#they couldn’t figure out how to make an interesting impactful storyline so did *that* thinking they ate

[bambimeadows]

They’re out of their teeny tiny little minds if they think I’m accepting mw3 as cannon btw 🙆🏽‍♀️ *slight spoiler in tag*

#cod mw3 #call of duty modern warfare #mw3 #yeah no #worst campaign in years #completely needless #also even other than *that* #the plot holes #the nonsense #the forcing me to play some warzone game mode in a campaign #the fact they don’t even try to hide that everything they do is just one giant ad for warzone #ugh. #they couldn’t figure out how to make an interesting impactful storyline so did *that* thinking they ate #AND no cameo from my beloved Alejandro and Rudy? #ew fuck off #and now what? #we wait another 3 or so years to watch them hunt makarov for a whole campaign and kill him at the end #are they not tired? #I paid an extra £10 to pay the campaign early for that? give it back please?

[itstimetotheorize]

Miraculous Ladybug, Cat Noirs future

Miraculous Ladybug season 4 has definitely proven itself to be one very interesting season, every episode thus far has presented some major twist, plot reveal and has even set up a variety of small hidden problems capable of  coming back to haunt the characters of the show. But of all the issues presented thus far within season 4, it appears one issue in particular has begun to circle around the miraculous fandom, causing an enormous amount of worry. The issue I am refereeing to is of course cat noirs sudden lack of assistance within the miraculous superhero team. 

What exactly lead fans to feel this way? well, in the episode “lies”, we discover that after the events of “miracle queen”, cat noir had since been left alone for days at a time to watch over Paris with no word of ladybugs whereabouts

, of course we as the viewers know she is busy trying to maintain all her new responsibilities as guardian of the miracle box, but the fact that she never once bothered to consider informing cat noir of her sudden disappearance has left many to realize cat noir is once again being left out of the loop and is just as much in the dark as when ladybug kept Master Fu and the other superheroes identities a secret from him back in episode  “syren”. 

Despite ladybugs new found responsibilities, we see in “lies” that  she does in fact wonder about what cat noir thinks of her now that she is the new guardian, when asked, cat noir simply states, “ if it doesn't change things between us, then I'm good with it”. 

Despite the worry cat noir had about not being included within ladybugs life as much as he used to be, ladybug and him manage to reconnect with one another in the midst of their fight against truth seeker and lies, providing cat noir a moment of relief from his worry of wondering if ladybugs new guardian duties have left her to busy to ever consider his time necessary ...and yet despite this reconnection, many fans couldn't help but continue to feel worried for cat noir....especially after what ladybug did in “gang of secrets”.

In “gang of secrets”, after no longer being able to bare with the heavy responsibilities as both ladybug and guardian, Marinette finally breaks down and decides to reveal to Alya that she is ladybug! 

Unfortunately, ever since this reveal occurred, ladybug has been shown to become more dependent on the abilities of other miraculous heroes to help her defeat a villain rather than have cat noir assist her as he normally does. Granted, its not her, nor cat noirs fault this keeps occurring, after all, the problems he and ladybug are facing in season 4 have become to difficult to resolve with their abilities alone, they need help! but its precisely this extra help which as made cat noir appear to many as inferior and unneeded within every akuma attack.

 As this sudden pattern continued throughout season 4, some fans began to feel as if the show was leading up to a disaster similar to cat blanc, others felt the show was planning to have cat noir be replaced by Rena Rouge. Regardless of what some believe, if he does feel like he is being left behind and unneeded, its no surprise why he would feel this way, after all, its not the first time something like this has happened. Back in episode “syren” cat noir specifically states how much he hates having so many secrets revolving around his friendship with ladybug, he knows why she has to keep these secrets but it does not make him feel any better knowing she cant fully trust him, the one person who has stood by her through thick and thin!.

 If this situation between him and ladybug is truly beginning to resurface then what could possibly happen to finally convince cat noir that no matter the number of changes and no matter how much ladybug is relying on new superheroes, he and ladybug will always be together and still have the close bond they always had before she became guardian? well...what if the answer was already hinted. 

On June 22, 2021,  Winny (aka a member of the miraculous staff), released to the public a teaser of a future episode within season 4 of Miraculous Ladybug series, the picture teased was something we had already seen before, it was a picture of ladybug holding the miracle box.

and yes, I understand we have seen this image hundreds of times already, it is after all the main picture pose used for ladybug in the season 4 title card.... however ! , judging by ladybugs body figure within the teaser image, many of us have since come to the realization that this teaser of ladybug holding the miracle box ....may actually be an image of ADULT ladybug holding the miracle box!

So then, what does this mean? it means season 4 may include an episode where ladybug and cat noir... meet their future selves! 

Now, seeing future ladybug and cat noir has always been something many fans had been hoping for ever since we get our first glance at future ladybug and cat noir in “time tagger”...the only problem was... we only ever got to see their backs!

However, despite all the excitement over future ladybug and chat noirs possible appearance, I couldn't help but wonder what kind of impact they would cause in the past rather than just take the regular “oh look! their future selves are in the past!” type of storyline. 

Well, If cat noir is truly feeling as if he is loosing his bond with ladybug then perhaps it was never ladybug who was meant to give him the closure he needed to know for sure he and ladybug would always be partners, perhaps this was always something he was meant to figure out on his own by talking to the one person who knew him better than ladybug... himself!

 Bunnyx always said there was a time for everything and if cat noir and ladybug will really have the chance to meet their future selves, then perhaps it will finally be cat noirs time to receive the answer to the one question he has always wondered about since “Time tagger”, his future relationship with ladybug!

 When bunnyx was first introduced she talks about having already remembered how her younger self would evidently meet her future self, well, odds are, future cat noir will have already been aware of the fact that he will also evidently  meet his younger self.... except it wont just be to stop a villain....rather, it will be his time to provide the words of encouragement his younger self needed the moment in his life where he knew he felt the most unsure of his future with ladybug!

Where am I going with this? well, what if , just maybe, this one moment between both cat noirs.... is a moment meant to finally reveal to young cat noir how ladybug and him will always be together and fight alongside one another, not just as friends...but as husband and wife! I’d imagine this revelation would be one secret cat noir would be more than willing  to keep to himself and look upon anytime he feels like he is being left behind, because no matter what changes may come, no matter how many new superheroes join their team and no matter how many struggles they may face, cat noir will at least be happy to know that he and ladybug will truly be together forever ....but hey!, that’s just a theory...a miraculous ladybug theory!

#miraculous ladybug #miraculous ladybug theory #miraculous tales of ladybug and chat noir #MLB #mlb season 4 #MLb s4 #ladybug and chat noir #ladybug and cat noir #Chat noir #cat noir #ladybug #marinette dupan chang #adrien agreste #ladrien #marichat

[dukeofonions]

The Problem With Asides

Before I get into anything I want to clarify that this is not going to be a criticism of the two Asides episodes we’ve gotten so far. This is a critique of the concept of Sanders Asides as a separate series from the original Sanders Sides. A second note I want to make is that this is, just as all my other posts are, a personal opinion. This is not meant to be an attack on anyone, just a general criticism from a confused writer and viewer of the show. 

And final disclaimer: A lot of what I’m going to say is based on information that I no longer have available. It’ll mostly be me recalling things I heard and if I at any point get something wrong please feel free to let me know. 

That being said, let’s get into this, shall we? 

(Fair warning this post is very long hence why I’ve divided it into parts so feel free to read then come back as you wish)

Part One: The Concept of Asides

Some time ago last year, I believe shortly after Dealing With Intrusive Thoughts came out, was when the idea for Sanders Asides was first announced. The basic concept of it being shorter, more lighthearted videos focusing on the Sides outside of the main storyline. This format would allow them to give us more Sides content in between the long waits for the main series since those episodes were beginning to take more time to produce. 

Of course, everyone was eager for more Sides, so the majority of people were excited. Not only that but due to the main series tackling heavier themes, the episodes were becoming more angsty with less time for the characters to just relax and goof off with each other. The idea of having episodes reminiscent of the low stakes, sillier, happier content of season one was a welcome break from the more complex episodes and would be a nice return to form for the series. 

We were also informed that these episodes would be much simpler than their main series counterparts and wouldn’t disrupt the work being done on Sanders Sides, which meant we didn’t have to worry about long gaps between the main story episodes, right? 

(Another disclaimer: I am perfectly aware of the main reason why we were not given as much content last year and am not blaming Thomas or the team for doing what was necessary to keep themselves safe and hope they continue to do so as this continues into the new year)

Jump to November 22, 2019, where we got our first official episode of Sanders Asides, roughly five months after DWIT came out. Which, for this fandom, was record time to get more content and I was pleasantly surprised by how quickly they were able to get this out. Though at the same time, I wondered why it took five months to make what was meant to be a short, simple episode. 

So imagine my surprise when I went to watch the episode and saw it was nearly 20 minutes long. Which, okay, isn’t that bad when you compare it to the lengths of the more recent Sanders Sides episodes. But at the time, I was under the impression that the Asides would be, well, much shorter. The longest I expected would be maybe 15 minutes, but you know what? It’s the first episode and it has been a while since we’ve had Sides content, so maybe they wanted to give us a little extra due to the long wait. 

I started the episode and at first, I was overjoyed when I saw the first shot of all the Sides sitting in the living room in their onesies about to have a movie night. This was exactly what I’d been hoping to see from this series! It’s pretty much a staple thing in the fandom for the Sides to have movie nights together, and now it was happening in canon! 

At the moment, I had high hopes for this series and was filled with joy. 

Then that hope and joy were immediately crushed when I realized this was yet just another Virgil-centric angst episode. In fact, this entire episode was, well, exactly like a regular Sanders Sides episode. Sure, there were some jokes here and there, but the tone of the episode was no lighter than the last Sanders Sides episode. If anything DWIT felt lighter in comparison to this one. 

Which leads me to ask, what the heck happened? 

Part Two: Literally the Same Show

At this point in time, we’ve only had two episodes of Asides. Usually, I try to hold off my judgment of a series until I’ve had at least one other episode to see if my original criticisms still stand. 

To be fair, I did think Flirting With Social Anxiety was a step in the right direction. More comedy, a lighter tone, yes. Perfect. But again, just like with Are There Healthy Distractions? This episode quickly dove right back into the angst pool, and just like ATHD it was a pretty long episode, clocking in at almost 25 minutes. 

Not only that but again, both FWSA and ATHD don’t feel any different from the episodes we’ve been getting in Sanders Sides. 

1. They’re just as angsty.

2. Roughly the same length as Sanders Sides episodes.

3. Take about just as long to produce.

4. Contain a lesson to be learned. 

Which, okay, you can have lessons in lighter shows too, but we’re already getting that in Sanders Sides and Sanders Asides was described as, well, being less plot heavy. Yet so far both episodes are still tied in with the main plot. 

ATHD deals with the aftermath of DWIT, not directly but it’s pretty obvious that the whole thing with Virgil’s reveal at the end of that episode is being addressed in the background. Which, kind of takes away the impact of that ending, but I’ll get to that later. 

Then FWSA takes place after Putting Others First and again, is dealing with things from that episode in the background. Again though, this isn’t necessarily a bad thing. It makes sense to see the characters dealing with things from past events.

So why is it a problem here? Because, again, Sanders Asides is meant to be a separate series, and all the subtext brought on from the episodes in Sanders Sides makes the plots in these two episodes confusing. 

For example, I was perplexed during my first watch of FWSA because I couldn’t understand why the focus of the conflict was lying. I didn’t understand why Virgil and Roman came to the conclusion that Thomas’ reason for being unable to approach Nico was because he was lying to himself, when both the title of the episode and what we were shown points more to, well, social anxiety being the problem. 

(Quick note: One could argue that this was done purposefully to have Virgil putting the blame on Janus since he doesn’t like him and wouldn’t want to admit that he was the one responsible, but this series has had a bad habit of favoring Virgil in the past so until we get more answers I’m gonna leave this on the backburner) 

It didn’t help that I had no idea when this episode was meant to take place in the timeline, and I originally thought it could take place a bit after season two since Roman and Virgil seemed to be doing better, but more on them later.

All of this bugged me until I found out that FWSA takes place after POF, and after watching the live stream that followed and getting some more context, the lying thing made a bit more sense, but the fact that I was as confused as I was just caused more frustration to build up. And I wasn’t the only one who got thrown off by the “Lying is wrong” message of FWSA so I had to ask again, why was this episode a Sanders Asides when apparently, you need information from the last Sanders Sides episode in order to understand it?

So you’re telling me, that the second episode in what is supposed to be a separate series that isn’t meant to be a part of the main plot, is now integral to the plot of the main story you’re telling in what is, as you have said, a separate show? How does that make any sense? 

Okay, one could argue that Thomas getting a love interest doesn’t really fit with the current storyline that’s going on in Sanders Sides, and that is a fair point. The problem with that is, FWSA takes place right after Putting Others First. 

You all remember what happened at the end of that episode, right?

Part Three: Intrusive Plots

At this point we’ve all become rather accustomed to the long waits in between videos, it’s nothing new to us, and for the most part they haven’t done anything to harm the current plot of Sanders Sides. Sure, the length of time between videos can cause people to lose interest, but for the most part the tone of the last three episodes of Sanders Sides hasn’t differed much and the story flow is still going along smoothly. 

Let’s start with Selfishness vs Selflessness, which is the episode that sets up the big climax for season two. It’s still got its jokes and funny moments, but the overall tone is far more serious than previous episodes have been. This carries on into DWIT where Thomas has been so stressed out lately that he’s begun to have trouble with his intrusive thoughts. 

Virgil even gives a pretty good summary of Thomas’ current mental state: “He recently realized he’s a bigger liar than he thought he was, he doesn’t understand himself, he’s committed to skipping a big callback, and he’s sleep-deprived. So yeah, he feels like a piece of dirt who has no control over his life.”

And all that was a direct result of the ending of SVS, despite DWIT not being the direct follow up to that episode the two are still intertwined. Remember that for later.

DWIT ends with the long awaited reveal of Virgil having been a “Dark Side.” Even though the majority of the fandom had figured it out by as early as Can Lying Be Good? That didn’t take away from the emotional gut punch that this scene was and it’s one of my favorite moments from the series. I may have to make a whole post breaking that scene down but what matters is that this scene was a turning point for Virgil’s character.

We’ve seen him trying to hide the truth from Thomas ever since Janus and Remus started popping up, and there were close calls with both of them nearly revealing it themselves and continuously dropping hints to Thomas. Only for Virgil to admit it to Thomas himself, and leave before Thomas can even say a word. 

We don’t know for sure how Thomas is feeling in this moment, but it’s clear he’s been shaken by this. He doesn’t really have a lot of time to process it before he remembers to acknowledge the audience and close out the video. 

This comes up again once we finally get to the monster of an episode that is POF, the follow up to SVS that everyone had been waiting over a year for. Right away we see that Patton and Roman will be at the forefront of this discussion with Logan popping up every now and then, but who doesn’t show up in this episode despite having played a role in SVS? 

Virgil. 

He’s nowhere to be seen and his absence is definitely felt. Why wouldn’t he be part of this discussion? He was there in SVS and had a lot to say on the matter, he was even part of the decision to choose the wedding over the callback! So why wasn’t he there? 

Well, just look at the ending of DWIT and there’s your answer. Of course he isn’t about to show his face after that. Not when Thomas is already under so much stress already and he isn’t sure how Thomas will react to seeing him-

*insert random voice whispering off to the side*

 Wait, Virgil has seen Thomas since DWIT? When? 

*whispers continue*

Oh, right, they interacted in Sanders Asides. How did that go again? 

*whispers explain*

Huh? Thomas said he’s cool with Virgil despite revealing that he’s been hiding something from him this whole time? That “something” being the fact that Virgil was once considered part of the others that were currently making Thomas’ life miserable?

*whispers confirm*

Really? They’re both okay with each other now? Well, good for them. 

So wait, then why didn’t Virgil show up in POF? He was there during the first discussion and honestly he’d have more of a reason to show up than Logan who wasn’t really present at all in SVS. 

*whispers explain* 

He just wasn’t need there? Hm, alright. Guess that makes sense�� 

Well okay, Virgil and Thomas are on good terms once POF rolls around, Virgil isn’t present during the conversation because he isn’t needed and I suppose his presence would make things worse. Especially once Janus revealed himself, he wouldn’t allow him to get a word in. Even though Janus could probably silence him but I digress. 

Fast forward towards the ending of POF, remember when I said to remember how SVS and DWIT were connected? Well DWIT is just as important to POF, acting as a bit of bridge between to the two episodes. 

Janus brings up Remus (both directly and indirectly) twice in this episode.

First here:

 Notice how Roman’s breakdown is already being foreshadowed here, the camera focusing on him while “Logan” says this isn’t an accident. 

The second time Remus is brought up is at the very end after Janus has revealed his name:

“Oh, Roman thank God you don’t have a mustache. Otherwise between you and Remus, I wouldn’t know who the evil twin is.” 

(No I am not posting screenshots of this scene I already got emotional over the last one)

As we saw at the end of DWIT, Roman does not have a good relationship with is brother. So much so that when Thomas refers to Remus as such, Roman creates a different analogy that compares Remus to a mirror, reflecting everything Roman doesn’t want to be. 

Roman desperately wants to distance himself from Remus, not wanting anything to do with him. We’ve only gotten a glimpse of just how far this loathing goes, and part of that comes from Roman finally breaking down after being told by Janus that if it wasn’t for a mustache there’d be no difference between him and Remus.

This shook Roman more than anything else in the show has so far, moreso than him being the one to decide that Thomas should give up the callback. He was the one that pushed Thomas to make that decision, believing it was the noble thing to do, only for it to only make Thomas feel worse and then be told by Janus that his “noble sacrifice” was all for nothing. 

