip the seams of her wear. Diminishing to her mid, her modesty falls perfectly plump on her chest, embellished in expensive lace. The swell of her chest leaves him feel the weight in his pants to harden, the sight of her cleavage, pursing together with hardened nipples. Unclasping the dainty hooks that shield her breasts from his prying gaze, John allows the thin textile to fall off, exposing her beautiful femininity; her breathtaking curves, soft, supple skin tender to the touch. His hands can’t seem to resist, callous palms moving in to roam the exquisiteness, thumbs swirling her tender nipples as he sighs, drinking her in.

“Stand up.” John’s voice demands, his own form staying placed at the foot of the bed as he instructs. Doing as told, she feels his warm hands tug at the seams of her dress, allowing the fabric to pool at her feet, leaving behind nothing but her lacy underwear covering what no one had indulged in before. Paired with pencil black heels, John takes a moment to devour the look of her stood in front of him; bare, voluptuous, almost entirely nude, causing a tent to rise in his pants. Without time to waste, his fingers intrude the skimpy cloth, gentle peeling her panties down, revealing all of her, solely, exclusively for his taking.

Had this not been an exchange where John owned her, he might have just fell prisoner to her mercy. Y/N was a beauty he’d never seen, mirroring a sex siren in her own right. The dips and curves of her frame mesmerise him, a gulp swallowed down his tight throat, a hefty palm unknowingly moving to palm his swollen cock through the fabric of his slacks. She bites her lip, vulnerable, never have being shown to anyone this way before.

John was the first to see her in all her glory, she finds herself moving shy hands to cover her form, nervous to the way he scans each inch of her body, as if memorizing it, keeping the sight locked away, stored within his gaze forever. “Gorgeous…” John’s voice whispers a gruff, two of his sturdy fingers moving to slick through her folds, palming her pussy as shivers tingle down her spine. She’d been trying her best to stay calm, to allow John to do as he pleased.

Right now, in this moment, her body rightfully belonged to him. He was permitted to do whatever he sought.

“I want you on your knees.” John explains firmly, connecting his bold gaze to hers and she nods, falling in front of his form sat on the silky sheets. Without a moment to waste, his hands trail down his zipper, throwing the expensively stitched slacks off his thighs to the floor, left in nothing but a pair of thin boxers. In a swift moment, his stocky fingers dip into the opening, allowing a hardened shaft to fall out in his grip, full, bursting balls to accompany.

She’d seen a man’s cock before; but John, John’s member was a sight to be seen. She swallows, intrigued by the grandeur, the rosy tip swollen, the thick veins that run up his length, a slight curve to its form. He offers himself a few measly tugs, dark eyes connecting to hers once again. “Do you want a safe word?”

A safe word. Perhaps if a word; a small, paltry word could save her from nonetheless being in this situation, she would have used it.

“No.” Her voice falls quiet, eyes diverted to the crème marble below. “If its too much, I’ll tell.” In the dim light of the room, a channel glow casts to her exposed skin; velvet and soft, making the plump of her mauve stained lips rouse John’s needy cock in desperate anticipation.

Without hesitation, John’s lust falls deeper, his throat tight, breath heavy.

Being with a woman, was something John felt had last happened centuries ago. Seeing her, stripped, uncovered, on her knees, keenly awaiting to be wrapped around his length; a fire burns in his belly. A hunger that rumbles across the surface, desperately ready to chase sweet, sweet relief, from her.

“Here,” John encourages, taking hold of his base with a loose grip. With his spare palm, his fingers thread into the locks of her hair, gently pulling her mouth closer. Slowly, firmly, his palm glides over the bottom of his shaft, beads of glossy pre cum quivering out the pink tip as he speaks. “Put those pretty lips on me.” Obliging, she nods, positioned between John’s thighs, nervous to the core.

She’d seen videos, heard people talk. But she’d never taken a man into her mouth before.

John would be the first, to feel her in every sinning way he pleased.

“Fuck,” John sighs through gritted teeth, feeling the warm haven of her lips circle around the thickness of his tip. Tightening on her tresses, his hand falls from his base, cupping hers in a gentle hold, before guiding it to replace his own. “Use your hands on what you can’t fit.” He instructs, walnut eyes darker, yet held with a certain sympathy.

A tenderness; mortality. “Move, baby.” John manages, eyes fluttering shut as his senses indulge, the feel of her tongue gently, kindly swirling his shaft take over. Gradually, his hand, laced within the locks of her hair guides her further down the bulk of his cock, forcing her to take a little more with each eager bob.

“Hallow your cheeks, darling.” John watches her intent, in awe with the way she learns so quick. “Eyes on me,” Practically sputtering into a pool of bliss, John’s deep baritoned words sear through her veins.

“Tighter.

Deeper.”

Drawn into his, her eyes pierce into his own earthy orbs, unknown to the throb of arousal growing in her core; John bought her for the evening. Was it sick of her to be…fascinated by him?

His room is simple. A suit jacket rests to the arm chair on the right, a barely touched bar of liquor to accompany. Little of him can be told from the depths of this room, perhaps he wasn’t here too often.

The folk of the Continental were scarce when not at work, leaving little trace of who they really were behind. She’d heard whispers of a man they called John Wick, she hadn’t been entirely unfamiliar to the dread he’d upheld within the sanctioned walls. Wick was a name that held fear to the tips of even the worst of sinner’s tongues; yet she finds herself far from. She wasn’t fearful of John Wick. She wasn’t scared of what he’d do.

As John urges her further, a choked gap emits her throat, eyes filling with a char of hot tears with his cock still shoved inside her mouth. Collecting herself, she keeps him inside, albeit, allowing some of him to fall out. “You’re alright.” John soothes, wiping escaped tears with his callous thumb. “You’re doing well.” With a nod, her movements commence, eager to find her pace again, free hands massaging his thick balls and veiny shaft that couldn’t accommodate in her mouth.

The sound of hallow gags and a mouth full of cock echo the room, throaty slickness and gasp for breath, John harshly praising her with a guide of pace. “Perfect. Fucking perfect.” A firm hand follows suit to her bare breast, palming, kneading the fleshy skin as her mouth words wonders on his sensitive skin. Without much notice, John’s eager hips buck impatiently into her mouth, so nonchalantly, a test of waters if you may.

If he had it his way, he would fuck her tiny mouth senselessly right then and there. Have her throat bruising, aching for days in his aftermath.

But John Wick isn’t a monster. John isn’t selfish.

Each time she comes down, slowly, cautiously, his swollen tip hits the back of her throat, threatening to venture further with each throb John’s bulge radiates inside. With his hips thrusting into her mouth lightly, John’s jaw tightens, goosebumps peppering his ink adorned skin. With his pace fastening, his primal desires barely cease; barely offer mercy when he pulls her head closer, wrapping his palms firmly to her head as he moves her head on his cock hastier, stiff, needier, causing srteams of sweltering tears to flow her soft cheeks as she tries her best to hold in her gags. Dangerously close to release, her head yankers back in John’s grip; strings of saliva webbing off her lips, connected to his tender shaft, allowing the bulk of his member to fall out, still erect to an intimidatingly large size.

He could have done with just her sinfully tight mouth; yet he wouldn’t. Tonight, he’d cum inside her. Tonight, he’d have something other than the lonesome grip of his sloppy hand for company; to extinguish that rummaging burn.

With a rise off the bed, John offers her a larger hand, eyes interlocked as she accepts, rising off the ground. His gravelly voice is low, Y/N’s unchecked tears and swollen lips leaving her a beautiful mess as John’s inquisitive gaze washes over her. What comes next, causes her breath to hitch; her insides searing, arousal growing wetter by the second.

With his rock hard cock digging into the skin of her stomach, she finds her self locked lips with John, who’s taken her in a sweet kiss, tasting himself on her tongue. The kiss personifies appetite, thirst, all things John craved in the moment. With his hand taking hers, deliberate movements guide her to the tall side of the bed, silky sheets and cotton pillows awaiting her arrival. His skin smells of cologne, something expensive, something sauvage. The taste of his heavy liquored tongue meddles with hers before letting go, lustful eyes encouraging her to lay down in the ripple of sheets. With his cock firm in his hand, he continues to offer himself a couple of strokes, a spare hand intruding into the hard oak nightstand to the side.

“Are you taking anything?” His voice flows through the room, heavy, shallow, adding clarification when her brows furrow. “For protection.”

Fiddling with her growing nervous fingers, she tenses, suddenly urged with the realization of what would come next. This was happening.

This was

really

happening.

John was going to fuck her. John, soon, would take that piece of her. This beautiful stranger, mysterious, yet intriguing, would make a part of her belong to him

forever.

“No sir.” She answers, eyes downcast, unsure of where to look as he preps himself. Fishing out a condom from the side drawer, the silver lining falls discarded somewhere on the marble floor along with the shambles of their clothes, mindlessly placed. “Lay down.” John tells, dimming the lights further, the curtains closed shut as night falls over the shadowy New York city horizon. She does as told, awaiting his body to accompany.

Her eyes find his back once again, watching delicate, cryptic ink that coats his broad skin in curiosity. A seemingly cross centers in the middle, an arrangement of words unknown to her cognizance bedecked along. As he finds himself crawling a top her sprawled figure, his hands guide her legs open further, hand palming her mound as she bites her lip. Slow, steady, he guides in the stock of two fingers, sensually slow, preparing her pretty cunt for his taking.

Coated with her silky arousal, his fingers gleam, a creamy mixture of her gloss glazed over his hand. Punctuated by her tender, soft, barely audible whimpers, a light chuckle emits John’s throat. “You don’t have to stay quiet.” He clears, fingers pumping slightly faster now, expertly judging her expressions. “Ever done this before?”

Y/N was a virgin; but no saint by any means. She’d touched herself before, even brought herself to orgasm on occasion. With a shy nod, she answers, punctuated by her own barely held together, soft moans to the feel of John’s much thicker fingers pulsing in and out of her. With the pad of his thumb, he works her clit, his hand arranging a beautiful symphony begging to fall off her lips.

The feel of John’s touch was nothing like her own, paired with the weight of his body on hers. As if habitually, her back arches, her toes curl, a whimper secreted when he draws his fingers out. With his heavy cock in hand, John lines himself up with her entrance, wanting nothing more than to be buried inside; to feel what she had to offer. With his enlarged tip rubbing over her clit, his voice registers barely in her ears, lost in the feel of him on her.

“Tell me to stop.” His gravelly voice reminds, assertion heavy on his tongue.

John was proving awfully hard to read. She appreciates the respect; the boundaries he was willing to set for her. She’d sworn, she could see a light of humility in him, contrasted, laced with dark need. If he wanted, she knew he could ruin her.

Without much warning, she feels his tip impend into her walls, sinking slow, stretched by his weight, her eyes widening noticeably when John’s girth pushes into her, cock widening her immensely.

She knew John’s member would be far larger than the feel of anything she’d felt before; yet perhaps she’d underestimated just how much larger it would feel. Plunging in further, a tight moan escapes John’s lips, drowning in further, slower, steadier, until he’s reached her end. Hissing at her tightness, he feels her clench around him, a breathy gasp of her own fleeing, nails sinking into the sheets in a fitted clasp.