Janus, the one who had been supporting Roman throughout SVS, buttering him up and encouraging him to go after his dream, told him that his sacrifice was worthless. Then to top it all off Janus admits what he did and brushes it off as a joke. He doesn’t apologize to Roman, leaving him in the dust, then when Roman responds by laughing at his name he’s shot down even lower. 

And when he looks to Thomas and Patton for help, for answers, anything.

They stay silent.

Patton tries to reassure him, telling Roman that they love him, but he doesn’t believe it. He sinks out, and that’s the last we see of him.

Selfishness vs Selflessness, Dealing With Intrusive Thoughts, and Putting Others First are three of the biggest (and dare I say most important) episodes in the series. The three almost act like a trilogy, with POF leading to something bigger, the season finale. Which will be culmination of all three of these episodes. 

We’ll be seeing Virgil’s reaction to Janus having been accepted by Patton and facing his own past as a “Dark Side.” Then we’ll find out what has become of Roman after he disappeared at the end of POF, and how it now affects his relationship with Thomas.

*whispers return and begin to whisper*

I’m sorry what?

*whispers repeat*

Virgil already knows about Janus getting somewhat accepted? Well okay I guess he would, wish we could have seen his reaction to that but oh well, no big deal. At least we got the Roman and Thomas confrontation to look forward to. 

*whispers whisper*

Roman has already interacted with Thomas since POF? When?!

*whisper* 

In FWSA? Oh yeah, how did that go again? It was super awkward right? Since Roman doesn’t really trust that Thomas loves or values him?

*whisperly whisper*

They get along just fine as if nothing happened? 

*whispersty*

It looks like he might still be upset with him since he’s being a bit passive aggressive? 

*whisper* 

Can’t really tell because the three are too busy trying to talk to a cute guy at the mall? 

Okay, I guess that all makes sense… 

Looks like Roman and Virgil still aren’t on the best terms with Thomas but are able to push that aside to help him talk to this handsome stranger, and hey, it worked! Thomas now has a boyfriend! Just look at Roman and Virgil at the end, they’re both so happy with Thomas! 

Looks like now they can focus on this new chapter in their life and leave the events of POF behind them. I mean, now that Roman and Virgil seem pretty cool with Thomas it would just feel weird to suddenly have them angry with him again, wouldn’t it?

Part Four: The Problem

Sanders Asides was originally described as being a series separate from the main storyline of Sanders Sides. Promising us shorter, less complicated episodes to give us a little something in between the longer, heavier episodes in Sanders Sides. This was a great idea that ended up falling apart the moment it began. 

When I was going through SVS, DWIT, and POF I mentioned that the three of them felt like a trilogy. All three of them link together to tell one bigger story, and on their own they get the job done. They set up the season finale perfectly to the point where you have an idea of what to expect and what to look forward to. 

The main things being the aftermath of Virgil’s reveal and Roman’s breakdown, which would most likely cultivate in them teaming up against Janus. This would also involve Virgil coming to terms with his past and Roman having to face Remus. 

Of course, none of this has been officially confirmed, but given everything we’ve seen up to this point it just makes sense. 

The story for season two is nearly complete, all we’re missing is the conclusion. 

Then Sanders Asides showed up and threw everything off course. What was supposed to be its own thing crept into a story that was already (for all we knew) set up and being put into place. 

We were told that the Asides wouldn’t do anything to disrupt the flow of Sanders Sides, yet it’s been confirmed that there will be one or two more episodes of Asides before we get the season finale. 

Why? Why are these episodes necessary when everything was set to move forward after POF? If these episodes are that important that they absolutely have to be made before the finale then why are they simply not part of the main series? 

You could say “Well they’re not directly tied to the main plot, that’s why.” But need I remind you that Asides as a concept was just intriduced after DWIT came out? These episodes were written specifcally for Asides, which unless I’m wrong means that they were just added into the main story with no planning whatsoever. 

FWSA honestly feels like it should have been the start of season three, something that should have waited to be introduced after season two wrapped up because it’s just too much. 

We already have so much to unpack from SVS, DWIT, and POF now we also have a new love interest on top of that? 

Virgil and Thomas’ resolution doesn’t even feel all that special because it wasn’t talked about directly between them. Thomas was indirectly letting Virgil know they were still okay, so what does that leave for us? All that build up about Virgil being a “Dark Side” only for it to be brushed over like it was nothing, and this happened in an Asides episode, not even in the main series. 

It also makes Virgil’s absence in POF confusing when they had already set up the perfect reason for him to be absent in DWIT, but according to the first episode of ATHD Virgil and Thomas are okay with each other. Sure, Virgil being there might have made things worse but at that point everyone was making things worse. 

We no longer have a confrontation between Thomas and Roman to look forward to because in FWSA we see them interacting as normal. Even the passive agressiveness isn’t anything new to Roman and really, it all just sounds super petty which he had been known to behave like that even when nothing is seriously wrong. Not only that Roman is overjoyed at the end, having finally gotten something he desperately wanted, the happy ending he deserved.

All that’s left for him is to fave his feelings towards Remus, but what would even happen there?

The problem with Asides isn’t the quality of the episodes, FWSA is actually one of my favorite episodes. The problem with Asides is that the team is taking what should have been something small and turning it into a far too elaborate for what its original purpose was: To give us more lighthearted content to enjoy in between the waits for the heavier episodes.

Instead it just feels like they’re adding onto something that really didn’t need adding on to, creating more work for themselves when it just isn’t necessary, and that worries me.

Final Thoughts

Honestly, it’s hard for me to make all these judgments when no one has any idea what the finale is going to be like. And usually, the team is able to excede my expectations and create something amazing. 

But with all these new Asides episodes that feel like they’re just being crammed in at the last second, it makes me wonder how the rest of the series will go if they continue down this road. 

Season two started September 1st, 2017, it is now January 3rd, 2021. Throughout season two the production of episodes became more elaborate, and there have been complications that arose from trying to make these videos as a result that sent production screeching to a halt. And on top of that, these Sanders Asides have been added to create even more work for Thomas and the team.

I don’t understand why they’d do this to themselves when it’s already become more difficult than ever to make videos in general, not just Sanders Sides. 

We were offered something simple that would have satisfied everyone during the difficult times, only to be given something that honestly, wasn’t even needed. I do appreciate Thomas trying to get us more content, but I don’t think he or the team realizes just how content we’d all be with just a five minute video of the characters we love just doing something as simple as hanging out and having fun, especially with how dark things have become all around us. 

We don’t always have to be watching these characters struggle, sometimes we just need to see them be genuinely happy.

(Thanks to everyone who took time to read this monster of a post, I did not mean for it to get this long but it’s been dwelling on my mind for a while and I wanted to make sure I got out everything I wanted to say. Again, this is all just a personal opinions and you are not obligated to agree with me. If you have an objecting opinion I would not mind hearing it but please keep any discussions civil.)

#dukeofcritical #sanders sides #ts criticism #sanders sides criticism #patton sanders #roman sanders #virgil sanders #janus sanders #remus sanders #logan sanders #long post

[bigskydreaming]

Tom is already rehashing some things, like too many homages to the nineties run, Zucco's daughter plot point, Beatrice had ideas for societal reform he's taking that and giving it to Dick. It'll probably be half hearted, but it stings that Beatrice left just a few issues ago and she's already completely forgotten for the sake of DickBabs or a love triangle.

Like the thing about the nineties runs is I mean, as much flack as we give various elements of them, there’s so much from that time period that was good? Great, even! Just....myself and the writers seem to have very different opinions on what the most interesting elements of the nineties comics were, oh well.

And omgggggg I’m still so mad about Bea, and its literally Shawn Tsang all over again. The writers keep introducing new, interesting characters, investing just enough time and focus into them to have us interested in them and wanting to see more.....and then they toss them aside to go back to drawing from the same well as always.

And the thing is, this isn’t even about me not really being a Dick/Babs shipper, because honestly, I’m not enjoying the Dick/Kory stuff in what I’ve seen of Titans Academy either, and for the exact same reason:

When they create new characters like Shawn and Bea, they KNOW they’re starting from scratch and need to build interest in those characters from the ground up. So they’re forced to put their best foot forward. There’s no short cut there, if you want people to care about a brand new character you have to give them REASONS to care. You have to make those characters likable, you have to make people WANT to root for them, you have to hook them with intriguing backstories that don’t feel formulaic and new angles that don’t feel just derivative of older characters, and that’s how we got stuff like Shawn’s history as a former sidekick to a villain and now running a support group for rogues trying to turn their lives around, and Bea’s work in societal reform.

But then the second they stop having the patience to build the new characters up enough that the interest in them can actually start to reach the levels that lets older characters last and grants longevity....they just toss them aside and move on....except they never really move on, just backwards. Because the problem with so MANY superhero couples, far from just Dick and Babs or Dick and Kory, is just....how lazy it seems to make so many canon writers. They just fall back on rehashing the same old tropes and just updating popular moments that resonated with fans in the past, now just recreated with a slightly more modern twist but without ever really being anything new. 

Even with ships that I’ve never really been sold on in the past like Dick/Babs, I’ve always said, there’s usually nothing stopping me from GAINING interest in them.....its just....the writers have to GIVE ME A REASON TO. And so many of DC’s writers just aren’t even trying. They’re just moving parts around and pushing characters together in various arrangements like everyone’s just a puzzle piece that you can mix and match however you want......and then just basically expecting readers to be interested purely because of who the characters are, or because it hinges on a nice moment that they then milk the hell out of without ever expanding that into building actual STORY around these moments but rather just squeezing each one til they get everything they possibly can out of it and moving on to the next as though its all just about chasing the next soundbite...because it is! LOL.

And honestly, this problem extends far beyond just the Nightwing title or the Batfam or Taylor’s run or writing in particular.....its a company wide issue right now. In fact I would bet just about anything that its a matter of editorial edict, that even before Taylor started his run DC said okay here’s the approach we want everyone taking with their stories right now:

And that’s like.....its all about banking on nostalgia and the comfort of the familiar right now. I think Taylor is drawing all these elements straight from the 90s Nightwing comics, like Blockbuster and Dick having been a cop, etc, because these are the elements of past Nightwing stories that are so well known. Its the same reasoning behind why they put Tim back as Robin and so many of their new characters are just new spins on old faves like Punchline and Harley Quinn, and why they’re pushing all these older ships that haven’t been together in ages and why specific team lineups are reappearing....its because nostalgia is the name of the game for DC right now, and all their writers are just pulling together threads of classic stories that have stood the test of time, figuring anything that landed particularly well with fans in the past will sell with people here and now, and weaving these threads together and brushing over them with a modern social issues veneer. 

As an approach, its basically all just about repackaging previously successful story moments and elements with just enough changes or in just new enough a configuration that readers aren’t likely to complain en masse that like “hey we literally already read all this. We’ve already BOUGHT these issues. When we were kids.” Its minimizing creative risk while maximizing monetary profit. Spend as little creative capital as possible outside of anything that’s already been successful in the past and as such is a relatively proven quantity, instead of testing new material that’s an unknown and runs the risk of falling flat and thus not being profitable.

And see, I’d almost guarantee that all THAT, that whole line-wide approach to DC’s storytelling, is because the powers that be looked at the last several years of stories and how many of THEM fell flat with readers, and decided that the problem was they’d BEEN trying too much new stuff and readers just didn’t like it. Because they WERE concentrating on presenting totally new stories and building up new ideas throughout their books.....but readers have been pretty vocal for years now about being disenchanted with most of DC’s major stories. And so DC I think looked at that and came to the conclusion that okay, people just don’t want new right now, they want the familiar.

But like.....DC’s problem IMO was never that they were trying new stuff? The reason so much of their new and original storylines weren’t gaining traction or bringing in readers and kept shedding old readers had absolutely NOTHING to do with them being new and previously unseen storylines, which makes falling back on nostalgia very much a non-solution to entirely the wrong problem.

No, DC’s problem for years has been that they’ve been all about spectacle instead of story. There’s ZERO emotional pay-off to any of their biggest plot twists or character beats, and emotion is LITERALLY what people read stories for. Its all about racing to the climactic action packed finish of every storyline and then immediately resetting everyone back to square one and jumping straight into the next big story, without ever giving the events of any of their stories time or reason to MATTER to the characters.....and if they don’t matter to the characters, our proxies that we’re viewing these stories through, then why should any of it matter to us? Why should any of it linger, dig in roots, resonate with us as moments that left an impact and that we accordingly want more of?

And again, like because I’m a Dick Grayson focused blog I’ve obviously largely been focused on how much I dislike the SPECIFIC reactions or non-reactions to so many of the major beats in his stories.....but it was spread throughout their entire line.

Bruce and Selina almost got married....but why should anyone care outside of Tom King’s title when nobody else seems to, no other characters feel anything about this, and Bruce in none of his other appearances seems the same as ever without any reminder that he just almost got married but then didn’t.....and if the characters don’t ever seem to be affected by or feeling a need to revisit or reflect on recent stories, why should we bother remembering them either? 

Jason was dramatically and fucked-upily (yes its a word, I totally looked it up and everything) exiled from Gotham....and then all of that is undone in a single issue with one low-stakes awkward conversation between him and Bruce. Damian quits as Robin and goes off the map and everyone in his family is like “hey don’t we have a littler brother, I feel like we did maybe” for one panel per story arc, and that’s it. Roy’s back from the dead and everybody’s like oh hey cool instead of the kind of return we used to get like when Donna came back and everyone was like oh shit, this MATTERS, because we MISSED you....just like Dick’s death never mattered to anyone but fans of his character because much like I was just saying earlier with them not really giving me a reason TO emotionally invest in Dick and Babs’ relationship if I wasn’t already, same thing with the aftermath of Forever Evil. They didn’t give anyone else reason to emotionally invest in that as something that HAPPENED to Dick and that he was AFFECTED by....because the writers didn’t bother writing him as all that affected by it and it was just like oh he’s a spy now, all that was last year’s content, we’ve moved on, keep up.

And on and on it goes. Ric Grayson was the same problem all over again. Rinse and repeat down the line with everyone from Wally to Donna and etc etc etc.

THAT’S why DC’s stories have been falling flat. It has nothing to do with people not being interested in new ideas, characters or directions, its that’s ALL they were giving us, but it was like just reading wiki summaries of events just alongside pretty art, but no real emotional weight or substance to anything we were reading....and thus, literally nothing that we couldn’t get much the same outcome from if we just...stuck to reading wiki summaries after the stories were over, with no real need to follow along with them. For years most fans have basically just been about keeping up to date with changes in the characters’ lives, but without feeling any real need to watch those changes unfold and play out.

And so honestly I worry we’re just gonna be subjected to a company wide rehashing of old and familiar storylines, directions and character beats, but repackaged and delivered in the exact same way DC was delivering us their new stories and ideas these past years....and its basically going to have the same results, because its the same problem. They didn’t actually fix anything by switching gears, they just shuffled around the actual issue.

And DC’s just gonna be like well now wtf are we doing wrong, we were so sure this would work, everyone LOVES nostalgia right? Did we pick the wrong stories and character beats to bring back?

When really its like......it honestly doesn’t matter WHICH stories and beats they rehash, because its not about them picking the ‘right ones,’ the real keepers, the stories that everyone really WAS eager to see brought back or made new again.....

Its about like, the only reason any of those stories or beats or dynamics stood the test of time and are still familiar and well-known....is because the stories AROUND those moments and ideas gave us reason to emotionally invest in them and retain them as crucial to our view of the characters and things that would resonate and stay with us for a long time.

It was never that any of those ideas or stories were just so innately brilliant that they couldn’t help BUT linger in the overall reader consciousness...it was the fact that we CARED about what happened in those moments and stories.

*Shrugs* But I mean hey, what do I know? I’m just a dude on the internet lolol. 

[darkpoisonouslove]

Quantum of Solace Review

And Comparative Analysis with Casino Royale

Apparently, I will not get on the bandwagon of popular opinions about these James Bond movies. It just so happens that this one is less beloved by the majority of people but I liked it better than I liked the previous one. I’m gonna list some reasons why below:

First off, the action of this movie gives me mixed feelings. It’s not great. There is way too much of it in the movie (and the decision of opening with that car chase was terrible because you have no idea what is going on and you don’t give a shit (apparently, Bond is chased by the men of the guy he shot in the last scene of the previous movie which I did not get from the movie itself but from a review)) and it is not well shot. You can’t tell what the hell is going on which is, again, an opinion from a review I watched that I agree with. However, this had to be pointed out to me because I wasn’t paying much attention to the action scenes since there were too many of them and I couldn’t be bothered to care.

What I did like about the action, though, was the fact that there was a better defined climax. Now I didn’t time all the action sequences but the last one aka the climax did feel sufficiently long so that it doesn’t get overshadowed by one of the previous ones and in that regard this movie did it better for me than Casino Royale. I happened to notice that the last action sequence in this movie had fire engulfing a building to parallel the water from the previous movie and I think that kind of usage of the setting is what makes those (both of them) scenes at least memorable enough.

The story was scattered but I wasn’t paying enough attention to figure out just how much. What I mean is that the previous movie also seemed very scattered in the beginning but then those threads came together. I wasn’t impressed by some of the wrap-up but this one felt more scattered than that, almost like it didn’t really have a great idea of how to move from one point to another. Which I gather is a script problem caused by a writers strikeout at the time so that is understandable. It didn’t bother me that much because there were other things I liked in the movie.

This one felt sufficiently emotional to me. People claim the character development in Casino Royale was brilliant but for me sometimes it was so subtle that it was nonexistent. This movie makes the emotional moments and changes that they bring into the characters more explicit and they were more heartfelt for me. I didn’t feel like they were shoved in your face with an overwhelming pushiness, just made more tangible in the script. I didn’t expect to care about characters they brought back from the previous movie but I was actually quite attached to their portrayal here and that continuity worked. Bond felt like he had more emotional involvement with the people around him (except the Bond girl but that was to be expected and even desired after the storyline from the previous movie) and that made him more relatable to me.

Now the second Bond girl was unnecessary imo but the main one was interesting enough. I was more invested in her backstory than I was in Vesper’s even if it wasn’t a particularly creative one. We’ve seen this before and we’ve seen it many times but I liked the little details they included around it like putting her in a burning room again to awake her trauma and the conversation with Bond when he was prepping her for the moment of the murder. That helped showcase both their mindsets and establish the kind of understanding (or lack of) between them. I liked it well enough for the purpose it served. I’m glad they didn’t include romance in this movie because it wouldn’t have made narrative sense and they probably wouldn’t have written it well anyway. What we did get was good in setting up the leftover humanity Bond still has.

The villain wasn’t impressive in the slightest but at least we got to see the impact of his actions. I maintain that the one montage of the artificial drought he was creating could have been explored a little more (the movie could have afforded to be longer to fit that in) but it did the job of presenting us with consequences from the villain’s actions. Casino Royale had consequences from the villain’s actions but they were only affecting the main characters and the villain himself. Here the evil of the schemes comes through and there was also a point made about the desperate scraping for resources that drives governments to do more than questionable things (even though that wasn’t explored either).

There were just more elements in this movie that worked for me than there were in Casino Royale. I wouldn’t call it a good movie but it had some interesting moments even when it was overloaded with action. I could be alone on this but that’s how I feel about it.

#quantum of solace #james bond #movies #movie review #review #thoughts

[real-american]

Supernatural: A dedication to its memory and how the show changed my life

Fifteen Years. 15 years and over 300 episodes of the greatest show on TV. 15 years of joy, heartache, tears, fun and inspiration; and for me, 15 years, two marriages one divorce, two tattoos and a show that brought me the love of my life. Supernatural has impacted us all on so many levels. I could easily write a 15 page academic paper on the seasons, the meanings behind each season and all the little things that made the show so great. Things such as the music, the brothers Winchester, the family dynamic, and the beautiful 1967 Chevy Impala (my dream car should I win the lottery. Black four door version of course). I could go on about each major and minor character, how they impacted the show and what each of them meant to me and the fans but this is not what this is about. This post is about how Supernatural changed my life and how it impacted me.

First a few housekeeping things to address regarding the final season and the series finale. I thought the pre finale show was excellent but definitely could have been longer and included more. However I do understand they only had 42 minutes or so to cram 15 years of memories and characters in so I understand they had to only hit the highlights. They should do a longer version for the Blue Ray 15 season collectors set which I'm sure they will make and that I am definitely getting. Regarding the final season, I thought it was excellent. My wife, who is also a big fan of the show (more on her later) didn't think it was as good as other seasons but enjoyed it none the less. The ending was good sort of expected with the two boys ending up in heaven together, but I was surprised they killed Dean in the sort of nonchalant way they did. Sort of anti climactic for the greatest hunter in the world. The final speech to Sam was heartbreaking and heartfelt and I loved it! I also loved the symmetry of how Sam's son Dean also gave him permission to leave this world as Sam gave (original) Dean all those years later. I'm glad they didn't show who Sam's wife was and she was just left as a mysterious place holder. Originally I thought maybe they should have had him with Eileen but in retrospect the way they did it was better and honestly I'm not sure if she (or the other AU folk) were even brought back with the rest of the world. Maybe someone can clear this point up for me. I was really surprised they didn't do the "carry on my wayward son" beginning but I soon figured out before it even happened they were going to do it in the end of the episode which turned out to be much better. All in all I give the last season an A- and the finale and how it ended an A+ Again there is a lot to say about the final season, the final episode, and all the seasons but I will leave that analysis to other people. This is about what the show meant to me specifically about how it helped me through my darkest days and ushered in my brightest of days which I am living now. This is that story.

I wasn't with Supernatural from the very beginning. The show premiered in 2005 and I honestly hadn't heard anything about it or did I know anything about it for a few years. I came off active duty from the Marine Corps in June of 2005 and after fighting my beloved country's wars for a few years I was out of the loop on many things. I first came across Supernatural on TNT catching a re run here and there but with no real interest and only getting bits and pieces of the story. In 2010 I met my first wife and was a casual fan at this point seeing enough re runs on TNT to get a general idea of the storyline for the first few seasons but again only as a casual fan. At this point of my life I was also falling down a dark hole. My alcoholism which is a result of my PTSD from my combat service started to get really bad. I was drinking more than most people could handle but as my father was, highly functional. This led to me staying with and eventually marrying my first wife which was a bad idea. She cheated on me constantly and probably didn't even really love me. We were also polar political opposites (you can figure out my political viewpoints from the rest of my blog) and not compatible really in the least. Why I ever stayed with her and married her is beyond me at this point in my life. So there I was drinking my life away in a bad relationship and trying to figure out how to manage my life. Then Supernatural came on Netflix and I decided to give it a real shot. This decision changed my life.

I quickly caught up on the first six seasons and started watching the show live starting with season 7. I was hooked. I loved everything about it. Dean and Sam, Cass the car, the brotherly love, the monsters, the angels, everything but I still didn't know how this show would impact me in the end. I continued to drink myself to death getting unhealthier fatter and no longer resembling the fit Marine I once was. I was in a constant haze drinking an entire bottle of whiskey every night to drink away the pain of my bad marriage and the pain of not being loved and cheated on by my wife. Supernatural was the one bright spot in my life.

In 2014 I finally divorced my wife but this was only the first step. I continued to drink and destroy my life causing me to get fired from my job. Fortunately I was hired on back into government work making much better money and with having no wife and no kids was finally able to live a little better financially but I was lonely and alone except for the alcohol. I continued to find refuge in the bottle but also in Supernatural. I watched every episode as it came on, re watched all the old episodes, blogged and facebooked about it to the point that I am sure I was annoying the one or two friends that I had. The rest of my life was a blur. Get up, stumble into work drunk or hungover, go home sick and jonesing for my next drink, bottle of whiskey till one in the morning, a few hours of sleep and starting the whole cycle back over. I was fat, ugly on the outside, ugly on the inside, and a bad human being. My drinking got so bad I destroyed my liver and was medically discharged from my job but was given retirement for all my years of service to the federal government. So now I was 33 retired with a pension and VA disability and really nothing to do but sit at home drink whiskey and watch TV. I had no love in my life, one or two close friends who didn't like being around me anymore because of my drinking, and my family was worried but couldn't get through to me. Even after my father died of alcohol abuse in 2015 I still continued down my destructive path. Finally in February of 2017 I was hospitalized and was told I would be dead in less than a year. I truly believe I was touched by God at this point because I went home dumped out three bottles of alcohol and never touched the stuff again to this day.

Now I had to learn to relive my life all over without alcohol. I started to exercise and lose weight (90 pounds in 5 months) I went back to church, and I started to try and find love again and of course needing distraction and something to occupy my mind I dove deep into Supernatural. I re watched and re watched again all the old episodes, I poured myself into analysis of the plot lines and characters, I got tattoos on my arms (the demon trap and the anti possession symbol), I obsessed with everything Supernatural. It helped me stay sober. When I wanted a drink I would watch an episode, when I was feeling lonely I would go hang out with Sam and Dean. When I wanted to give up I took refuge in the Impala. I became a super fan. So far Supernatural got me through my divorce, was my bright spot in my alcoholic haze, and helped me stay sober when I first gave up my demons. I cheered harder during the happy moments of the show and cried harder in the sad ones. I was an emotional wreck and my feelings only seemed to come out while watching the show. Although I had quit drinking, got rid of my toxic ex wife and started to improve my life, I was still not happy. I was alone and lonely but Supernatural came to my rescue once again.

Throughout 2017 and the first part of 2018 I managed to be in two relationships. I poured myself into them grasping at them as if they were my reward for turning my life around and ignoring all the signs that they were not good relationships. I was still learning to relive my life as a sober person. I never integrated back into society after I left the Corps in 2005 and finally I was doing so but it was a hard journey. Inevitably those relationships failed and I was utterly heartbroken each time, but Supernatural was always there through the good times and the bad. When my heart was broken I would go find refuge in my favorite show forgetting about my problems and trying to help Sam and Dean solve theirs. Finally in May of 2018 I decided to try and find love again. This time it would be different and this time it was Supernatural that helped me get there.

As part of my recovery and daily routine I started to eat at my local diner everyday. Everyday from about July 2017 to the present time in this story I would go in, order 2 eggs over easy, hash browns, sausage, and toast. Everyday I would sit in the same spot at the counter (counter 6 was the name of the spot) order the same thing and even had my own special coffee mug. I knew everyone who worked there by name and they all knew me by name. They knew my order and had it ready for me when I came in. It felt like a magical place, a place that would forever change my life. There was one waitress/cook that I didn't see very often. She mostly worked the night shift but occasionally I would see her if I was there later in the day than usual or if she occasionally worked a morning shift. I was drawn to this woman. About the middle of May in 2018 I decided to maybe try and work up the courage to ask her out. I would always look for her when I went in hoping she was working that day hoping she wasn't too busy so that I could exchange a few words with her and hoping she would even notice me. Then one day in July I went in and she was there. I said hello and ate my breakfast but we didn't talk much. When I was paying for my meal the other gal working there asked  what my plans were for the day and I said oh nothing much just gonna go home and watch Supernatural. Then she turned around. The woman I had been trying to talk to, the one I wanted to ask out, Michelle was her name. She said, "I love that show I'm watching season 13 on DVD right now". I perked up a smile came across my face. Nervously I said, "oh cool yeah its my favorite show" Michelle nodded and turned back to work, I went to my car got in and smiled. I knew how I was gonna break the ice now next time. A few days later on my daily visit to the diner I went in a little later than usual. It was about 3 in the afternoon. It was dark and gloomy, raining, and cold. It felt like a Supernatural episode. It felt like a 67 Impala should have been in the parking lot and two good looking hunters should be in the corner on a laptop researching their current case. It felt like a magical moment. Turns out I was the only customer in the whole place. It was just me the waitress and Michelle who was cooking that day. They took my order without asking as the usually did and I could already see Michelle had already started cooking it. She finished and brought it to me herself. We exchanged a look and a feeling of confidence I have never had in my life overcame me and I said to her, "So are you enjoying season 13?" That is how it all began we started talking about the show. How we started watching it who our favorite characters were, how much we loved this season or that one. The conversation was seamless. We got into other get to know you topics around our conversation about Supernatural and it was like we were old friends talking about a show we loved. Eventually I got up and went to pay the waitress and she turned to go back to the kitchen in the back. Feeling an opportunity slip away I said "hey Michelle, maybe we should go get some dinner some time and watch some Supernatural together". I held my breath. She would surely smile and politely say no. She probably gets asked out all the time by the customers, beautiful woman that she is. Then she smiled and said "sure that would be great" I must have smiled so big and my heart skipped 10 beats! I got her number which she wrote on a order ticket and the rest they say is history. Ten months later I wrote ,"will you marry me" on the back of that order ticket and gave it to her at counter 6 at the diner where we met, where we first started talking about Supernatural, where my life finally changed for the better forever, and she said yes! We were married two months later on our one year anniversary and we just watched the final episode together yesterday. We both had tears, we both smiled when Sam and Dean, soulmates, were finally together at the end because we both know how it feels to be with each others soulmate. We held each others hand and said goodbye together.

Supernatural has forever changed me. It has been with me through every major event in my life over the last 15 years. Through the dark times, through the hard times, and finally through the current happy times. I guess it is ok that Supernatural is over now. I no longer need it. I have my wife, my Michelle, my soulmate. I am finally happy. I have Sam and Dean's permission to move on and they have mine. Good bye Winchesters. Good bye and thank you. You have taught me to carry on and find my peace when I'm done, and to cry no more. This is but one man's story, one of so many. How many lives has this show changed? How many people have found comfort in the adventures of Sam and Dean? I'm not sure the answer. Too many to count I would wager. 15 years and 300 episodes of the greatest show ever on TV. Thank you. Thank you from the bottom of my heart.  

#supernatural #SPN #spn spoilers #SUPERNATURAL SPOILERS #Supernatural ending

[whiver-wyverncat]

Wanna see a dream smp AU colab story you never knew existed?

So, I left a comment on a dream smp AU animation video called the Crow monster by Casserole, and another commenter by the name of Dragona925 left a comment on a short story regarding a thought I had on the video,(I’m not gonna go into full depth on what the story was about, to try and make it a bit more interesting for people not familiar with what the AU is) and I not only liked it, but I also came up with a follow up story, and it just became a thing where we would just write back and forth to each other about this story, this was just extremely fun and at the end of the story I asked if I could post it on tumblr, which she said yes. I then spent a few days rewriting the entire thing on google docs cause I can’t copy and past YouTube comments on mobile, but I also got to polish it up a bit.

Anyways, here’s the entire story, just press read more if you wanna read it, if you want insight on the basic storyline we used, check out the 2 links below this message

The Crow Monster

How to Train your Hoglin

Dragona

Whiver (me)

A thousand wing beats tour through the air with a thunderous sound, or at least that’s how it felt. Techno was out of the house, sword in hand, wondering what was going on. Hundreds, thousands of crows flew towards him, the crows were led by an unnaturally large crow. He and the crow locked eyes, Techno couldn’t see the large crow’s eyes well to determine its feelings. The large crow angled it’s wings and started to make its way to Techno, the crows followed the large crow.

Techno didn’t understand what was going on, he knew Philza was a father figure to some crows, but what were they all doing here? Was this some sort of attack? The voices in his head tore from any room to think rationally, and seized Techno in their demands, holding their thirst for violence, they demanded blood, to stop the feathered intruders. Techno replied by drawing his crossbow, loading it with fireworks, and aiming at the crows. Blood for the Blood God.

As Techno launched the firework, the giant crow immediately stopped and braced itself for the explosion, while the other crows scattered so they would remain unaffected by the explosion, so only the large crow was hit. The huge crow seemed barely harmed by the explosion, as if he had dealt with explosions before, though it still stunned him a little bit from the impact.

Techno was reloading his crossbow for another shot when he heard a million angry “CAW”s and suddenly realized the mistake he made. He forgot that crows are vengeful creatures and if one of them were to be dealt any harm, it will just go and get friends to help get revenge on that creature. He looked up and saw all the crows scattered out in the sky, almost blocking out the sun, diving towards him. Even if they weren’t attacking him earlier, they are definitely attacking now, and techno knew that this was a fight, he almost certainly couldn’t win.

‘Technoblade never dies,’ the voices tried to reassure Techno, but he was unsure, so we’re the voices. The fireworks hurt the normal sized crows far more than the large one, but it seemed pointless, it made no large impact on their numbers.

The large crow was in shock, as if trying to debate what to do, but he could do nothing, it was too late.

There were far too many crows, for every time he slashed, he felt as 20 more pecked at him, each attack made him wince. He called upon his hounds, barks echoed across the array of screeching sounds, the hounds attacked any crow they could reach, but it did little to the overwhelming amount of crows, and some crows started picking off the hounds. He didn’t really want to destroy his home, the one he and Phil built together, but he had to, so as quickly as he could, he started placing necessary setup for a wither, which was matched with more attacks of the crows. As he was about to place the last wither head, a metallic crow swooped down to retrieve the last wither head, instinctively, Techno swung his sword at the familiar crow, in motion of the swing, he realized why this crow was familiar, and the voices screamed at him to stop, but it was too late, Techno’s sword cut through the crow, and the wither head in his mouth fell into the last needed spot, the wither had begun to ripple with power, charging up.

The large crow made a loud, familiar? sad/angry caw, and one that demanded an end to this fight.

Suddenly, as the wither fully activated, the giant crow, now recovered from the shock, gave a loud cry and lunged itself onto the wither, clinging onto it with its wings spread out so the wither heads wouldn’t destroy any of the nearby buildings, as it furiously pecked at it with its large beak.

Techno looked at the battle, gaining a small appearance for the giant bird as it continued to hold on to the wither. Then Techno realized that he wasn’t getting pecked anymore, he looked around to see that all of the crows were now perched on his house, also watching the battle.

After taking a lot of damage, the wither switched to melee form and knocked the huge crow off hardly onto the ground, as the wither moved to deliver another blow to the large crow, it let out a loud screech that, not only stunned the wither for a moment, but it also singled the crows that were watching to attack. Just like how Techno stood no chance against them, the wither couldn’t do anything with its opponents, no matter how much it took out, there were just far too many of them. Not too long after, the wither fell and the giant crow came to take its reward.

Then, the large crow, pretty damaged from the fight, then turned to Techno, and raised its wing and gave a caw like it was saying, “OK! THAT'S IT! I’M DONE!” and then went over to Techno’s house chattering all the way there, squeezed itself through the door, almost breaking the frame, and opened a chest as the door closed behind with all the other crows following it, some just perched on the house itself, leaving Techno VERY confused.

Techno stumbled into the house, both to treat his wounds and to see what the crow was doing in his and Phil’s house, it had no right to intrude. A few crows stared at him, abandoning the other crows to follow Techno, making it clear that if he was to attack the large crow, he would be dead.

The large crow was healing itself with health potions, and when it saw Techno, it threw some at him, this confused Techno more, did it throw the health pots because it cared or because the pots were the closest thing to throw, something he found pretty unlikely. He decided to assume it wasn’t the 2nd option and walked over to the chest to get more health pots, and before he took anymore, he started to realize how much damage had been done to him, if the large crow hadn’t come to fight the wither, and stop the attacking crows when it did, he would’ve been dead. His appreciation for the crow grew.

After he was fully healed, Techno took the last of the health pots and used them on the injured crows in a sign of good will. He then went over to the mechanical crow and took it inside, found it’s blueprints, and tried to fix the bird.

After a few hours, Techno managed to repair the crow, he was pretty proud of his work, the mechanical bird started to chirp again, and made its way over to the large crow, who was trying to maneuver into a comfortable sleeping position. Techno went over to his bed and went to sleep.