Had the circumstances been different, he’d have asked her to hold onto him instead; maybe even let her burry her face in his neck as he works her body whole.

But that wasn’t what this was. This was merely an exchange. An agreement for him to get exactly what he needed;

mind blowing sex.

All John needed right now, was a rough, and good fuck to hold him over.

He stays still for a moment, feeling her cunt pulse around him, and her eyes shut tight, breathing measured as she relishes in the feel of him full, nestled inside her wet haven, before placing both sturdy hands on her hips in a strong hold. Rapt with desire, John’s primal instincts kick in, the feel of her welcoming pussy so perfectly mould to his cock; he’d sworn or a moment that she was perfectly, exclusively crafted just for him to fuck. With his hips picking up pace, John sucks in a sharp breath, a groan of pleasure to the way her heavenly walls tighten around him, tight, blissfully gratifying.

She can’t help but gasp, searing tears returning once again to the ungodly stretch. John burns inside, allowing her minimal time to adjust. His hips buck into hers, gradually picking up pace as he thrust deeper, harder, conjuring up an almost selfish pace.

She’d never felt anything like this before. The pain, the pleasure. The sinful pleasure of him practically splitting her inch by inch. His cock glides in and out her constricted entrance, and she practically whimpers; unsure of whether the moans signified pain, or immense pleasure.

It hurt, but in the best ways possible. His aggressive roll of hips only quickens, faster and faster until Y/N’s moans caged no more. Her lips longed to moan his name, scarcely able to keep her eyes open to see the way he pants above her figure.

With her breasts bouncing vigorously to his pace, John’s want only cultivates further. Watching his cock glide in and out of her sends him in a frenzy, the way she violently jerks with each movement, the sound of his balls smacking against her sweltering core give life to a filthy symphony of her stifled yelps and moans, blended religiously with his growls and throaty gruffs.

His eyes roll shut and he bites his lip, the sounds of her wetness bobbing him fill the room to his violent labour of hips, each time he sinks in and out. His cock glistens with her honeyed dew, her hand reverting over her mouth to confine a loud moan threatening to surface. Whimpering, she bites her arm in complete ecstasy, the feel of John throbbing, completely filling her whole becoming much.

John had been practically pounding her, minutes in. The feeling of having someone to spend the night with, left him far more aroused than he’d initially planned. Her legs tremble, gazing down to observe the way his load exits her cunt fully before slamming back in repeatedly, over, and over, and over, erratic imperative. With every nerve in her body threatening to snap, she relishes a moment to feel John inside.

John’s thickness is something she doesn’t think she’ll be able to forget. Each nerve, each throbbing vein, that curve of his shaft she witnessed earlier; his thrusts become urgent, cock twitching within, grinding vigorously to her g spot as his breathe lays hot, close to her skin. Ridged and rough, his fingers threaten to leave purple bruises peppering into her hips, his hold of her body immensely stiff, as if fearful of her disappearing. The bed below creeks, headboard assaulting the walls with profound hits to his demanding haste; she’s already sore from his massive size, and he hasn’t even finished yet.

“Fuck...you feel,” John’s deep voice, sultry and stiff surges her ears, rich as butter. “You feel fucking amazing, tighten up for me, darling.” He instructs, wanting to feel her milk his cock. She follows as told, squeezing her walls around him, squirming, wailing underneath his form. He pushes as much of himself in as possible and she screams, feeling a cocktail of their fusing released drip down her thighs. John looks delectable this way; beads of exertion peppered to his forehead, muscled skin sticking to hers, the smell of sex prominent around them as he continues pumping her relentlessly, senselessly. To a particularly rough thrust, her toes curl, arms coming around his shoulders to hold on dearly, tightly as he continues his rummage into her body. She holds tight, fingernails digging into his skin as grunts and ear-splitting moans intrude the atmosphere.

John is fucking her so well, so intense, that tears fall still, the raunchy sounds of skin slapping skin, enticing whispers of praise off his lips for her body only pushing her further. John feels his release close, lost in the tender haven she’d given him to spoil in, and he shudders; shivering, buried deep, deep inside her, the sounds of her wetness slicking his member echoing the walls. Within a few particularly lewd, unaltered thrusts, she screams his name, gasping, holding onto his biceps lifelessly as he quickens his pace, his own release not far behind.

He slams, harder, and harder, channeling an animalistic pace to her core, a rhythm of lust drunk pleasure imploring each inch of his body as he still deep, deep inside her pussy, spurting thick streams of sticky, glossing white cum into the dainty condom he’d worn. He stills for a moment, neither of them speaking; heaving sighs and rapid breaths as they come down from their highs, her limbs still securely wrapped around his frame. A joint euphoria; a paradise they’d created together. A creamy mixture of their releases drips to the satin sheets below, although John ceases to care.

Right now, in this moment, he finds himself truly, wholly

relieved.

He’d gone so long, so distant without sex. Without human touch, connection. With his cock still sheathed inside her warm harbour, he sighs, relishing even in the feel of her holding him.

And a moment passes, then another; and another. With his weight rested on shaky palms to the bed sheets on either side of her, John sighs, panting, watching the way she swallows a lump in her throat; beads of vapour dotted to her glistening skin.

Gorgeous, he thinks.

She’s got those pretty eyes, satin skin. She felt surreal. He’d seen the stars buried inside her.

Slow and steady, John moves, allowing his flaccid member to slip out her warm hold. The sun has fully set, and the moonlight barely filters in through the slits of opaque curtains. With a towel retrieved, one he’d set aside prior to their session beside the bedframe, he finds place back, next to her worn out frame.