In the morning, Techno suddenly remembered that last night, Phil had gone out looking for some materials, and he still wasn’t home. Something was seriously not right, and if Techno knew anything, he knew he had to find Phil.

He rushed downstairs to quickly get supplies for his search, hoping that a baby zombie didn’t get to Phil first. As he went down the ladder, he saw the large crow, who had stayed the night and was lying on the floor with the others next to it, watching him climb down the ladder. As he gathered supplies he heard the murder all cawing as if they were talking to each other, more specifically the big crow, as it would occasionally respond to them. After he got all the supplies he needed, he rushed out of the house to find Philza.

Before Techno left his lawn, he heard a loud crack behind him, he turned around to see the giant crow pushing its way through the door again, he made a mental note to check his door frame for damages later, and rushed into the woods. It didn’t take him long to realize that the giant crow was not far behind, with all the other crows following it. He wondered if it was following him, or if it was just going in the same direction, after all, it did come from this direction, maybe it lived somewhere in this direction. To test this, he started swerving through the trees, seeing if it would keep following him, and sure enough, no matter where he went, they would follow.

Techno wondered why they were following him, maybe they thought of him as a friend? He wondered why, yesterday he had attacked them, he turned to the crows with a curious look, he also looked kinda annoyed. He had to figure out why they were following him. He was about to ask why, but then he remembered that they couldn’t really tell him. Did crows just follow people they liked? The crows followed Phil, and they liked him, but how could they even like Techno, yesterday they were fighting each other, although he also helped them that day too. Nothing about this murder of crows made sense, from their unnaturally large leader to their behavior.

He wondered if they knew Phil, besides, it wouldn’t be a bad idea to have eyes in the sky looking for him, before he asked however, something in the forest caught his eye, some of the supplies Phil had left for, scattered on the forest floor, and he saw his friend’s torn hat too. There was no blood, but that didn’t exactly ease any worry. Phil was either dead, or in serious trouble, most of him thought he was dead, but there was a small part of him which still had hope. As he investigated the clearing further, he saw an unnaturally large feather, more than one in fact, and Techno knew for a fact that the large crow had something to do with Phil’s disappearance, or more likely, death.

Some of the voices started to tell him to kill the giant crow, and he was indeed tempted to do so, it could have very well killed Philza, and if it did, Techno would definitely want revenge…

Suddenly he heard the other crows starting to freak out, giving off really large screeches. Techno turned around quickly, starting to worry if they could sense his intentions, he took a sigh of relief as he realized that they were only freaking out about a baby zombie that was under a tree. It didn’t take them long to rip that zombie into shreds though, which reminded him that if he was gonna take down the big crow, he would also have to deal with the thousands of crows that followed, and he didn’t bring any withers or dogs to fight them. If he were to kill it, it would have to be away from the other, and quickly too so it wouldn’t call for any help, and due to how it held up against the firework and the wither, it would not be easy to do.

Besides, it made no sense for it to attack Phil, who probably wouldn’t have attacked it first, while being shockingly nice to him after he literally shot it with a firework. He wasn’t even sure it was trying to attack him at the time. Maybe this crow tried to help Phil and came to get help?

He had no clear evidence on what happened between Phil and the crow, so he decided to look around and see if he could find anything else hinting to his friends disappearance, mostly ruling out that the giant crow didn’t do anything bad to him, but it’s best if he keep a close eye to it, just in case.

There was nothing more in the area, so Techno turned to the crows, more directly asking the large crow “Have you seen my friend Phil? I’m looking for him.”

The large crow nodded, spreading its wings, Techno wondered why the crow held the position. After a few minutes, the crow relaxed its wings.

A rumbling sound got louder, it shook the ground, and it was coming their way. A few crows who had gone away to investigate it came back with worried sounding caws. The large crow’s eyes were full of fear and surprise. Techno didn’t understand, but he decided that if the crows were running, he should too. Before he had the chance to move, some crows pushed him onto the large crow’s back and took to the skies, from there he saw what had made all the noise, an avalanche. Techno wondered how, what triggered it? With sinking horror, he looked to where his house was, it was covered in snow, he worried for his animals, from the sky it was hard to tell if it was still in one piece, the crow started heading to the spot and landed where the front of the house would have been. He wondered if it was still intact, and the snow had just covered it, or if it was completely destroyed. Techno hoped that the house had stayed firm, and all his animals were safe.

After consoling with the other crows, the large crow started digging down into the snow. Hoping the giant bird knew what it was doing, Techno started digging too, at least he brought a shovel with him. As they dug, some crows flew off and returned with some wood and stone from the dog kennel, which did bring some worry to Techno, but some also came with some of techno’s dogs following them too, showing that some of them moved to somewhere safer when they heard the avalanche.

After what seemed like forever, they managed to dig out the front door, thank goodness the house was alright. Techno wanted to go look for Phil and some more dogs, but they had been digging for so long that it became nighttime, plus the giant crow seemed cold from all the digging. So he decided to call it a day. Besides, the crow had already squeezed through the door and sat itself next to the fireplace, some of the dogs even started to curl up in its feathers.

As he was about to go in, a polar bear poked its head out of the snow. Techno had no idea why it was there, but he decided to keep it because, hey, free polar bear.

As Techno walked into his home, the voices in his head started filling it with name ideas, and then one came in, demanding to be heard with money, the secret to Techno’s wealth, the voices gave it to him. They praised him, lifting him onto a pedestal of the blood god, Technoblade, the one who never dies. Techno got a name tag and officially named the polar bear Steve.

In the morning, Techno went outside to find more of the snow plowed, and Steve fighting off some burning mobs, well, it was more of a one sided fight. The large crow came out to see Steve destroying the last of the mobs. Techno wanted to try and save more of his dogs, but his top priority was Phil, and he would not let himself stray from his goal.

For the next few days, Techno scoured the forest, calling out Phil’s name, and digging in the snow at every sound, every time there was a hint of life under the snow, Techno was always disappointed.

The large crow desperately searched for something to prove who he was to Techno, or a way to comfort him.

Every moment seemed like his worst fear to be setting in, something he desperately tried to prove wrong. It had been about a week of Techno trying to find Phil, with no luck, and his hope was failing him more than pever. He needed something definitive, he needed a straight answer, not speculation. He needed to know if Phil was still alive.

Techno looked over to the giant crow, who was chatting with the other crows. It knew something about what happened to his friend, but he couldn't figure out what it was trying to tell him.

Techno stroked the feathers on the large crow’s head, he had to admit, he did grow pretty fond of the beast over the past few days, it always seemed to try and help in any way possible. It even made a new dog kennel for him, which wasn’t really the best, it was pretty good considering it was made by a giant bird. It used to be his first idea to just kill it, now he couldn’t even think about the idea.

He then remembered when he rode the crow when his house had been buried by the avalanche, he kinda wanted to ride it again, plus maybe it would take him somewhere that would give him answers. Techno went close to the crow’s side, keeping his hand on it so it wouldn’t get startled, and climbed up the large crow’s side to its back. Before Techno could get a good grip, the giant crow started running really fast and took off, flying extremely fast.

It only took about a minute for the large crow to reach its destination on a mountain peak… in front of a strange looking plant with red berries. Techno got off of the crow’s back and looked at the peculiar plant, it was green and had some leaves, though not enough for any plant to reasonably have, but other than that, it looked more like something that would grow in the nether. He picked some of the berries off, they looked a lot like sweet berries, but he had a feeling that he shouldn’t eat these.

Techno’s voices were split, some wanted him to eat them and others highly urged against it, and Techno was desperately trying to figure out what the crow was trying to tell him, was the crow trying to make him eat it, or was it the answer to something? Techno would ask, but it would be to no avail. When he would get home, he would look through his books to see if there was any mention of the berries.

Techno fully understood what Phil had seen in flying, it was incredible, even though he wasn’t the one with the wings. Techno hoped that Phil would get to experience flying again, he would love it.

Once home, Techno went into his, Phil’s, and the large crow’s home. He started brewing one of the strange berries, and went to his enchantment table library and searched through it. He decided that since the berries were probably not safe that he should check with some books first before eating it. He took a long sigh, finding nothing. He wondered if the potion was ready, and went to his brewing stand, and took one of the potions. He just hoped it was safe.

Before drinking one, he splashed some on a random cow outside of Ranboo’s pen, to verify that it was safe, it didn’t really seem to do anything to it, since it didn’t die immediately, he used it on himself.

Shortly after he used the potion, he started to feel stronger and slightly more durable, like he just took a turtle master potion, but resistance was slightly nerfed and slowness was replaced with strength. He punched the cow and it just went flying, like he was naturally using knock back, he could definitely see this potion being used in the future.

But this still didn’t answer what happened to Phil, or what these strange berries even were in the first place. He doubted that the giant crow just showed him the berries just so he could make potions out of them. He also started to think that he saw some of these berries where Phil had dropped the supplies, and he just passed them up as sweet berries. He figured that if he was gonna find any information about these berries, he was gonna need more… ancient sources. Fortunately Ranboo, who was away at the time doing who knows what, probably main character stuff, found a stronghold earlier around the area, he figured there might be more information there than his enchanting room.

Techno grabbed a few things and headed out for his ancient table, sadly he couldn’t involve the large crow yet, he didn’t know if it was an anarchist or not. He decided that soon he would get the large crow to be a member of the Syndicate as soon as he could.

He placed an empty book and one of the berries together in one of the holes in his unbreakable table frame. The berry evaporated, and unreadable gold words carved into the cover of the book. A dark green ribbon, which was the same green as the table frame, wrapped around the book, different from the normal red ribbon around regular enchanting books, and opposed the normal gold link, it was linked together with a mini ender eye. Even the ripples of enchantment were strange, it reminded him of the tales of the void.

When he picked up the strange book, his perception seemed to warp, when he looked around the room, his chair caught his eye, under ‘Protesilaus’ was a carved illustration of a hoglin. All the other chairs now had a picture of an animal under their name, and under ‘Zephyrus’ was a crow.

Techno tried to read through the book, which was mostly in ancient text, there were only a few stray words he understood, ‘Spirit animal’, something ‘form’, and ‘reversible’.

Suddenly, he heard stone cracking behind him, he turned around to see the giant crow trying to get through the syndicate door, which was smaller than the house door. How did it get here? Techno made sure that none of the crows knew where he went, plus he took the path that was in the igloo with the 2 villagers, which was not only too small for the huge bird to squeeze through, but it was also the opposite direction which the crow came from, and there was no way of it knowing about the lava entrance since it wasn’t around the last time he used the entrance… unless it already knew about the entrance ahead of time…

It was then that things started to click together in Techno’s head, why the crow showed up when Phil disappeared, why it was always followed by a murder of crows, why its feathers were at the last known spot Phil was at, why it was so friendly even though he literally tried to kill it, heck even the fact that all the crows would go crazy when a baby zombie got to close to the giant crow, and be completely fine with everything else. After a whole lot of pushing, it broke through the syndicate door, leaving a giant hole where it was. It looked at Techno, kinda concerned, and instead of hearing the normal cawing, he heard Phil’s voice, “Umm, you alright mate?” After hearing his friend's voice, Techno hugged the crow, which is something he normally wouldn’t do, but he was 95% sure that he was dead, and he had been so worried, he just couldn’t help himself. “No, I-I’m alright, I totally don’t feel like crying right now.” Phil wrapped his wings around techno, “Good to hear.”

Techno was not the only one holding back his emotions, Phil was extremely ecstatic that Techno finally found out, Phil was starting to worry that he would never find out and that he would be stuck as a crow FOREVER! Good thing one of his crows suggested showing Techno the berries. It was so hard for him to watch Techno look for him without being able to say he was there, he wondered if the crows felt this way and if that’s why they wanted to follow him. That was one problem solved, now to figure out how to turn back.

Phil and Techno read the ancient book cover to cover, though they weren’t able to decode any more words, or at least any that made sense, “Shattered light on a splattered canvas of broken bricks”? What does that even mean?

Their biggest fear was that the word “reversible” was accompanied by “not”. Well, even if it was, they would still search for a way to reverse it. While Phil enjoyed flying, he still preferred being human. He didn’t want to be a bird for the rest of his life.

They searched far and wide to find any trace of a cure, they weren’t exactly sure what clues they were looking for, but they believed that eventually they would find it, that maybe the book would eventually make more sense.

A few people had turned to look at them, it must have been a sight to see, Technoblade and a large crow, accompanied by a murder of crows with numbers reaching into the thousands.

It seemed like they were searching for years, at some point, they started searching in the nether, Phil having wings proved to be quite helpful for getting over the many lava lakes.

A nether fortress caught their eyes. It seemed ruined, there were no mobs, even as they got closer. The support beams were splattered with lava, many of the bricks were broken, the only reason the place seemed to still be standing was because some plants reaching through the lava held together the rest of the place, or rather as much as they could. It wasn’t in one piece, it was broken, the metal designs of a blaze spawner filled in a few small cracks. Some glow stone illuminated the broken nether fortress, but the light looked fractured and shattered.

This is most likely what the book meant in that one line. But what was important about this place that made it special, was it a cure, was it the cause of the curse, or was it something else?

Phil sent some crows in first, to scout the area ahead as they went in. Burnt carpet was in the middle of the floor, while some soul torches hung on the walls, some being knocked onto the ground, someone else definitely was here before, and they most likely lived here too. From the looks of it, they might have also eaten the berries too. The hallways were pretty empty, almost too empty considering the low light levels and the few carpets on the ground, they should have at least come across a couple of mobs.

They kept walking until they reached a crossroad in the fortress, when they reached it a couple of crows that scouted ahead flew back, looking a bit spooked. “SOMETHINGS COMING!,” they vaguely said, “HIDE!” Phil tried to get a straight answer from them, but they just clambered on with their foggy message, plus the crows that stayed with Phil started to freak out due to the other crows freaking out. It's times like these that Phil wishes he wasn’t followed by an extremely large flock of crows, the closest he heard to a description was the word “Golem.”

Techno took a few steps back to let Phil take care of the panicked crows situation. He would help, but unfortunately the book only translated what Phil was saying, so he didn’t really understand the situation very well, or at least, he didn’t until he heard some heavy footsteps coming through the hall amongst the noise. With that, they backed up in the hall and hid behind some conveniently placed plants, as Phil got the crows to shut up.

What passed was indeed a golem, which did look a little like a regular iron golems, but with thicker, stronger arms, and made out of obsidian with glowing red eyes, it had a crack in its chest that had glowing lava leaking through. As it walked through, it came across a wither skeleton, which it almost destroyed in one shot, and slightly and also lit it on fire, which explains the lack of mobs. Phil and Techno both agreed to try to not cross the obsidian golems, since the crows couldn’t really do much to a regular iron golem, let alone obsidian, and Techno didn’t really bring any potions, other than the last potion he made with the berries.

They did however find what seemed to be a diary, which had an illustration of a dragon that only Techno saw, and a strange red gem inside the plants, which just made them even more convenient.

Techno carefully opened the diary, he had a bad feeling when opening it, he wasn’t really sure why he had a bad feeling about this though, it was just a diary. As he read through, the crows pushed and pulled to see what it said. Phil warned them to stay quiet, since more pounding footsteps echoed through the halls.

There was a path of torches, just as the diary said, it warned that other paths were dangerous and would most likely crumble under misguided weight, so it was best to just stick with the path.

The nether brick corridor opened up to a large room, the walls were carved like a dome, but it wasn’t smoothed for the most part, the wall and ceiling had many flat areas, on some of them were carvings of animals with figures that had familiar silhouettes. Some were glowing, although not very many. Two of them caught his eye, one of him, and another of Phil, the animal next to him was a hoglin, and the one next to Phil was a crow, Phil’s silhouette was also glowing blue. Ah, so people affected by the curse had a glowing silhouette. In the center of the floor of the round room was a small bedrock pedestal.

This is it, it’ll be all over soon, they thought.

As per the instructions, Phil picked up the red gem and placed it on the pedestal. Nether bricks sealed off the exit, ceiling off some crows, they yelped in surprise, making a ruckus trying to get to the other side. A loud thumping of footsteps from the hall silenced the crows, making them freeze. When they turned back to the gem, it was floating, and unfolded into a red end crystal before their eyes, and shot a kind of beam at Phil. Feathers and bones that had transformed retreated, painlessly melting away.

The End Crystal shifted back into the strange gem and teleported away with the diary. Instead, above the bedrock was a portal. The nether brick blocking the exit left just as they entered. They all went through the portal, even the mysterious thing or person that had followed them through…

It had been about a day, Phil was reading through the book about the animal berries, because he found that he could read it more easily, “if you ever call upon the gift again, it will come, all you must do is ask.” Huh, did that mean he could possibly still be able to turn into a giant crow?

He then heard a commotion outside the house.

Turns out Ranboo had just got home, and the crows had just gotten excited because he was away for a few weeks.

Ranboo had been out with Tubbo taking care of Michael, and was making sure the mansion was still being built, along with a small trip to the nether to mine more netherite. He then asked if anything interesting had happened while he was away.

Phil told Ranboo about the avalanche coming in and destroying the dog kennel so he had to build a new one, and how he started building a house for himself next to Techno’s so they wouldn’t have to live in the same house. He left out the entire of him turning into a crow because he and Techno agreed that the berries might be dangerous if they fell into the wrong hands… plus Phil was pretty embarrassed about the fact that he mixed the berries up with sweet berries on his way home.

They also hid the plant in one of Techno’s bunkers so no one would find it and accidentally eat the berries, hopefully there are no other plants around, and that no one else comes across one.

Pst, hey, if you like this then please consider reblogging, this took a few days to rewrite and liking doesn’t really do much to help me out on tumblr, so if you want to share this story please do so.