John had fucked her so good, so hard, she’d worn her legs may just give out in any attempt of rising on her feet. Relishing, sunken into the mattress as she watches him move calm, collected, the feel of John cleaning what he’s left behind off her womanhood causes the softest of blush to intrude, peppering her skin. With the condom discard, John’s hoarse voice rasps, breaking the still of long endured silence. “You’re alright?” He probes, watching the way she sits up on the bed, the threads of the duvet he’d spent countless nights burrowed in alone fixed in her grip, pulling it over her bare breasts, covering herself from his chocolate gaze.

She’s shyer now than before, after sex bliss stippled over her skin, her pussy sore from the action. The emptiness John had left ached. She’d be reminded of the mysterious man with painted skin for days;

prompted by what story his back really told.

What intrigued her so much, about the man who’d taken her in the filthiest of ways.

“Did I hurt you?” He inquires, and she’d sworn the way he looks at her…the way his eyes glaze over her features, as if watching so intently her every move, a symphony flows inside her, coursing that acquainted boil in her stomach. Nodding her head, no, she watches him pull on a pair of long forgotten boxers, opting himself a seat to the edge of the bed as she stays put. Despite having just had had sex with him, she finds herself nervous to be exposed to his eyes again; a dire side effect of the toll his handsomeness had truly taken on her.

She finds herself, tense. Intimidated by his grandeur.

A story writes itself, a tale that brews in the depth of their minds. Racing a mile a minute, he’d known. And perhaps she had too; that the sex had been far too good.

Dangerously good.

The words brew on the tip of his tongue, yet he finds himself cautious of their release. Would he be awful for thinking these thoughts? Was he soiling her, tainting her for his selfish needs, thinking of the dirtiest fate he could try her; propose to her before she’d be gone.

A fuck this good doesn’t come easy, and John wasn’t looking for romance. Love was something he’d forgotten a long time ago, wasn’t sure he’d been worthy of such a thing.

;yet he’d found her. Someone who could take care of his physical needs; someone he could use for that intimacy he too, direly needed. Had lacked for years, finally tasting it, within her.

The way she felt was something John would find himself struggling to forget. The warm, wet, deliciously slick feel of her welcoming cunt; John hadn’t had someone as good as her. She’d ruined it for him. Nothing had compared. No one had taken care of his cock the way she’d done in a meagre 30 minutes.

He’d request. He’d propose. He’d bargain her an even exchange.

With a gruff crisp in his throat, his guttural voice catches her by surprise. Under the duvet, her naked skin flushes to a warm, temperate ease. Fulfilled, relaxed, riding high on sex satisfied clouds, tingles still felt within each snapping nerve of her skin. His tone is calm, collected; upheld with dominance.

She delighted in his dominance. “I want to offer you.” He begins, a hand placed on his bare thigh. “A contract. For your services.”

Services. Bold of him to assume, this was something she’d planned on doing for more men. “An offer…?” Her tongue seeps, the words a quiet, barrel mumble to his proposition. In the barely lit room, her inquisitive eyes glow; a familiar glow to the way they’d shone, glossy. When his cock had been rammed deep down her tight throat.

“A contract.” He repeats, professionally. “I want you. Again.” His tone finds a quiver building within her core, her thighs longing to be wrapped around his waist, the way they dripped control, power. “I’ll pay you, generously.” He nods, eyebrows raised, a gaze to her smaller body buried in his sheets. “But when I need you, you come. No questions, no excuses.” He adds, studying her form, the way her brows furrow, lost in the aftermath of his words.

“You’ll be mine to use. For the duration of the contract.”

His. She could be

his.

Racing a mile, a minute, her thoughts haze, the rush of adrenaline, the weight of his proposition thick in a fog on her brain. Her senses tense, her thoughts freeze. The sight of him catches her lost.

His. To belong to the man, with the muscled back and bold tinted ink. The man who’d fucked her pornographically. Her cluster of deliberations interrupts with his thick voice, velvety, rich. “I’ll let you sit on it.” He offers, standing, the crisp white dress shirt he’d peeled off his frame earlier back in his sturdy grip as he drapes it on. “I need to take care of some business with the manager. I’ll be back within the hour.” Buttoning the top, coffee hued locks curtain his face, his perfectly groomed beard in perfect contrast with the lighter fabric; the bulge of his toned arms protruding at the textile. “And when I’m back,

I’ll be expecting another round.

Have yourself ready, please.”

And with those piercing words, he dresses himself, leaving her bare, exposed, in his bed.

A promise to come back for more left behind.

A demand, for more when he’d be back.

John wasn’t looking for love. John made it clear. This was physical. Something to quench his every longing need.

The ring of the door shut, the buzzing New York traffic below. She sits, decision tense on her mind.

John Wick, was her first.

And he, wanted her to be his last.

➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴➶ ➴

part 2

My taglist will be posted in reblogs, let me know if you want to be added or removed! :)

#john wick x reader #keanu reeves x reader #john wick fanfiction #john wick imagine #john wick x you

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henshengs · 3 years

Text

About Rule 63 fanworks

I was asked yesterday to elaborate on my genderbend opinions, as a trans person, which I’m happy to do, and I’ve thought about it a bit today to make sure I’m not saying something off the cuff and not thought through. Still, this is a sensitive, complicated topic, and I’m open to discussion on it.

This also got long, so I’m putting it under a cut.

So, obviously I can’t speak for all trans people. No minority group is a monolith in our opinions and this is particularly the case for the transgender community because our experiences are so very diverse and individual.

I am very rarely hurt or offended by genderbends/genderswaps/rule 63 fanworks. I know people for whom this is not the case, and I believe the pain involved is very real. The thing is... living in this world is inherently kinda painful when you’re trans. This world’s not built for us. All kinds of random things can cause me pain throughout my day. Store mannequins. My own reflection. Lesbian poetry. Pictures of other trans people. When something triggers my dysphoria or feelings of alienation, I have to stop, acknowledge the feeling, and then consider whether the thing is, outside of hurting me, contributing to the ignorance of and hatred of people like me by its very existence.