#dream smp #AU #YouTube #YouTube comments #collab #minecraft #philza #philza minecraft #technoblade #fanfic

[sally-mun]

Unsurprisingly on my mind due to TKP's blog going through it, I've been meaning to ask (if just to clarify) about if any details from the "Enerjak Reborn" saga ever slip into your universe, even if clearly can't happen due to the characters' relationships. A part of me assumes that the idea you mentioned of Locke becoming the threat he prophesized sounded like the most likely direct replacement for that, but I wonder if any other ideas end up still mimicking it?

First of all, I fucking love your username and as far as I’m concerned you DID decide on a good one.

Anyway, this is an interesting bit of the storyline because it’s in that nebulous place where my partner and I agree that it happened, but we’ve never actually hammered out exactly what happened. For the most part, the bullet points of Finitevus tricking Knuckles into getting hexed and Locke sacrificing himself to release him are agreed to have been in the RP’s backstory, but given the version of Locke that I wrote for the Brotherhood, I’m sure the tone of the situation was very different. I can only imagine what the situation looked like through Locke’s eyes, honestly. In some ways you could argue that Knuckles becoming Enerjak IS the realization of everything Locke worked for, so that begs the question of whether or not he would see that as his premonition coming true. It’s hard to say given that there’s so many other events that have happened leading up to this point that would’ve also gone differently based on the new circumstances, and some that probably didn’t happen all together.

However, here’s my immediate hunch:

1) The events of S3&K definitely happened in the RP’s backstory, although again I’m sure several events played out in different ways. The great point to this is that, as WE all know, this was the fulfillment of the mural that Locke saw on the wall in Hidden Palace, which unknowingly inspired his recurring dream. Locke, however, would’ve taken the arrival of Eggman and the Death Egg with a lot more confusion. Obviously this is the level of threat his premonition insisted upon, but Knuckles wasn’t the one to ultimately defeat it! Some ground-dwelling heathen actually took care of it!!! So no matter how much the situation would seem to fulfill the slot of the Great Evil, it obviously can’t be because Knuckles did not ascend to become the Savior in order to stop it.

2) It’s probably safe to say this cycle happened a few others times, because let’s face it, Angel Island has seen some shit. I don’t think the others probably ever compared to S3&K arc, though, both in terms of the impact it made on the situation (and Locke’s psyche) and the fact that the enemy just plain looks like the figure in Locke’s dreams.

3) This would probably mean that an already paranoid Locke is getting jumpier and jumpier every time a new threat arises, because by now there’ve been so many BIG bad events that he’s probably constantly worrying, “Is this the Great Evil?? IS THIS THE GREAT EVIL??” and his already frayed nerves are probably completely shot.

4) So imagine, then, when Knuckles -- Locke’s only pride and joy, for whom he sacrificed absolutely everything in his life and has been banking on saving everyone’s lives -- seems to have become the Great Evil himself. It’s not enough that he’s powerful on an otherworldly scale and seems to have gone mad with said power; the bigger shock is that Knuckles does, indeed, seem to be fulfilling the criteria of his premonitions. He’s not just terrorizing the rest of the world (which, let’s be honest, Locke probably doesn’t even care about), he’s also terrorizing echidnas. He left Echidnaopolis in ruins by forcibly removing the entire population, and he’s destroying a lot of lives by changing their bodies against their will. The entire echidna species is terrified of what he has become, and what else he might do. Maybe the fact that the Great Evil was enormous in Locke’s dream wasn’t about literal physical scale, but rather, a representation of the enormity of the threat that’s posed.

5) In a perfect world, I’d really like to imagine that this finally, FINALLY, brings Locke a desperately needed moment of clarity. Locke got to the state he ends up in because he’s so afraid of some ambiguous and unidentifiable threat, so maybe the fact that he now CAN identify the threat could be enough to raise that fog. Maybe seeing Knuckles as the evil they need to be protected from will finally be enough to jolt Locke back to reality, and allow him to see just how bad his decisions have been and how Knuckles’ state is, honestly, a very logical conclusion to the chain of events that came before it. Knuckles becoming the Great Evil was always a possibility all along, but Locke was so convinced of the contrary that he just literally couldn’t see it. Now he can see it. Now he can grasp how, no matter how well-intentioned he was, he absolutely, 100%, undeniably caused his son to become the one thing he’s feared all along.

6) If Locke is able to have that moment, and think completely clearly again for even a brief time, then I have no doubt whatsoever that Locke would make that sacrifice to save him. No attempts to find an alternative, no hemming and hawing, no attempts to get everyone to kill Knuckles like in the comic, NONE of that shit. If Locke, the REAL Locke that’s been lost inside the madness all this time is able to wake up for just a few moments, emerges again and learns that the only way to save his boy from the fate he himself unwittingly doomed him to is for someone to give up their own life, Locke would make that sacrifice in a heartbeat. He said back on the day he activated the chaos bath that he wished he could take Knuckles’ burdens away and put himself in his place. This would be one way to do exactly that, to give Knuckles a shot at a real, normal life again, and to atone for the enormous mistakes he made that caused this tragedy.

I think if the situation arose under those sorts of circumstances, it would just make Locke’s sacrifice all the more meaningful. Allowing him to not only realize that he’s the one that ultimately caused all this, but to fully admit to it AND take responsibility without being harangued into doing so completely changes the tone of what he does. It’s not a situation where Locke sees sacrificing himself as something that has to be done, but something that should be done, to atone for his wrongdoings and save the one person he loves more than anyone or anything else in this world.

I don’t see the Locke of the comics as someone who would die for his child without the slightest hesitation, even after more skillful writers get a hold of him; I don’t see the fact that he does so unrealistic, but I honestly think the only reason he does it is because he can’t think of a way out of it. I mean, for fuck’s sake, shortly before doing so he was campaigning TO HAVE KNUCKLES KILLED. I think canon!Locke loves Knuckles in his own weird way, but I think his love for Knuckles comes second to his love for himself, and it always has. Canon!Locke is just simply too arrogant to think of someone else first, even his own child.

Locke the way I write him, however, was always ready to die so that Knuckles could live. It used to be because he felt Knuckles was too important to their people and needed to live to save them, but when all that baggage is lifted, Locke would still die for him simply because he loves him. He would die for him to make his life better, to free him from the prisons he’s been confined to both physically and mentally, to allow him to fully live. He’d die to save his son because he wants him to finally have the life he deserves -- that he always deserved. If the price of Knuckles being happy, healthy, and free is Locke giving up his life, there’d be no force on Mobius that could’ve kept him away from the Master Emerald to do it.

I don’t know if this is quite the sort of answer you were looking for, but again, this was the first impulse that came into my brain. It feels right to me, and probably would be worth exploring in a story sometime. Maybe someone could commission me for it or something, who knows. In the meantime, I hope this paints the picture as well as I’m seeing in my head.

#Sallymun RPs #Locke #cantdecideonagoodusername

[hmgfanfic]

Talk about all the Fillory worldbuilding in LQoF, please :)

THIS IS INEXCUSABLY LATE. I’m so sorry!

And I wish I could say it was just my scatterbrainedness, which is definitely a constant factor, but it was also that when you sent this, I was deeeeeeeep into writing the final few chapters of Little Quirks of Fate and I was kind of... in my head about it. It took a lot longer to finish than I had planned (a cardinal sin to my particular combo of severe ADHD and Type-A personality) and I was spending excessive amounts of time making sure I figured out a satisfying ending by my own exacting standards, so I just didn’t have the headspace to think through my early process yet. Very sorry about that :( But now that I’m finally done, I’m excited to look back! So if you’ll indulge me a very late answer, I’d be tickled. 💗

Long ramblings and major fic spoilers under the cut.

The truth is a lot the world building came down to character stuff foremost, followed closely by my preferences as a writer. I adapted the world to the story I wanted to tell, while using the little bits of information we’re given in canon as a baseline, rather than building the story around the world. And that was a lot more fulfilling for me, since I only really love worldbuilding through the lens of character, rather than as an exercise unto itself (though it’s super fun once you get rolling.)

To explain what I mean by that, you need to know that Little Quirks of Fate was originally going to be a oneshot. My plan was about 25-30k (lol) of a pure S2 retelling, only with Quentin in the role of Fen. It was also going to take a much more traditional enemies-to-lovers’ path—with Quentin as an active member of the FU Fighters—and the whole thing was going to be in his POV. Also, they weren’t even going to kiss until after the bank heist (which, yes, was going to be a thing here), but that got abandoned the fastest in favor of trying my hand at smut. But two things made me realize I needed to significantly shift course:

1) I was struggling to make Quentin actually feel like Quentin. I wrote this very atmospheric early scene at the FU Fighters encampment, with lots of description of the bonfires and the way their shirts dyed in Fillorian red looked like blood (you get it.) It took place in the black of night, shrouded in secrecy, and when Bayler questioned Quentin about his new husband, Quentin said something like, “He’s a drunk idiot, we have the advantage.” It was all very lush and dramatic, but it really, really, really didn’t feel like Q in any recognizable way to me. Now, I’m not someone who thinks Q needs to be a precious sweetheart all the time, but what I was writing didn’t have his idiosyncrasies or a motivation that felt true to who I feel he is.

2) The draft was DEFINITELY missing Eliot’s story and his perspective. I certainly don’t think Eliot’s POV is always necessary (sometimes not having his direct thoughts heightens tension in romance especially), but it felt really necessary here, to fill in the gaps of what Quentin was assuming and also—more importantly—because the events were just as impactful on him, but in a very different way. So I knew I was missing half the narrative, but that meant I would need to deal more explicitly with the Beast (i.e., Mike, the most devastating storyline to me, personally) and I really, really didn’t want to do that.

My first step in making a more recognizable Quentin was figuring out a way he could more or less use the same syntax that he does on the show. Voice is the first way I connect with a character, so while many writers in this fandom thrive at modifying speech patterns and keeping the heart of a character alive, keeping close to Quentin’s canon speech was an easy fix for me in a story I was excited to get rolling. Sort of like the old adage of uplifting your strengths before putting outsize energy into things you struggle with.

The easiest way I could think to give him the same syntax was to figure out a way Quentin spent some significant time on Earth during his formative years. And once I rewatched 2x06 and was reminded that Ess went to Phillips Exeter Academy for high school, I lost my damn mind. I started sketching out ways that Quentin could get there too and that’s how I built out the idea of Umber brokering a marriage deal with the actual landmass of Coldwater Cove, which included an education opportunity for the boys (in a nod to Fillory’s patriarchal nature), and also the reason why Umber did that, which was to take advantage of his brother’s orgy mistake with the first Children of Earth to usher in a more productive and orderly Fillory. So that created a whole new set of rules and essentially a whole new world for me to play with... all for the sake of Quentin getting to say “fuck.” It was that important to me. :p

And as I worked through all that, I realized I also wanted to give Q magic, since Quentin’s relationship with magic is something I’m interested in. But I had read on ye olde Tumblr that the reason Illario uses a wand in 2x06 is a nod to the books, where Fillorians specifically aren’t Magicians and that’s the rationale for the Children of Earth royalty. And while I generally see the books as interesting supplemental material with zero bearing on the television show canon, I still said to myself, “Self, wouldn’t it be kind of funny if Quentin was the only native born Fillorian who had magic and so the FU Fighters believe he’s the chosen true High King, but instead of it being because he’s ~special~, it’s because Umber made a clerical error? Lol! Hilarious!”

So while all my questions for how to explain all THAT spun out into more and more detail, at the same time...

I caved to the idea that this story was going to be a No Beast AU, just like my last two stories, mostly because I really couldn’t bring myself to deal with the Mike of it all, even tangentially. I could have just changed that single element, but I’m not a half-measure gal! But I still wanted to stick with the vague background theme of Fillory = adulthood from a questing perspective and I wanted Julia leading the charge this time, but without the sexual assault that occurs in canon. So obviously, the answer was avenging all of the murdered and cannibalized “grown-ups,” i.e., master Magicians, by seeking out help from the gods in a balanced Fillory free from the devastation of the Beast. Duh! ;)

So then, like anyone would do, I rewatched every episode up to 4x11 that makes a mention of Fillory and took about twenty pages of notes on the canon worldbuilding, along with an analysis of how much a particular piece of information would be impacted or not by balance in the realm. For instance, the existence of geraniums (per The Fillorian Candidate and Tick’s misunderstanding of “power plants”) and the lack of diamonds as a precious stone (per the River Watcher not knowing the value of Margo’s earrings in Knight of Crowns) struck me as static facts unaffected by Ember’s reign of chaos. But I shifted the overall feel of Fillory to one that’s more functional and a lot more bureaucratic, leaning on things like the existence of socialized health/vision/dental insurance (the idea of which is canonical, per a petition from the beavers requesting dental coverage from acting High King Josh in Ramifications), strict taxation plans, and an overall sense of thriving Ceremony to show Umber’s influence.

Basically, I wanted Eliot to inherit a much, much easier Fillory to rule—especially with the highly educated Quentin as a built-in and passionate advisor—mostly so it wouldn’t completely strain credulity when a lot of his energy goes toward his love life rather than the intricacies of ruling (though Margo would say he still favored his personal life more than he should have, and she wasn’t... wrong. He wants to be a husband more than a king!) But I specifically made it so most of the chaotic elements were played as whimsical (sorry) quirky shit or smaller hints of greater injustice (see: Ember getting rid of STDs, but still letting magic-poor citizens die of sepsis because that’s too boring to deal with), all while a cataclysmic danger lurked under the surface.

After that, I just filled in details as they worked with character stuff and plot stuff, and I tried to make sure they didn’t contradict each other in a way that couldn’t be chalked up to “chaos.” I basically lived with the Fillory map open all the time and also took screenshots of Benedict’s map of Loria, which gave me alternate ideas for the overall feel of the landmass rather than just the kingdom. And pretty much that’s the basic process I used to create the world! It was extremely fun, and I learned a lot, though I’m *definitely* focusing on some pure relationship kind of stuff for a while because... oof, sometimes it was a lot.

Annnnnnnd if you’re still with me, here’s some stray observations, for funsies:

I wanted Quentin and Eliot’s starting points to be more mature than in the show. Quentin when we’re introduced to him as an adult in LQoF is a lot more jaded and cautious than S1 Q, which is because in this world, his S1 mentality happened while he was on Earth and came to a head during the throes of his fucked up relationship with Bayler. Similarly, Eliot had already gone through a lot of shit too, and was much more self-actualized by the time he agreed to be High King here than in the show. It was still out of desperation for purpose, but not coming out of a direct trauma spiral. I think if they had been younger, both in age and mentality, the story wouldn’t have worked because they would’ve blown it up day two. They’re both still disasters, as we like to say, which is why the... everything happens, but they’re not disasters in the exact same way as in early canon. I thought of them as closer to their S3 selves, pre-Mosaic.

While I mostly kept Quentin’s syntax the same as on the show, I did change it up in some ways to reflect his Fillorian upbringing. The most obvious was replacing “goddamn” with “godsdamned” and “Jesus” with “Hades,” but I also made him slow on the Earth idiomatic uptake and slightly more likely to use passive voice and less likely to use contractions, especially early on and especially when speaking with Fen. He also said slightly out of date things even for someone who last remembered 1999, since Earth was still overwhelming despite his immersion. E.g.: In the epilogue, he asks Eliot if he can spend some time “Googling the World Wide Web” instead of watching Gossip Girl together, even though by 1999 most people were saying “on-line” or “the internet” by a pretty wide margin. But in my mind, the first term he learned was World Wide Web and he stuck to it like glue.

I originally had a full-blown coronation scene, where Quentin helped Eliot with the answers to the 90s questions via subtle charades, such as flapping his hands at his sides to give him the answer “Wings” (and Eliot was eventually going to Eliot-Logically use that moment to argue to Quentin that maybe Q really is the true High King since he was the one who actually answered the Knight’s questions, etc.), but I cut it and only showed bits and pieces in flashbacks because it didn’t really matter. They had to treat it seriously because it was An Event in this version of balanced/un-Beasted Fillory, with a full audience bearing witness, but the whole thrust of the external plot was about dismantling that moment and the concept of monarchy in general, so giving it too much weight outside of the Eliot and Julia friendship felt disingenuous to the story I was telling.

This is also why it was important to me that Margo hated the title High King Eliot the Kind, even though I only brought it up textually once or twice. But in my view, she fucking hated it and never came around to it. Which isn’t because she doesn’t think Eliot is kind, it’s that it felt like a simplification of all that he is, and the coronation ceremony in general felt similarly shallow. It wasn’t just the four of them working out their shit on the beach; it was true ceremony after a year of questing toil and a lot lingering uncertainty/resentments (especially regarding Julia), so it was too Big Shiny Happy Bow to her.

Yet on the same theme, my greatest regret was not being able to work in the fact that Margo’s title for Penny (King Penny the Persistent) was supposed to be half-sincere and half-sex joke. She did genuinely admire that he stuck it out even through his initial heartbreak because he gives a shit about his people underneath it all, but—and this is a very important headcanon to me—she admired his dedication to the art of the female orgasm even more.

I was originally also going to include the One Day More sequence with way more details—such as Umber taking the Javert lines, Ember taking the Thenardier lines, Bayler taking the Enjolras lines, and Penny taking the Marius lines, but... uh... writing a musical number is apparently not in my skill set. Also, honestly, the weirdness of the original is its whole charm and so I didn’t want to improve upon perfection. See also, in a more serious way: Eliot bowing to High King Margo on the Muntjac, the events of Plan B, and Quentin & Penny in the Flying Forest. Would not touch it!

My favorite Fillorian detail was either the guy who sent a citizen petition requesting a “smidgen” of Eliot’s earwax for an undisclosed purpose, or the use of the verb “to peg” to describe a Pegasus flock greeting an outsider with honor. They encapsulate the obscene yet pristine feel I always tried to give Fillory.