I don’t think the basic act of asking, “What if this character who is a cis man, was a cis woman instead?” does that. I think if anything, it opens the door to then ask “what if he was a trans man? Or a trans woman? Or nonbinary?”

Asking “what if this story was about a cis woman” lets cis women talk about their experiences and see themselves in stories, something I think is valuable! and also can lead to stories exploring sexism and misogyny, things which affect all trans people too!

In the rest of this post I’m going to use the terms “rule 63″ and “genderswap” to refer to the act of creating a fanwork changing a cis/presumed cis man to a cis or not-specified-to-be-trans woman, because this is the vast majority of the work under that label, because most fictional heroes and iconic characters are cis men, and because people who create cis man->trans woman or cis woman->trans man content, in my experience, usually use terms like “trans headcanon” instead.

(A lot of rule 63 fanworks don’t explicitly specify that the now-female character is cis. We can presume that most artists aren’t even thinking about the possibility of the character being trans, but we can presume that for 99.99% of all art, anywhere. It’s not a unique evil of rule 63.)

The claims that rule 63 is inherently transphobic, rather than just something where it’s good to be extra careful to avoid transphobia, as far as I’ve seen, use two arguments: A) that making the character a cis woman is wasting an opportunity to make them a trans person, and this is transphobic, and B) that rule 63 fan art is gender essentialist and cissexist, because it ties gender to physical characteristics.

Argument A doesn’t hold up for me,

because couldn’t one then say that reimagining an abled white cis character as an abled white trans woman is racist and ableist? that reimagining them as an abled trans woman of color is ableist? No transformative reimagining can cover every identity. We say “write what you know” and talk about Own Voices, and that includes cis women who want to write about the experience they know.

It’s also not fair to tell trans people that we must always think about trans experiences, even in our fiction. A lot of the time we don’t want to have to write or think about dysphoria and discrimination and we want to live in the heads of cis characters or even just characters whose AGAB is not mentioned!

And it is also, imo, not a great idea to pressure people who may not be educated about trans experiences to write about trans characters just because they want to explore sexism or write about lesbians.

many, many trans people first begin exploring their gender identity through creating cis rule 63 content, because it’s ‘safer’ than directly engaging with trans content.

With argument B, I agree that a lot of rule 63 art looks like this

and this sucks. To me, though, it’s important that it’s not the genderswap aspect that makes it suck. Artists who do this are also designing original characters with sexist, gender essentialist designs. Artists who don’t draw sexist art in general, also don’t draw sexist rule 63.

(yes, I know She-Hulk is not a rule 63 of regular Hulk. But you guys know the kind of art I’m talking about.)

I’ve also noticed a genre of fanfic that’s like, “if these characters were girls, they’d be sensible and conflict avoidant and none of the plot would happen!” or “what if these violent, tragic male characters were Soft Lesbians who braided each others’ hair” and again, I assume these authors write canonical women the same way. The genderswap part isn’t the bad part, the sexism is.

Non-sexist rule 63 actually, in my opinion, fights gender essentialism and cissexism. When a character is exactly the same except for the ways a gender essentialist world has shaped and pressured them based on their AGAB, that’s a strong statement on the constructed nature of gender!

But the argument that making /any/ change is gender essentialist, is... I understand where it’s coming from. I am a trans person who presents androgynously and I am a hypervisible freak because of it. I would love to live in a society where visible gender markers weren’t a thing! Unfortunately, we don’t live in that society. We live in one where we are constantly under pressure to conform to one of two profiles. There are almost no gender non conforming male characters in popular media. And changing a gender conforming cis man into a gender conforming cis woman seems to me to be a neutral action at worst. Not to mention characters from historical canons, who would be under a ton of pressure to conform.

For physical body type characteristics... 65% of all speaking roles in Hollywood are cis and male. It’s harder to get statistics on other forms of media, but it’s undeniable that overall, most stories are told about cis men who do not have breasts or wide hips. Changing the story to be about a cis woman who has those features is introducing more diversity!

I typed “rule 63″ and “genderswap” into the tumblr search bar today, and I saw a lot of art of women with a variety of aesthetics and body shapes and characteristics, who looked like people I’d see out at the mall.

Again, I sure do wish we lived in a post gender society. But we don’t, and in our society, everyone, myself included, looks at a picture of a person and gender categorizes them based on appearance. It is not wrong for someone to draw “Geralt the Witcher as a hot butch woman” and give her some physical markers generally agreed upon to denote ‘butch woman’ rather than ‘gender conforming man’ to tell the viewer that that is what they have drawn. Just as it is not wrong to draw “my OC who is a hot butch woman who fights monsters” and give her those markers.

Finally, both arguments against genderswaps are, in my opinion, flawed because they implicitly posit the act of creating fanworks of the original, cis male gender conforming character design, as neutral. I think this is incorrect. I think that if you’re going to argue that drawing a cis male character as a cis woman is transphobic, you have to also argue that drawing the character as a cis man is transphobic. But I’ve only seen people do this when a trans headcanon becomes extremely popular in a fandom.

Again, I’m just one person. I’m also biased, because firstly, as I mentioned, rule 63 doesn’t usually trigger my dysphoria; secondly, I almost always come down on the side of “don’t limit what people can explore in fiction; ask them to explore it more sensitively or with more content warnings instead.”

I definitely encourage creators to seek out and listen to a variety of trans opinions. But this is mine: I love rule 63, I make a lot of it myself, and I think if no one created it we’d lose something awesome.

At the end of the day, what I really want is more trans content*, but I’d rather have cis rule 63 than just stories about cis men.

Also: I personally have nothing against the terms genderswap or genderbend. I don’t think it reinforces the gender binary to acknowledge its existence by saying you’re ‘swapping’ the character from being cis with one AGAB to being cis with the other. But I can definitely see the argument against it, so I don’t blame anyone for going with rule 63 instead.

If you made it this far, thanks for reading; I hope you have a nice day, and have fun creating and consuming the fanworks your heart desires. I’ll end by linking this comic, which is just eternally relevant.

(*by which I mean: trans content created by other trans people, that matches my hyperspecific headcanons, likes and dislikes, and doesn’t set off any of my often changing dysphoria triggers. See what I said at the start, about transgender existence being constantly mildly painful. There are many awesome aspects to being trans! This is one of the less awesome.)

#rule 63

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writeanapocalae · 4 years

Text

A Guide for Writing Trans People

Written by a Trans Man.

I’ve seen a lot of different posts on how to write trans characters (absolutely none on how to write cis characters and I am so lost on how to do that oh my goodness) but maybe I’ve got a different perspective and maybe I’ve got something you haven’t heard before. Let’s go!

Terminology

There are a lot of different genders out there, not just male and female. Some people think Trans men and women are some outside of the binary extra gender, which is very much not true. While many trans people do fall outside the binary, there are a lot who are strictly male or female. Therefore their genders are male and female. The trans part is not part of the word, it is a definer to state that the person is transitioning, that is all. So when you write trans man or trans woman the words are separate, not transman or transwoman.

A trans man is someone who is transitioning his appearance for society to view him as male.

A trans woman is someone who is transitioning her appearance for society to view her as female.

The reason I am wording it this way is because they were already their genders. They have always been their genders. Transitioning is greatly influenced by the way we are treated by society, the same way that beauty standards influence people to contour and get surgeries and whatnot.

Demi means mostly in terms of gender so a demi boy is someone who is male most of the time and a demi girl is someone who is female most of the time.

Agender is someone who has no gender

Genderfluid is someone who shifts from gender to gender

Genderqueer is someone who’s gender is nondefined by other terms

Two Spirit is a third gender that encapsulates masculinity and femininity (according to Wikipedia) that is only used by Native Americans

Third Gender is a gender that can encapsulate or be a completely different solid gender like male or female

Nonbinary is someone who is somewhere on the spectrum between genders and their gender is defined by them

Pangender is someone who has all genders

Androgyny is not something that actually relates to gender as much as it does presentation. Presentation does not inherently tell you someone’s gender. Being androgynous just means that someone fits right in the middle of societies expectations of male and female and their AGAB cannot be guessed by onlookers.

AGAB AFAB and AMAB mean Assigned Gender At Birth, Assigned Female At Birth, and Assigned Male At Birth. At birth someone will often assign a gender to a baby based on their genitals and parents tend to show off what sort of genitals their baby has with accessories and colors. Pretty creepy if you ask me.

FTM and MTF has been deemed problematic but many still use them. They mean Female to Male and Male to Female. The terminology states that the person’s AGAB is their initial gender and they are becoming the opposite when, as stated before, it’s more that they were always their gender and now society has to catch up.

Gender Nonconformity can be practiced by anyone regardless of gender. It just means that they do things that aren’t expected of someone of their gender like men wearing skirts (for some reason?) or women growing beards or a nonbinary person not being androgynous (for some reason that’s become an expectation)

Intersex is not a part of the trans umbrella, even though it is often lumped in and people who are intersex can also be trans. It is a sex (different from gender) in which different parts of genitals and chromosomes and hormones are produced in a way that deviates from the norm. Many intersex people undergo genital reconstruction or reduction surgery when they are infants (and can’t consent) in order to fit the mold better. Intersex people can be cis.

Cis just means that someone agrees with the people who assigned them a gender when they were a baby and how society treats them.

Slurs: Don’t use them. There are a lot. If you see it in a porn category you probably should stay away from it.

Pronouns

Pronouns are highly personal and can be a myriad of things so I will not be going over all of them. They do not always match presentation (a long haired man with breasts is still a man) and many people will use multiple sets of pronouns or fluctuate between them for what they feel most comfortable with.

Common pronouns are: they/them, he/him, she/her

Less common pronouns are: xi/xir, fae/faer, it/its, e/em, per/pers, ve/vir, zie/hir

Neopronouns: People make up pronouns all the time since they are personal and these new pronouns are just as valid as any others. Someone made up his and hers after all. When making neopronouns the main thing to be aware of is consistency. You want the different forms of conjugation to make sense and you want to spell them the same way every time.

Appearance

As has already been stated, there’s no correlation between gender presentation and gender and many trans people are unable to present the way they want to due to the economy, genetics, health, or community. Still, people do what they can to pass or feel comfortable in their body and these things need to be in mind during descriptions. People tend to think of the slight things that make people not pass are unattractive and will point out a woman’s 5 o’clock shadow or a man’s high pitched voice as flaws. These things do not necessarily need to be skipped over but they can be described in a way that doesn’t distract from the characters gender.

Try to stop thinking of an hourglass shape as an intrinsically feminine trait and height as an inherently masculine one. There are cis women with full beards and cis men with round jaws. Exploring different features, combining them, and seeing how they meld will give your characters more depth and help with differentiating them from one another. A good rule of thumb is, if you mention something that people don’t immediately clock as the characters gender, describe it as gender accurate.