My favorite subtle(-ish?) ironic moment is Ess, the heir to a hereditary monarchy, taking Quentin to task for not honoring the anarchy patch on his high school backpack. In general, I don’t like everything being neatly resolved, including on an overarching world level. And I very strongly felt they had ZERO business meddling in Loria, so it left some fun-to-me unanswered questions. Will Ess usher in democracy for Loria based on his experiences on Earth? Maybe! Maybe not, since tradition’s a hell of a drug and Loria has its own history and complexities. Who knows?

I misread the town name Sutton as Sultan on the map the first time I referenced Bayler’s hometown (Sultan’s Ridge), but instead of going back to fix it, I just made it a sister town. Whatever!

I do not know how Quentin got a full bookshelf of Earth literature back to Fillory with him. Magic, I guess. (That’s the answer to anything I didn’t totally think through.)

I occasionally get asked whether Quentin and Fen were physically related. The answer is no, though it doesn’t totally matter. But I intended heart-cousins to be more like close family friends. (Though I actually originally had a joke where Eliot still wasn’t sure by the epilogue, but it didn’t land/feel realistic so I cut it.)

The details of the magic frequency poisoning were DEFINITELY what I thought through the least. My main goal was to have something catastrophic happen to Fillory based in part from the historical actions of the Children of Earth and Ember, patently ridiculously but with lasting consequences. Hence, god orgy that took away Fillorian human magic and sent out a slow poisoning of the overall magic “frequency.” It sounds all well and good, but it’s definitely something that would fall apart with even the lightest bit of prodding. It serves it’s purpose though, so I figured the gaps could be filled in or politely ignored. ;)

This question was way too much fun and a helpful retrospective for me! Thank you so much for indulging me, many moons ago. 💗

#little quirks of fate #harri writes #anon asks #ze process #<3 thank you i love you #this one is a long post even for me #dialogue asker if you’re reading this you’re up next I promise!

[hopevalley]

If you ever want to consider other collaborators on a full novelization, I think that would be a fun project!

I probably won’t ask anyone else to participate directly in writing (because I’m a control freak) but art is fair game! And I’m definitely happy to get thoughts because my followthrough is terrible—I’ve been talking about doing this for years and haven’t actually posted any of my attempts at the first chapter because I just hit this, like...wall.

And the wall always comes about because of how daunting writing something like this is, and not even in terms of word length (though that’s certainly terrifying hahaha). Structure is probably the scariest aspect of writing a novelization. A tv series like WCtH is so much harder to novelize than, say, a movie series (like the Wedding March series, for example, which I’ve also considered trying to novelize). Movies tend to have smaller casts and fewer storylines floating around, after all. A balance is easier to strike.

But let’s look at WCtH: so much happens to so many people: whose voices to do you include and who gets left out? 

Do you include Cat Montgomery’s POV for the Season 1 chapters/arc because you feel her story was important or do you not bother because she doesn’t get to exist past S1′s story arc? 

If you do include her, do you stop using her POV when the S2 storylines pop up or do you do the extra work to continue to let her pop into the story over the years as well as fix the issue of Gabe and Miles disappearing into the Hope Valley Void? 

Does she get to find new love? Do you write a whole new storyline about it? 

Do you give POV scenes and chapters to Gabe? Miles? Emily?

Naturally that’s just one example out of possibly hundreds. 

What about Mary and Caleb and Dewitt? 

Phillip? Shane? 

Reverend Anderson?

Do we follow Frank to Cape Fullerton? Abigail? 

Do we get AJ’s perspective from prison? 

Henry’s when he’s awaiting trial? 

Ray Wyatt’s when he he decides to accept Henry’s offer to “help” with getting him out of paying taxes? When he shows an interest in Faith? 

Do we get Becky’s POV or do we never bother with her because she’s barely in the story? 

I think as a general rule we wouldn’t need to get into the head of, say, the daughter of Bill’s best bud from The Old Days, but what about the characters who had a more lasting impact on people in Hope Valley? What about the woman whose husband noped off on her and left her with a baby? Julie? Tom?

And what about “hidden motivations” of characters that end up being revealed at later points in the series? Do we keep those hidden for characters like Henry and Bill? Or do we not bother to hide them because a novelization is written for fans of the original source and they all already know what these characters are hiding?

Let’s get deeper and ask more questions about ADDING SCENES:

Do we add new scenes to make other scenes/events make more sense/feel better or more realistic?

Do we get Tom’s perspective at Jack’s funeral? Charlotte’s?

Scenes to keep Julie from feeling absent as a godmother and/or sister and/or friend? 

Trips home for Elizabeth? 

Do we add a bunch of “lost moment” scenes to help explain various plot points that never quite worked (but could if they were tweaked)?

Like Frank leaving Hope Valley?

Bill liking AJ enough to not chase her down when she broke out of the Hope Valley jail?

Abigail becoming mayor?

Do we rewrite scenes that just straight-up don’t make logical sense to force them to make sense?

The stagecoach robbery just kind of...not happening on-screen and not really meaning anything or ever coming up again (vs. the books where her violin was stolen at the station or the movie where she was forced to choose what little she would take with her to town)?

POOR WIDOWS LIVING ON A SHODDY DEATH PENSION SHOULD ALWAYS BE WRITTEN AS SUCH. CONSISTENTLY.  FDKLSAFJDskalFJDSLAFHDSALFSD.

The whole widows-housing thing with Henry always bothered me so do I fix it by either changing the terms to make more sense or by having Abigail rile him up to the point where he agrees to something absurd?

That awful plotline with Becky and her wheelchair...

Carson needs to actually be suspicious for Frank to be That Concerned about him.

If Frank’s presence is something that puts people in danger mayyybe they should ACTUALLY be in DANGER.

Probably half of Season 2...

It’s so hard to come up with a solid plan to move forward. Sure, I could charge into the fray and try to novelize the series as a true novelization (change almost nothing, follow the script)...but that’s boring. We’ve all seen that story before! 

A novelization should be a fun read for people who saw the series and liked it. So far, the best novelization I’ve ever read was the one written for Rogue One. It did a good job of showing what the movie gave us in a slightly different light while also adding more depth to all of the characters. A good novelization adds onto the experience of the original canon without really...obscuring it. If that makes sense?

And that’s what I would want to strive for.

But at what point does it stop being a novelization and start being a canon-divergent fanfiction? I genuinely couldn’t tell you, and maybe it doesn’t matter, but here’s the second big wall I think anyone contemplating a project like this would hit almost immediately:

Imagine busting your ass figuring this out, writing tens of thousands of words, and only getting, like...two comments. :) It makes all the earlier questions even harder to answer LOL. “Do I alienate readers if I do this?” “Would people even read this if I did this other thing?”

It’s stressful to even think about!!

#i've had the first chapter written for TWO YEARS #anyway...is it possible i overthink everything? #yes.........i do...it's true #but i can't NOT think about all this either #i know in 2019 when i talked about it #people wanted to see it diverge in s5 #(so that jack wouldn't die and all that) #but yeah have this infodump of random thoughts i put into my notes LOL #answered mail #daseyshipper

[herglowinggirl]

can you see an ending to SOK where yun lives / yun redemption? i've been thinking a lot about the trend of abused kids never getting over their abuse and dying instead, and i feel like FCYee does a good job of writing yun and i don't want to say he's guilty of this trend, but sometimes i wonder if there could've been another ending. sorry if this ask is weird/uncomfy, you don't have to answer. have a nice day!

ok so...I am writing a meta about this (familiar anon i see you) but I feel like it’s worth answering here, too. this is less of a meta and more my personal thoughts so there’s no graphic descriptions of anything but I’ll put it under a cut because it got long, tw for canon typical violence/death.

short answer: yeah, there were workarounds but nothing that wouldn’t change the motifs, themes, plot points of the novels. I think the novels set out to make a different point on abuse than atla (think “it was wrong and it was cruel” as opposed to avatar “the obligation to be more than the sum of her grievances with the world” kyoshi) which isn’t a bad thing, necessarily. also, like, atla was a kids show and the kyoshi novels are ya and they very successfully make points on moral ambiguity and who gets to live and who gets to die. I agree and think f.c. yee handled it pretty well and yun was “meant” to die based on his backstory and evidence discussed below + the fact that he’s emulating the cycle of abuse by the end of the book. could it have been done differently? absolutely. was this story meant to? not really. you already said that it doesn’t feel like yun was killed off instead of writing about him dealing with the impacts of abuse, because the impacts were dealt with and explored just...he died at the end anyway, because of the places dealing with that stuff lead him. quoting a line from below the cut but yes, yun apologism on main. but I very much prefer to do it within canon, I think. 

but would I want to see a version where yun lived? a little, yeah, because I wanted, well, justice for him. I wanted him to reunite with rangi and kyoshi and meet team avatar and live out the rest of his life happy and free from jianzhu because I love yun’s characterization, but as a character he has a bigger part of the narrative than being someone I’m attached to. I think that also begs the question should he have been used in those narratives of abuse the way that he was if someone like me (whose relationships could be classified under “complicated” at the very least) could relate and love him, especially for a YA novel? also not sure. maybe it’s not that deep, especially because what’s already been written and published is all but set in stone (and I am not very interested in writing fix-it fanfiction, just building on canon). 

so those are my personal thoughts summed up (there’s extra rambling on why he was supposed to die + a plot workaround below). when all is said and done, this is a storyline I turn to in order to cope, but if there’s anything similar that perhaps ends with the survivor alive...any recs would be appreciated, from anyone! thank you for asking and making sure I’d feel ok ruminating on it <3 I hope you have a nice day too!

contextual evidence...zoryu going “some people will always change you back to who you were,” rangi asking kyoshi why she didn’t stop yun and kyoshi’s only answer being that seeing him had turned her back to her unsure state, yun trying to rid kyoshi of her fans and all her character growth during the final Boss Battle™...these things are a theme. you can’t strip the books of this touch of some are always meant to end, esp b/c that stuff was set up in trok (I always seem to come back to kyoshi asserting her only duty was to protect her loved ones in yokoya and then her duty becoming something much larger) so I feel like you couldn’t get rid of yun death without significant workarounds in the motifs and plot points in the novels.

that being said, I’m sure there are and were plot workarounds to killing yun. there’s an alternate universe out there where the novels ended with yun being a parallel to lao ge (I’ve talked about how they parallel each other before I think it’s very spicy; here and here), where he becomes jianzhu’s successor and just like lao ge kept kyoshi accountable on the other side of things, this time to the bureaucracy of the earth kingdom instead of lao ge’s agenda. this would also tie up when lao ge said something along the lines of “jianzhu does good work.” the novels are in no way perfect and the ending and pacing in the last third of the book do feel rushed to me (although the last kyoshi pov chapter ends sooo sentimental, enough for me to call f.c. yee a sap) but I feel they do establish the ways that kyoshi is going to cope with being a political figure, but I’ll have to elaborate on that somewhere else, so I digress.

the truth of it is this, and it is very harsh—yun was always supposed to be dead. we see it in how he and kyoshi have very similar backstories and the ways that jianzhu and kelsang are also pitted against each other their kids (well, kelsang’s kid, jianzhu’s pupil) end up dealing with the reasons why they were brought in. kelsang saved kyoshi from the goodness of his heart, he took her in and raised her like his own child (this makes me very emotional...) whereas yun was taken in because he was thought to be the avatar. then it turns out that kyoshi might be the avatar, but she is still kelsang’s daughter first, with kelsang honoring her wishes to keep it secret and letting her comfort him on the iceberg, and then when he believed kyoshi over jianzhu. establishing kyoshi’s humanity is really important in the novels so we can give kelsang a big thank you to him and then later to rangi to make sure kyoshi loves and treats herself well. 

what i’m getting at here is that if yun hadn’t been taken in for being the avatar, he would’ve been dead and it’s a form of uh...narrative checkov’s gun in a way? there’s only so long you can make something of yourself by beating tourists at pai sho. kyoshi and yun both had expiration dates and only by the grace of jianzhu and kelsang did they survive. yun reassures himself that life is a game and “he will survive a turn longer.” his story is always about doing the next thing to survive, to prove he’s worthy of the survival and salvation given to him by jianzhu. kyoshi’s story is not about deserving avatarhood, it’s about becoming the avatar. it’s a key difference in the way the narrative treats them. if he’s hadn’t been mistaken for the avatar, he would literally be nothing. he’d be dead. 

and there’s only so far you can go playing the person who deserved avatarhood if you’re not the avatar, and I think that mainly accounts for discrepancies in the idea of justice and how yun and kyoshi get to act on it because believe me, I would’ve loved to see yun tear the whole thing down. like, to see kyoshi have to kill yun for destroying the system (this is an oversimplification*) and then have her declared the “breakdown of negotiations?” like alright...sure, jan. let the boy kill a few people!! eat the rich!! murder isn’t even that bad anyway (/joking).

*yun is literally declared the residue of kuruk’s generation’s sins by hei-ran. this theme of legacy and cycles of abuse is emulated to him which brings me to acknowledge that yeah, it’s really shitty to see him killed when that theme lives in both him and kyoshi. it is a symbolic ending to the cycle of abuse when kyoshi “puts him away” (did she have to say that!!!) but that shit hurts, man. however the line “I’m sorry I said you would have to live with your pain. Because you won’t,” serves to acknowledge that by the end of the duology, yun himself has become an abuser. he’s shoving kyoshi into boxes, tries to kill rangi (to be fair rangi tried to kill him minutes/seconds earlier but he did try to kill her mom for allowing a man to try to kill him. it’s almost like...a cycle), he holds people hostage, terrorizes and murders several people in his pov chapters...at least lao ge was subtle about his work. 

so yes, yun apologism on main. but I very much prefer to do it within canon, I think. 

#you all know the song baby boy by mother mother? #yeah #thank you so much for asking <3 #anonymous #answered asks #z.txt

[myheartissetinmotion]

hello, internet

I’m really about to expose myself here huh

anyway, this post is the brainchild of my quarantine. Beginning somewhere around April (what even is time) and ongoing to this day, I’ve written screenplays and fics, made pinterest boards and spotify playlists, dreamed up choreography, and plotted storylines, all as a product of both escapism from this insane world and yearning to be part of my favorite tv show in any capacity.

guys, gals, and nonbinary pals, buckle your seatbelts and allow me to introduce you to “Zoey’s Extraordinary Cousin”, Victoria Evelyn Clarke.

(most of this was written before s2 premiered, and I won’t always be changing her whole story as it would be required on this post, but I’ll continue to add fics which modify stuff to fit s2 canon)

general stuff

name: Victoria Evelyn Clarke (named after a song-first-and a friend-middle)

nickname: Tori

age: 23

height: 5′9″ (plenty of opportunity for the brogrammers to joke about how short Zoey is when compared to her younger cousin)

hair: auburn, medium length, wavy

eyes: hazel, she wears glasses

family: her father is Mitch’s brother, so Maggie and Mitch are her aunt and uncle, making Zoey and David her cousins

occupation: just graduated from a BFA musical theatre program; hired to play piano in the SPRQpoint lobby, stays there for most of the time that her story is shown and eventually books a role in the LA area, which causes her departure from the show (if she’s just a recurring character)

a few of her functions as a character

disclaimer: I’m fully aware that a lot of concepts I’ve come up with for her couldn’t actually happen on the show (especially if I played her, which of course is the ultimate dream), but I just wanted to put all of my ideas into one place

because she ends up working at SPRQpoint, Victoria serves as a bridge between Zoey’s work life and family life, making the story more cohesive

due to the blood relation and her empathetic nature, she can tell when people are singing to her. Zoey tells her about the power right away, and she provides insight, taking on a similar role to Mo but with the added bonus of already knowing her family and getting to know her coworkers better. A complication in the powers is always interesting, and it opens the door for many more possibilities

she’ll bring more musical theatre songs to the table and diversify the music genres discussed on the show; it would also be really interesting to have a character that plays an instrument and see how that might factor into heartsongs

she’d strengthen the theme of music bringing empathy through storytelling; through her insight and empathetic nature, she sees qualities in some characters that Zoey and the audience haven’t seen yet

she’s been the “therapist friend” all her life, and a big part of her arc is learning how to take care of herself and realizing that her own emotions are just as valid as those of the people she helps; this gives a contrast to Zoey’s initial awkwardness when it comes to emotions and helping people, and they help each other through everything

the fact that she quickly falls for Leif sends Zoey into a bit of a tailspin; she feels that she has to tell her what else he’s sung, which results in a question about the ethics of the power and privacy. This’ll give more depth to Leif (who we’ve barely heard from emotionally since mid-ep-11; there’s a lot behind “things change, people change” that I’m curious about) along with bringing out a protective side to Zoey and deepening the Clarke family dynamic

personality and characterization tidbits

hufflepuff through and through

sees the best in people

loves music and is really knowledgeable about it (see Zoey and Mo in the relationship section down below for the impact of this) and has escaped into it her whole life; this makes her almost a foil to Zoey as they balance each other out

just as awkward as Zoey; one can absolutely tell that they’re related if only by their speech patterns and appearance

has a playlist for every imaginable human emotion

bi and hopeless romantic, but has never really felt wanted

unashamed theatre kid

quick-thinking and witty, intelligent but idealistic, and sometimes comes across as naïve

passionate about activism and working for change

feels and cares very deeply

see pinterest board and spotify playlist below in the references section for more

relationships with other characters

Zoey Clarke: her cousin. After graduation, Victoria visits her family to be there for them after the funeral, and this begins her storyline. The extended Clarke family is tight-knit, and she and Zoey have been really close friends throughout their entire lives. They can read each other well, and the established relationship is really clear in their dialogue and the way that each is one of the few people that the other feels genuinely comfortable around. Partly because Zoey never had a younger sibling, she was always very protective of her younger cousin. This comes into play in a huge way during Victoria’s storyline, beginning with her second heartsong. One of Zoey’s internal conflicts throughout this situation is the decision of how much to share with Tori of what she knows due to earlier heartsongs; she feels it would be an invasion of privacy to tell too much, but she also feels at the start that Tori is being naïve and a bit too trusting and doesn’t want her to get hurt. This struggle deals with both Zoey’s personal relationships and the ethics of the power.