Misgendering

This is another one that I would say don’t do but there are characters who the writers don’t always agree with. Misgendering is extremely harmful, puts trans people’s lives in danger, and can out them without their permission. The narrator should never misgender a character unless the character does not realize they are trans until the story is underway but this should be rare. The trans character would have no reason to ever misgender themself and may talk about how they presented in the past but will, most likely, still refer to themself with the correct gender. The POV character may misgender a trans character upon meeting them but after being corrected should fix their behavior unless you want your audience to dislike the POV character. Friends of the trans character should not misgender the character unless they are in a situation in which being correctly gendered would bring them harm, otherwise they’re not good friends. Family may misgender the trans character if they are not out or if the family members are terrible people.

Dysphoria/Euphoria

Dysphoria is when there’s a painful discrepancy between mind and body, like when someone knows they are one way but they don’t look the way they feel. Misgendering can be a large cause of dysphoria, as can hearing a recording of their voice, reflections, binding and tucking not hiding what the individual may want to hide, height, muscle structure, bone structure, etc.

Euphoria is the exact opposite of this. It is an extreme sensation of peace and joy in personal gender presentation. This can be caused by hormone replacement therapy, correct gendering, presenting in a way that feels natural, and acceptance.

Dysphoria is not necessary for being transgender.

Social Groups

Look around your friend group. Notice anything eerie? Notice how most of your friends are similar to you in a lot of ways, especially IRL friends? They’re people that you trust and expect to keep you safe while having a fun time with because you share interests and experiences with. Same for trans people. This is why, if you look at my friend group there’s 2 genderfluid, 1 agender, 1 nonbinary, 2 trans women, 1 trans man, and 1 cis man (who’s a cousin). If you have just 1 trans character in a group of friends it is going to read as a need for diversity points and that character is less likely to feel safe with discussing trans issues due to no one around them being able to relate.

Outing

This is one that a lot of people have a hard time with and even trans writers mess up a lot. We all know the infamous scene of someone walking in on a trans person changing and, hopefully, we know that this is not only cliche but actually harmful as it tends to lead to the idea of “lying” when it’s really just not anyone’s business and that trans bodies must be on display. I would say that you shouldn’t have to out your character because coming out is dangerous for real trans people in a lot of situations and it normalizes the idea that trans people must doxx themselves at any moment but due to the lack of representation and the nature of novels, you pretty much have to out your characters. No amount of subtext will be as beneficial to a trans reader as cementing the fact that there’s someone they can relate to in canon. Luckily outing a trans character is a lot easier than people think.

Some of us can’t shut up. A lot of trans people will hint at it a lot and just flat out say it if they’re in similar company. If we see people who we feel confident are also queer we often drop hints that we understand we’re safe, they can come to us (especially in a retail setting), because we want a community. The amount I bring up my masculinity is very very often, to the point I’m surprised people aren’t annoyed with me. I don’t pass very well so I wear a lot of brightly colored buttons that explicitly state my pronouns. There’s also this very strong urge to correct people who use gendered language for things that don’t need gender (like sexual organs and menstrual cycles). There’s nothing wrong with just saying that a character is trans.

Resources

The best thing you can do for your story is research. The trans people you know are not google and they do not deserve to be treated like google. You can use google. Here’s some stuff I found on google:

Dummies | Transequality | EverydayFeminism | Scriptlgbt

But no matter how much research you do it’s not going to be as useful as a sensitivity reader. Once your story is complete ask people to read it as beta readers and sensitivity readers and listen to the people that fit your minority characters.

Some musicians to check out for inspiration

I have to recommend music. I wouldn’t be myself if I didn’t.

Agender: Angel Haze | Mood Killer

Androgyne: Florian- Ayala Flora |

Genderneutral: Grimes |

Pandrogyne: Genesis P-orridge

Two Spirit: Tony Enos | Cris Derksen

#writing advice #transgender writing #queer writers #trans writeblr #trans writing

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davidmann95 · 4 years

Note

So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun. 2. Superman brews the Super–Elixir. 3. Superman answers the Unanswerable Question. 4. Superman chains the Chronovore.  5. Superman saves Earth from Bizarro–Home. 6. Superman returns from the Underverse. 7. Superman creates Life. 8. Superman liberates Kandor/cures cancer. 9. Superman defeats Solaris. 10. Superman conquers Death. 11. Superman builds an artificial Heart for the Sun. 12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10.  When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead–in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ‘ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades.  In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then. How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy. Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12. You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction. How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work. What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars. At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it.  This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.” However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious.  

NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

#All Star Superman #Grant Morrison #Superman

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harrisonstories · 5 years

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NOTE: This a beautiful article by Paul Theroux which I thought was apt for today. There aren’t many writers who I feel “get” George, but Theroux is an exception.

George Harrison - Something in the way he moved us

As Martin Scorsese's portrait of George Harrison is released, celebrated novelist Paul Theroux looks at the man who went from mop-top to mystic

It is a happy thought that the sweetest music arises from an untroubled heart. As though from the sky, here is this strong and contented virtuoso – George Harrison, say – whom we envy for being strong, someone supremely contented. What a lucky man to be able to create such harmony and to penetrate our soul; to make us feel better, to help heal us and ease our minds. Isn't it pretty to think so?

The truth is usually the opposite of this. The art that is indestructible and always fresh never comes easy. Its source is typically uncertain or bleak, sometimes harrowing, the pure notes quavering over an abyss of shadows between life and death, that mournful place from which the most passionate yearnings take shape in the form of a song, a poem, a story, a harmonious vision. But even as I write this, speaking of the complex process of creation, words and music made of doubt and the divided self, the conflicts that help us to be sane, and the paradox of opposites, I seem to hear someone mutter over my shoulder, "Rock music is about as metaphysical as my Aunt Fanny..."