Leif Donnelly: the reason for the aforementioned internal conflict. Victoria falls hard and fast for him during her first tour of the fourth floor, leading to her second heartsong. When confronted by a dumbfounded Zoey about it, she denies it as nothing more than infatuation at first sight, but this gets harder to believe as time goes on and Zoey has to watch her cousin and sworn rival genuinely becoming friends. After a few weeks, she learns and has to accept that Victoria’s feelings are genuine. Reciprocation, though, is a whole different matter; they find this out by way of another heartsong, which is also how Victoria learns of her own addition to the power. Witnessing that song pushes Zoey over the edge, and similarly to s1e5, she eventually blurts out the truth about Leif’s previous heartsongs and relationship with Joan, which leads to Victoria’s very conflicted heartsong rendition of “Toxic” (because if no one sings it to him at some point in the series, that’s a seriously missed opportunity). We see their later conversation: Victoria isn’t sure how to bring it up, but she doesn’t have to, because the events of the end of s1 obviously did take a big toll on Leif and he wants to be honest with her about it (see chapter 7 of singin’ from a streetlight). It would be interesting if she had something to do with the way he eventually found out about the power; Victoria lives very much by her moral compass, and she would feel awful about knowing things that he doesn’t know that she knows. If I had to sum up the relationship in terms of how it serves the show, Victoria sees the parts of Leif that Zoey and the audience (for most of the season) don’t, and he’s one of the first people who’s ever made her feel wanted.

Mo Montgomery: these two get along splendidly. So splendidly, in fact, that Zoey sometimes even regrets introducing them, especially when she can’t sleep due to their late-night, belt-to-the-rafters karaoke sessions that can be heard through the apartment walls. Mo finally has someone in the building (Victoria is staying with Zoey through the duration of her arc on the show) who properly appreciates music, and the three of them (plus Max and whoever else learns about the power-Simon absolutely has to in season 2, come on) become a sort of ragtag let’s-figure-out-this-crazy-power group of friends.

David Clarke: I’ve always thought that the backstory revealed in ep 5 of David being a former theatre kid was really interesting. He and Victoria have bonded over this for a long time, and she feels betrayed when he leaves it behind due to the toxic masculinity explored in ep 5. I’d love an ep called “Zoey’s Extraordinary Brother” or something that goes deeper into that; Victoria definitely has a hand in helping David embrace that part of himself, and she’s almost as close with him as she is with Zoey.

Max Richman: she’s actually known him for quite a while, having done a bit of community theatre with him before he even met Zoey (because you cannot tell me that this man, who can canonically sing and dance and genuinely enjoys it, wasn’t one of the only boys in his high school theatre program and didn’t ever play Georg Novak at some point). He seemed to have gone through some Good Old Fashioned Character Development in ep 12, what with the “focus on yourself right now” and everything, but there’s still quite a lot to unpack that was revealed between 7 and 11. Honestly, I just want to see someone Talk Some Freakin Sense Into Him, and an old friend who’s been removed from the situation but knows both him and Zoey very well is a pretty good bet.

Simon Haynes: Victoria, along with Mo, acts as Zoey’s confidant for the central love triangle. She’s a bit put off by the idea of Simon’s cheating, but sympathizes with both him and Jessica after learning the whole story; upon meeting him, she thinks he’s wonderful. (he honestly gets some of my favorite dialogue on the show...who else can pull off all of those deep conversations along with “this is a classy affair, of course there’ll be pigs in a blanket”? in this house we appreciate JCS)

Tobin Batra: the first person she meets on her first tour of SPRQpoint, much to Zoey’s dismay. As the audience learns more about him (which I’m so freakin excited for, by the way), he and Victoria share quite a bit of banter while the season goes on. Tobin also thoroughly enjoys trying to push Leif and Victoria together, and there are a lot of fun scenes in which he has a blast acting as a wingman for his oldest and newest friends.

Mitch and Maggie Clarke: they mean absolutely everything to her. Victoria’s parents are usually supportive, but they often consider her career as an entity separate from her as a person and discuss it as if the decisions are up to them; she was always able to come to her aunt and uncle when she needed to, and she’ll always be grateful to them for it. As  previously mentioned, the extended Clarkes are really close, and Victoria deeply regrets not being able to make it to Mitch’s funeral. At the start of her arc, she believes that she doesn’t have as much right to grieve and that she has to “stay strong” for her family. Over the course of her storyline, she realizes that there are people that are there for her just as much as she’s there for them. This includes Leif, Zoey, and Mo; Maggie is one of the most important of these for her. Family is at the core of this show, and at the core of Victoria’s being.

Emily Kang: first of all, I’m still hoping she gets “Everything Changes” from Waitress in season 2. Victoria admires her wit and they enjoy each other’s company; when needed, she loves babysitting her second cousin.

Abigail: give her a last name gosh darnit. I hope she comes back as an intern in season 2; she and Tori would be SUCH good friends, and it might be neat if they had a duet of sorts, so that she’d be signing with the strings carrying on her part as Tori sang.

Aiden:  okay, I knew from the beginning they’d be best friends oh my god. She’s closer in age to him than she is to Zoey; she was often babysat by her cousins when she was little, and that’s how she got to know the kid next door, the kid who air-guitared along to the radio and made plans with her to travel the world when they got older. Naturally, she had the biggest crush on him, which Zoey thought was hilarious. They still support each other’s music and keep in touch to this day.

I’m not sure what’s going to happen in season 2 with new characters, etc, and whether characters such as Joan, Autumn, Howie, Eddie, Deb, Ava, Jessica, etc are coming back. My ideas for this character and her relationships will obviously change as the show progresses (I say as if anything will happen-it’s one of the only things I have left to hope for, okay, voice in my head, shut up) and I’m looking forward to seeing how the story continues to unfold.

some potential heartsongs

“Wishing You Were Somehow Here Again” from The Phantom of the Opera: the first that the audience sees of her. After an episode of Zoey Going Through Some Stuff, she needs to talk to her dad, and realizes once she reaches the cemetery that she’s not the only one. It’s raining, much as it was when they tried to choose his plot. It’s just the beginning of the song; on “all that you dreamed I could”, Victoria’s voice cracks-she’s crying as she’s singing-and she trails off, then the instrumental continues while they talk. I mean, we’ve already had a song from an ALW musical...IT COULD WORK.

“Absolutely Smitten” by Dodie: after her first tour of the fourth floor, to an oblivious Leif. I’ve always wondered why they haven’t used the swings in the choreography yet, so I just decided to do it because Why Not. The vibes of this song would be perfect for the vibes of SPRQpoint, and it works for the scene as well; it’s vulnerable enough to be the beginning of real feelings, but cutesy enough for her to deny it to Zoey as nothing more than infatuation. If we can put the railing on the staircase back in from the pilot, it fits pretty well as a sliding-down-the-railing song, if that makes sense.

“Human” by Christina Perri: a visit to her parents. enough said. It serves as a major release for Victoria as well as the reveal that she’s far from the put-together person that she tries to be; I also feel like this kind of song would fit well into the show, and it’s more recognizable to the mainstream than most of the other songs on this list. This is also a wake-up call to Zoey that her cousin really is hurting, and the “help” that prevents the song from haunting her comes from the fact that she’s the first person to really understand Victoria’s relationship with her parents and be there for her.

“Strawberry Blond” by Mitski: the epitome of Yearning™. A few weeks have passed since “Absolutely Smitten”, and as much as Zoey would like to stay in denial about her cousin’s feelings, the universe isn’t going to let her; “I love everybody because I love you” is pretty difficult to twist out of context. This one is short and sweet, starting at the second verse and skipping to the repeated chorus. The choreo epitomizes the paradox of combined awkwardness and grace that lies at the heart of Tori’s character. She floats and spins, propelling herself around the office as if lifted from within by the music, never taking her eyes away from Leif. This is when Zoey realizes that she actually has to deal with it, prompting the swear guitar title card; this song and the next two are all part of the same episode.

“Victoria” by Jukebox the Ghost: this song is Leif’s; she accompanies it. Zoey comes downstairs to the lobby a few hours after the workday ends and hears the piano, but there’s no one playing it. It would be really interesting to see the way that instrumentals happen in heartsongs if there are actually instruments in the room; just something fun to play with in regards to the power. (yes, I named her after this song specifically for the purpose of this song, and I’m aware that if the full song is taken into its own context it doesn’t portray a particularly healthy relationship but the piano part is cool and the song just has this electric energy okay?!?!?!) The choreography is very La-La-Land-esque; it’s sweeping and explosive as they make their way across the lobby. At the second verse, she starts actually playing the piano; this cut of the song goes to the last chorus after the second verse. This is also another example of Tori’s being able to tell when she’s being sung to (the way that she finds this out is explained in jumpstarted (see below), but that wouldn’t work in this universe, so this song is how she finds out if she were actually a character). She’s in utterly joyful disbelief, going in between trading incredulous glances with Zoey and allowing herself to fall into the choreography. This song is the turning point for Zoey when it comes to the relationship she’s witnessing; while they’re on the piano bench, Leif smiles at Victoria in a similar way to the end of episode 7, and this sends Zoey’s protective-older-cousin-mode into overdrive. Feelings are one thing, but reciprocation is quite another, and this is when Zoey realizes that she has no choice but to tell Victoria the truth.

“In Case You Don’t Live Forever” by Ben Platt: let’s say that at the beginning of this episode, there was a dream that Zoey had about an old memory with Mitch in which she watches her younger self heartsing this to him, and she’s attempted for all of that time in between to remember the melody. A few days after “Victoria” takes place, Zoey is struggling to figure out how to bring up the needed conversation, and she tries to preface it by explaining how much Victoria means to her. She doesn’t get very far in her speech before she hears the music she heard in her dream; this song is Tori revealing how much she’s always looked up to Zoey, which brings her to tears and causes her to blurt out the last line of the episode: “I need to tell you something.”

“Toxic” by Britney Spears: tbh, this song once came on the radio and I thought “...wait a minute”. It’ll also be more recognizable compared to this list of showtunes and indie pop. This song takes place on the fourth floor during the next episode; Mo has come to pick up the cousins for their weekly lunch, and he and Tori are once again trying to give Zoey a crash course on musical pop culture. Today’s lesson is pop of the early 2000s, and Tori tries to give a demonstration by singing the first verse, almost unable to due to how hard the three of them are laughing. They walk past the conference room where a meeting is taking place, Leif sitting at the head of the table, and Zoey barely notices the instrumentals that have been building in the background until Tori stops short and the all-too-familiar riff (yknow, the daaaaada dadada) comes operatically from her throat rather than the invisible synth. Mo can tell by Zoey’s expression that the demonstration, which has stopped in the real world, has turned into a heartsong. As she sings, she makes her way into and around the conference room, spinning chairs and overdramatically throwing herself against walls, as if magnetically drawn to the subject of the song but trying to pull herself away. It’ll show how conflicted she is, but it’ll also be freakin’ hilarious.

“Unusual Way” from Nine: After the aforementioned much-needed conversation in the episode which “Toxic” appears in, Leiftoria (is that an unintentionally awesome ship name or what) is official. I’m not sure how long her story on the show would last, but this song marks the end of it; she books a role at a fantastic dinner theater in the Los Angeles area. In the scene of her last heartsong, Tori, Zoey, and Leif are sitting in an airport lobby. The ticket machines are down, and dozens of impatient passengers are waiting with them, listening to the drone of announcements and tinny pop music played over the loudspeakers that slowly morph into a melancholy arpeggio. If anyone reading this hasn’t listened to this piece, I highly recommend it, by the way-it’s utterly haunting and you’re definitely gonna cry. The cut starts at the second verse and skips the solo third verse to go right into the duet. There’s nothing extravagant about it; as in the musical itself, this song is carried by the sweeping, raw emotion behind it.

references or something-what do I call this one

spotify playlist: a living document (chronologically) of potential heartsongs, songs that fit her situations, and songs that just have her Vibes.

pinterest board: an ever-growing, ever-changing representation of her character. I’ve pinned everything twice so that there can be sections without disturbing the full aesthetic; each section is named after a lyric from a musical that represents that aspect of her character.

tiktoks: there are a few I’ve made about her, some actually in one or both of the universes I’ve written about (see below) and some just for The Vibes or other potential story ideas. @can.you.hear.it.echoing

jumpstarted: the first fic for anything that I’d written in years; it started out in my mind as three scenes and came out to 29 pages. This is an au in which she works at the karaoke bar; she couldn’t actually be on the show this way, but I just think it would be neat-it would only be canon compliant through the middle of s1e11 (there are a few time shifts), so here we are. (seriously though please read this one I’m very proud of it.) This story does share aspects with what she’d actually be able to become as a character, and these are further explored in my second fic.

singin’ from a streetlight: a collection of oneshots that goes through most of the potential heartsongs listed above, from Zoey’s pov. chapter 7 is an interlude, back in Tori’s pov, because Zoey doesn’t see her and Leif’s much-needed conversation on the evening of “Toxic”.

but i’ve never been quite alright: I thought of “Human” as a potential song for her after the entirety of “singin’ from a streetlight” had been published, so this is a seperate fic to explain that scene; it fits in both of the above universes.

scaffolding and christmas lights: cheesy fluffy office party holiday fic because why not. It’s fun to consider how other glitches in the power might manifest; in this one, anyone that Zoey makes eye contact with sings their heartsong to the world. this doesn’t really go with the timeline of either universe, but it’s an interesting idea that might be worked into either

with a little motivation, i’ll go far: she experiences her first heartsong, “California” by Ricky Montgomery, at the airport as she comes into San Francisco. I just this song fits her well at the beginning of her story-this was a really fun one.

it’s the terror of knowing what this world is about: taking the little bit of David’s canon backstory and RUNNING with it. he and Tori would have bonded so much over musical theatre when they were younger, and she must have felt so betrayed when he tried to abandon that part of himself; this fic explores that

‘cause i see every part of you, and i can tell you see me too: Leif shows Tori his sketchbook and Feelings Ensue. (I want to see more of him as an artist, it’s such a fascinating aspect of his character, please Austin please)

don't look too deep: I watched mamma mia 2 and this is the result. #laurengrahamfortanya2k21

have you been too much on your own: this came out of thinking about les mis too much for the thousandth time; it’s an au of chapter 2 of “singin’ from a streetlight” just because I thought it would be kind of hilarious

suddenly we all got young: the brolympics strike again. this came out a bit angstier than expected but it was so much fun to write; I’m really loving what I get to do with her in s2

just keep losing my beat: written during the midseason hiatus; finally found a way to fit her properly into s2 canon. quite proud of this one

perfection is so quick to bore: I fell so in love with the song “I Hear a Symphony” that I had to write something around it, so here this is. it’s very projection-y and rather cheesy but I tried to capture the emotion

screenplays: there are a few that I’m working on and this post will be updated as I finish and revise them

if you’ve read this far, thank you. I just wanted to get her out in the world before season 2 started so I could be as canon compliant as possible (and it happens to be Dec 21, both my birthday and the day that Planets Are Being Cool on the solstice so it’s a great day for manifesting). I would give anything to be part of this show in literally any capacity; from the beginning I loved the concept and by now, as cheesy as it sounds, it feels as if it’s almost knit to my soul. the entire cast, crew, and creative team are such wonderful people (at least from my limited view, but they seem to be very genuine) that I’d love to work with, and this idea has been a sort of a coping mechanism through everything going on in the world and in my life. This post will probably be updated as I come up with more content and the show develops during s2 and beyond. even if nothing comes of this, I love my Tori dearly, and I hope anyone reading this enjoyed learning about her as much as I’m enjoying creating her story.

#zoey's extraordinary playlist #zoey’s extraordinary playlist #zoeys extraordinary playlist #zoeysplaylist #zoeys playlist #zep #my life #my writing #tv tag #music tag #zoey clarke #leif donnelly #mo #david clarke #max richman #simon haynes #tobin batra #mitch clarke #maggie clarke #emily kang #the phantom of the opera #dodie #christina perri #mitski #ben platt #britney spears #nine #ricky montgomery

[neon-dynasty]

Kamigawa was a failed endeavor. Released in the autumn of 2004, Champions of Kamigawa promised some new things for Magic the Gathering, and the return to some old things as well. Most importantly, in my opinion, it showed that Wizards was paying attention to what fans were interested in (outside of Magic) and wanted to provide a way of relating to the fans. However, just about everything they did with the setting and game either couldn’t live up to expectations or outright failed. Here’s why I think the original Kamigawa block failed, and why I think a return would be a resounding success.

This came out much longer than I’d expected, so hit the jump.

For its entire existence up until 2004, most of Magic’s settings were a hodgepodge of fantasy tropes, and the storyline had been following or tying into a single thread for years. Kamigawa was the first setting to truly be free of the ongoing Magic story. Nowadays, however, Magic is known for its settings based on real-world places and cultures. Just this past year, we’ve visited Eldraine (Arthurian Britain), Theros (ancient Greece), and Ikoria (less a real culture and more about giant monster tropes). Back in 2004, however, visiting a clearly defined theme world like this was something that hadn’t been done in a long time. In fact, it’s something the franchise traditionally shied away from. 1996’s Mirage block took place in Jamuura, a continent on Dominaria based on sub-Saharan Africa.1995’s Ice Age was set in a Viking-inspired Terisiare. (You could say that Arabian Nights and Portal Three Kingdoms also count, but those were more wholesale copies than homages.) Based on ancient Japan, Kamigawa was the first herald of a new worldbuilding philosophy for Magic, one that would see the creative team at Wizards of the Coast put their own spin on familiar cultures and mythologies, while still keeping them distinctly their own. Kind of like Disney movies.