And yet it seems to me impossible to overestimate the resonant clarity of George Harrison's music – his songs of innocence and experience; or the subtle wisdom of his lyrics. Even as a relative youngster, more than 30 years before his untimely death, in his All Things Must Pass album, he was singing powerfully of transformation, in the title track, and "Art of Dying," and "Beware of Darkness," and "What is Life." He could be as jolly as his ukulele-strumming hero and namesake, George Formby, but as soon as he seizes our attention with his humour and his teasing, he is reminding us – and himself – that we are mortal and all things end.

George at his best was a man dedicated to whittling down his ego; he was not one being but many and he remains an enduring figure of fascination to those of us for whom his music runs through our head, reminding us of better times. It is no wonder he was so passionate: he was himself his own wicked twin. He made no bones about this and, a hater of pomposity in all forms, he expressed it with characteristic downright-ness:

"I have this kind of strange thing," he said, "and I put it down to being a Pisces. Pisces is the sign of two fish. The way I see it is that one half is going where the other half has just been. I was in the West and I was into rock'n'roll, getting crazy, staying up all night and doing whatever was supposed to be the wrong things. That's in conflict with all the right things, which is what I learned through India – like getting up early, going to bed early, taking care of yourself and having some sort of spiritual quality to your life. I've always had this conflict."

He was at odds with himself, but who isn't? In that respect "living proof of all life's contradictions," as he put it, he resembles most of us. We recognise him as a kindred soul in his contradictions – and though his life was lived on a vast scale, he was unusually truthful, and in his songs much more explicit than we dare to be. He made it his mission to explore his contradictions in his own way, through his music. So, to say that he was one of the great musicians of his time – one of the most innovative guitarists ever, most imaginative songwriters – is to give only part of the story. "The quiet one," is the stereotypical description of the man – but he was on fire within. To make music that mattered over the years, to bring renewal with each work, he seemed determined to burn out one self after another.

"He had karma to work out," his widow, Olivia, is on the record as saying. "He wasn't going come back and be bad. He was going to be good and bad and loving and angry and everything all at once. You know, if someone said to you, 'okay, you can go through your life and you can have everything in five lifetimes, or you can have a really intense one and have it in one, and then you can go and be liberated,' he would have said, 'give me the one, I'm not coming back here.'"

I also think there's a stark difference between "contradiction" and "confusion". He wasn't confused; had he been he would have found it impossible to search and learn with such clear-sightedness. His friend and mentor Ravi Shankar said that George exhibited tyagi, a Sanskrit term for a feeling of non-attachment or renunciation. Shankar wondered how this aspect of enlightenment could have come so clearly to a worldly lad from Liverpool. It doesn't seem odd to me that this thoughtful man came to feel the sense of freedom bordering on exaltation that mendicants experience in non-attachment. But it is a notable, and noble, quality in a rock star to practice it, as George did.

We all feel that we could do a bit better in our lives; in the secret history of this imaginative soul, George was active in pursuing this path. Surely it arose in large part from his having had everything while still young. At 19 or 20 he was on top of the world – inspiring the world to sing and dance. Performing with The Beatles gave him joy – gave us all joy. But he did not see this exuberance as a final fulfilment; the very fact of The Beatles as a musical and financial phenomenon made him doubtful enough to begin to look for a higher meaning, and – after The Beatles – to go on looking. He knew he was living in the material world, but had he been so attached to it he would not have been able to look deeper into it.

Early in his life as a musician, towards the end of the explosive new sound of The Beatles (and much more than music, it was a seismic shift in popular culture), George found his way to India. Through music and meditation, and the mantras that he chanted until the very end of his life, he was drawn to an unselfish, and ultimately a more mystical view of the world. The man who could make a whole stadium rock began to see silence as another ideal. He has described himself as an idle, smirking, doodling student at school, and yet in India he became devout and studious, a reader of the swamis – and notably, of Swami Vivekananda.

What has become apparent in the decade since his death is the uncanny symmetry of George's life – a life lived to the fullest. What might have seemed random or impulsive in him while he lived, is, in retrospect, a pattern, part performance, part pilgrimage.

His saturation in the material world drove him to seek the spirit in things – and so his life seems a series of vanishings and reappearances, journeys there and back, and even the portraits of him that seem iconic are various, a progression of so many faces, his features, his hair, his posture – different in each one. Yet his gaze is unchanged, his eyes telling us that the same soul is inhabiting this body.

All this sounds solemn, but he was a man of subtle and often self-mocking humour. George was interested in many things beside music, and although music was his first love, he was vitalised by travel, movie-making, and car racing. Look at his friends – the Pythons Gilliam and Idle, Jackie Stewart, Billy Preston, Eric Clapton, Bob Dylan, Ravi Shankar: the funniest men on Earth, the fastest, his most brilliant contemporaries in music.

But equal to his passion for music, and his diverse and close friendships, was an overwhelming desire to get back to earth – literally so, to dig, to plant trees, to surround himself with flowers that he himself had grown. The most obvious characteristic of the houses that he built, or bought and fixed up in the course of his life, are the gardens he planned and planted. No matter how extraordinary the houses, the gardens he created around them surpassed the bricks and mortar. In George's case the gardens he made gave him the sense that he was living in isolation, on an island of his own making. "...it's great when I'm in my garden, but the minute I go out the gate I think: 'What the hell am I doing here?'"

"From the day I met him he was defiant," Olivia said, "and so determined that nothing was going to stop him from leaping as far as he could."

She was thinking of his words in the song "Run of the Mill": "How high will you leap?/ Will you make enough for you to reap it?/ Only you'll arrive – at your own made end/ With no one but yourself to be offended/ It's you that decides."

- “Something in the way he moved us”, Independent (Sep. 2011)

#george harrison #olivia harrison #paul theroux #the beatles #ravi shankar #living in the material world #all things must pass #independent #2011

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