The mechanics also promised to shake things up. While I don’t remember any of the card announcements, Kamigawa block introduced many new pieces for the game. Samurai and ninja had their own keyword abilities in bushido and ninjutsu, and most of the sorcery and instant cards dealt with arcane and spirits. Legendary had its own theme as well, with 138 unique creatures (139, if you count the other Yamazaki brother) and 39 other permanents, with a number of cards that cared about the supertype. Finally, there were flip cards, a mechanically and visually interesting way of getting more value out of those creatures and introducing a sort of sidequest to your game. 

Kamigawa was gearing up to be something special in Magic. But as I said at the very beginning of this piece, it failed.

The mechanics were kind of a disaster. Splice onto arcane was parasitic and to get any value out of it, you’d need to go all-in on overcosted cards. Bushido, sweep, offering, and most of the rest of the keywords were similarly underwhelming, either providing minuscule value or actively getting in the way of what you wanted to do. Putting the legendary supertype on a card is a downside when Commander doesn’t exist and singleton formats are not a popular way of playing. It doesn’t help that having too many legendary creatures in a set thend to make them feel less special, as well. Flip cards, while cool in theory, wound up being a logistical mess that didn’t add much to the enjoyment of casual games, and barely saw tournament play. All of this meant the cards didn’t really impact Standard, and Limited was a clunky ordeal more often than anyone would have liked. Following Mirrodin block, the most powerful three sets since Urza’s block, was also a tall order, and one that almost no set was equipped to fulfill. 

Admittedly, while I love the card game, I absolutely adore everything else about Magic. The storyline intrigued me when I started playing during Onslaught block, and knowing that there was this vast body of lore kept me hooked. Hearing that there was a Japanese-inspired setting coming up was pure hype for someone who’d also been into anime for years and video games for years before that. The early 00s were an interesting time for entertainment, as Japanese animation had finally infiltrated American mainstream media. Pokémon had been a successful card game for years (another story for another day), and Yu-Gi-Oh had just hit the scene in America after doing well in Japan for a few years. With all this and a burgeoning internet, fans of anime, video games, and Japanese culture had certain expectations. To say Kamigawa did not meet them would be an understatement. 

The general setting was based on an older Japanese culture, one which didn’t see much representation in media. Samurai, ninja, youkai, along with other popular figures and tropes were either later inventions or had a more solidified image hundreds of years after the source material took place. While I remember many Magic the Gathering fans being worried that the game would take on an anime aesthetic to capitalize on what was popular with the wider geek audience, they actually took it in the opposite direction. Instead of bright colors and bold outlines, Kamigawa was a dark and gritty place, which was made even more evident by the increasing demand for realistic detail in the art department. The kami themselves, one half of the conflict, were alien and foreign to behold. These weren’t based on images that otaku would have been familiar with, Japanese or Western, but based on much older stories that had been phased out of the public consciousness.

In short, there is no “in short.” There are many reasons why it didn’t succeed, but ultimately, it came down to being something that no one really expected or wanted. Instead of taking the cheap, easy, and profitable route by leaning into anime culture, Wizards bucked the trend and used a setting that most Magic fans would not have been familiar with, forcing it to fit within the franchise. They also filled the block with parasitic mechanics that were clunky and actively detrimental to play. And yes, I’m leaving out dozens of other reasons why Kamigawa failed, but those are the main ones that I personally feel hurt the setting. 

Sadly, as public-facing employees remind us constantly, Kamigawa is a very difficult sell to the higher-ups. It was one of the company’s biggest failures, and they can’t use tweets and Tumblr asks from enfranchised fans as justifications for its return. And yet, the requests still pour in. I believe that the reasons for this desire are the key to a new set based in Kamigawa. 

Let’s start with the biggest one: Commander. In many ways, this format is kind of the anti-MtG. It’s a long, drawn-out process that uses decks built with your whole collection, rather than the newest releases. Cards that are awful in most other formats are amazing in Commander, and one of the biggest drawbacks a card can have - the Legendary supertype - is a major boon here. It’s also the current most popular format for old and new players alike. I think that more than anything else, Kamigawa’s legendary theme is what draws new players, as Commander enthusiasts will inevitably find some interesting cards that would never have worked well in the old days.

I also think that Wizards of the Coast has learned a lot since 2004 (and whenever they started work on the original block). Remember, Kamigawa was the first of its kind: a real-world inspired setting completely separate from what the entire franchise had been doing for years. There were bound to be mistakes, and they’ve clearly learned how to rectify them. The following setting, Ravnica, used an Eastern European city aesthetic to compliment its two-color guild theme, but was still constrained by the block structure. Upon our return there, they changed the block structure to better fit what the themes and story wanted. On the other hand, Zendikar, their D&D-inspired adventure world, was beloved for its fast and fun mechanics, as well as the feeling of exploration on the cards and in the media. The return, however, involved destroying all of that in favor of an extradimensional war setting. Guilds of Ravnica and Zendikar Rising each supplied what the fans wanted out of those settings, to varying degrees of success. 

Wizards also keeps showing us glimpses into Kamigawa through Core Sets and supplemental products. Tamiyo showed up on Innistrad and Ravnica. They printed new shrines (compatible with the old Honden) in Core 2021. Yuriko, the Tiger’s Shadow, is one of my favorite commanders of all time, and she’s from the 2018 Commander set. They still value the setting, and don’t seem to be interested in ignoring it to the point of obscurity (like, for example, Mercadia). 

And, obviously, there are the rumors. With a blog name like mine, you have to have known this was coming. The three planeswalker concepts from surveys could point to anything: Commander products, supplementary sets, etc. However, I think that the web domains for Kamigawa Neon Dynasty point to a full set of some kind.

Interestingly enough, the events of the original Kamigawa block take place in Magic’s very distant past, so it’s been a tantalizing prospect to see how the place might have changed in the past few thousand years. Skipping over medieval fantasy and bringing it past the present into a cyberpunk future might be an excellent way to go about it. Aesthetics from early 90’s anime could still be stylistically unique in Magic, while keeping elements from the old setting would root us to the original block. I could see the new story centering around a conflict between one faction clinging to ancient traditions and another pushing magical technology to its futuristic limits. After all, Tamiyo still dresses in old-fashioned robes and reads from scrolls, and the moonfolk were known to be almost completely isolated from everyone else. I wonder what the kami would look like, if we even saw them at all.

Ultimately, I think that Wizards is in the perfect spot to try Kamigawa again. Between their worldbuilding experience, the rise of the Commander format, and a willingness to push the aesthetics of their game in different directions, there’s a lot of reason to hope that we’ll be heading back sooner or later. 

Please feel free to let me know if I missed something or got any details wrong. And please discuss what you’d like to see in a return to Kamigawa, either new stuff or old. 

#mtg #kamigawa #kamigawa neon dynasty #tamiyo

[hauntedbasementqueen]

TVD: Delena vs. Stelena

So yes, I am a Delena shipper. And yes, this topic is a little old. But so far I have not found anything online that defends Delena for the reasons I ship them, so I am going to write this anyways.

This is three pages long, so be prepared.

Spoiler warning ahead.

I am not going to be defending against accusations, nor am I going to be using factors such as chemistry or attractiveness, although in my opinion both are in favor of Delena. This is only talking about the characters and how Damon, Stefan, and Elena all benefited from Delena being endgame, as well as why I think it was the best choice for the show.

From a screenwriting perspective, Stelena was a good starting relationship for the show. It had intrigue, and some passion, and, most importantly, it was steady enough to give the watchers time to get to know the characters. Stefan was unambiguously the good guy, despite being a vampire, and in the first few seasons the show had not built up enough loyalty to the characters to risk putting the main character with someone as morally grey as Damon.

In terms of the characters themselves, Stelena was also a good starting point for Elena after her parents’ deaths. She was hopeless, and what she needed was a constant, kind presence in her life who had just enough danger and mystery to draw her interest. Stefan gave that to her. For the first few years after her parents death, Elena couldn’t deal with the demands of a relationship with Damon (who, incidentally, had a lot of growing up to do as well). She needed Stefan, who could carry a lot of their relationship himself, rather than her having to take care of or monitor him, giving Elena time to heal and navigate this new supernatural world. And their relationship was… charming. The love there was real (although in my opinion, it was more platonic than romantic-- more on that later), and there was certainly enough drama to keep us engaged. For the beginning of the show, Stelena was good.

Around season three, however, is where it started to sour (and no, I am not talking about the Ripper or any of the other plot devices, only characterization). In the first two seasons, most of the Stelena drama was about them developing their relationship. Elena was figuring out who Stefan was and discovering his secrets. After season three, however, the showriters started to run out of ideas. Stefan’s past had been revealed. There was more to reveal about Stefan, of course, but all of the major things that would impact his relationship with Elena had been used. The ripper storyline had been done. Pretty much any other drama would seem artificial and out of character. Why? Because Stefan and Elena were both such stubbornly loyal people that any sort of betrayal on either of their parts would only seem in character if it relied on miscommunication, which is a subpar plot point at best. In addition, Stefan and Elena had a steady, quiet sort of love rather than the explosive type that viewers tend to want. To put it simply, Stefan and Elena’s relationship was becoming boring. Changing it up was in the best interest for the show.

In terms of characterization, Stelena also needed to end around season three. Elena was mostly healed from her parents’ deaths. She was headstrong, always running into danger, and would do anything to save the people she loved. More than anything, she was self-sacrificing, to the point where that was perhaps her biggest flaw. Stefan was the exact same as her. And that’s why in the beginning, when the stakes were lower, their relationship worked-- they understood each other. But as the stakes got higher each season and every decision was life or death, Elena could not be with someone who was just as self-sacrificing as her, for her own physical health. Stefan loved Elena. And yet he was the kind of person who would be a martyr and give her up, if that’s what she wanted (and he does when she becomes a vampire, saving Matt instead of her). This seems good on paper- until you consider that Elena is so self-sacrificing that oftentimes she tries to turn herself in before she considers all other options. And Stefan is so selfless and so respecting that he doesn’t stop her. 

Take the part about Elena becoming a vampire, for example. Yes, in the end it turned out fine and Matt and Elena were both saved. But Stefan didn’t know that Elena had vampire blood in her system. If she hadn’t, she would be dead. The choice was clearly between Elena and Matt- one of them was going to die. Elena wanted Stefan to choose Matt, so he did (after wasting several idiotic seconds arguing about it, but I digress). If it weren’t for luck, Elena would be dead, and honestly it would have been Stefan’s fault more than anything else. He knows Elena is incredibly, stubbornly self-sacrificing. He should have saved the life of the girl he loves first and then gone back to save her friend, no question. Instead he let Elena die because he was too much of a martyr. Yes, he did regret it later, but I believe that he would probably do it again in a similar situation-- their characters are just too selfless.

Enter Damon. If Damon is anything, it’s selfish. As the seasons go on, he becomes a better person, but when it comes to Elena, it is always, always, whatever is best for Elena first. And that is exactly what Elena needs. She’s grieved for her parents. She can stand on her own now. She doesn’t need someone to be kind, and to prop her up like Stefan did. What she needs is someone who can match her step for step and who can and will stop her when she goes on one of her self-sacrificing rampages (yes, I like Elena too, but you have to admit this is one of her flaws). Damon does that. He gives her the love, and the compassion, but he also gives her the strength of will and the selfishness that counterbalances her own selflessness. Not to mention as Elena grows on the show and becomes more confident, her character grows into more of an adventurous, witty character rather than the damsel in distress type she was in season one. The new Elena fits better with Damon’s adventurous and witty streak than with Stefan’s more steady, dry nature. 

Damon and Elena is also, in my opinion, far more interesting to watch than Stelena, and I think most people would agree. They are more passionate, both in love and in anger, and I personally like their banter far better. They have far more opportunities for angst and plot points, being more different than each other and both of them having grown to be similarly volatile (Damon becoming less volatile, Elena becoming more so). Thus, Delena made the show more interesting without having to force outstandingly interesting plot points or side relationships.

Looking at the show as a whole, I see Stelena as a better platonic relationship, and Delena as a better romantic relationship. Ian Somerhalder and Nina Dobrev have incredible chemistry, no doubt about that (and Pual and Nina have very little-- fight me on that), but in terms of the characters themselves it also makes more sense for Stelena to be platonic. Even when they were together, it reminded me more of a best friend relationship, especially in season two. They loved each other, and they were compassionate, but they were not passionate. There was no real spark between them, because they were too similar. Ideally, partners should have many of the same interests, but they should also complement each other. Best friends, meanwhile, are usually very similar. They don’t complement each other-- they are each other. The way that Damon complements Elena makes him a better romantic partner, while Stefan is an excellent friend to Elena due to their similarities. 

Now that I have covered how Damon and Elena are better off together, I’m going to briefly go over the Caroline aspect of Stefan’s character arc.

From the show’s perspective, putting Stefan with Caroline made the show a million times better. They complement each other, just as Damon and Elena do. Both of them are kind and optimistic, but Caroline is single-minded and driven, while Stefan is more calm. Caroline gives Stefan’s life excitement, and Stefan gives Caroline’s life steadiness. Not to mention from a showrunning perspective, they have excellent banter. I was starting to grow bored with Stefan until he got with Caroline. Caroline’s over the top, wordy dialogue matches really well with Stefan’s more dry, monosyllabic tendencies. 

So to conclude, while Stelena was good at the beginning of the show, in the end Delena was better for all of the characters. And Stefan is not the cheated victim, watching the love of his life with his brother. He found his own epic love. Those who support Stelena, in my opinion, are just pining for the past. Move on.

#thevampirediaries stelena delena steroline this is an old topic but I'm discussing it anyways tv analysis vampire diaries

[mycreativereach]

The Birth of Oron

Colossus’ raw power, wolverines’ adamantine claws, Captain America's unbreakable shield, the powers of the Greek gods, and the hierarchy of the archangels. These are but a few to name of the heroes I would watch growing up.

I was always a fanboy for superheroes, especially marvel. I had my time with DC, but I was always more drawn to the stories of the X-men or other superheroes within the realm of the marvel universe. Other means of fantasy such as Lord of The Rings and anime such as one-punch man and Dragonball Z played a part as well, but it was a few that stemmed from my childhood that allowed me to develop Oron the character you read today.

Colossus

To say that fantasy and heroes have had a slight impact on my novel is an understatement. I remember getting up early Saturday mornings, roughly around 8 am, to catch a list of cartoon shows that would appear on Fox. Over a few years, the shows had moved around and switched but I always remember waiting to watch the 90’s nostalgic marvel show x-men. The always progressive stories of wolverine’s trust issues and macho feud with cyclops, gambit’s Casanova chivalrous tendencies towards rogue, and Professor X’s forever dilemma of accepting the very humans who hate him while teaching mutants to be at peace with civilization was what I loved about the show. I couldn’t wait to rush to the carpet in front of my tv and sit for two half-hour episodes. At the time wolverine had been my favorite mutant and marvel character for that matter and still is. But the character that helped shape Oron was colossus. I remember seeing him for the first time, his mutant power of being able to enwrap himself in metal which tremendously increased his raw strength and power reeled me in. His character traits of being a humble Russian farmer with roots of loyalty and fighting for good is also what attached me to him even further. From that point on until this very day, colossus is still one of my top favorite marvel characters and has also helped pave the way for me to creating my character Oron. I knew I wanted Orons characteristics to be someone who came across as hard and cold on the outside because of the lore I had built around him, but I wasn’t exactly sure how I wanted him to look. Eventually between coming across colossus combined with my love for bodybuilding and the aesthetics that bodybuilders bring is ultimately the reason why I created Oron to have more of a menacing appeal to my readers. But as for the color of Orons skin, it’s funny that Oron turned to be blue. I have gotten feedback both negative and even some positive saying Dr. Manhattan has played a role in this decision I made. They are similar in some respects but in all honesty, it had nothing to do with that character. The sole reason is that I like the color blue and decided to go with a lighter or sky blue. Navy blue is my favorite to be exact, but I Liked a light shade of blue that looked on Oron and then decided to keep it. I had gone through several other stages of Oron with different colors and patterns and other anatomical appearances, but I felt none of them looked well enough as the color that he ultimately ended up with.

Sarevok

Another character that played a role in the creation of Oron was the main antagonist of the well-known RPG-pc game from the 1990s Sarevok Anchev from Baldur’s Gate. Still one of my favorite villains ever, Sarevok had the menacing appeal of height, increased strength, and malice that caused him to be feared. But it was his assured intelligence and allured determination that made me enjoy his character. Although I like the version of Sarevok from Baldur’s gate, it is the expansion to Shadows of Amn in Throne of Bhaal that was the version that piqued my interest for Oron. Sarevok at this point comes forward to help his brother, the main protagonist in the entire storyline. The evil aura still emanated from Sarevok but as you play out the game, or read the books, you, in turn, find out that even though this once archrival of yours had been your most bitter enemy was nowhere to help you even with the ominous characteristics he still had. This helped give me an idea to develop Orons past as being one of sorrow and negativity while helping Aurelia and although being a stern teacher, Oron meant the best for Aurelia. There were certain differences between the characters but also some similarities as well in the ways of how they displayed their care for the person they trying to help and the determination and confidence they expressed through their cold hard demeanors with Orons being more serious and Sarevoks attitude animating more of a serious but sinister malevolence.

Marvels Cosmic Hierarchy

Getting older I started to really dive into the cosmic hierarchies of Marvel. The vast powers in the universe always intrigued me as to how powerful they could become and how different beings would clash against one another. Being limited to the capabilities we have as humans always made these stronger beings look much more appealing because I knew it was physically impossible to achieve their prominence of power. Characters like Galactus or the In-Betweener from the marvel cosmic hierarchy would always possess jaw-dropping crazy abilities and crash with other beings of good or evil in the universe. I wanted to adapt powers such as this into my storyline, but I wanted to also make sure the readers knew that no matter how powerful one could seem, everything in my universe can be defeated. We might look at Oron and think that he’s a God of some sort, an undefeatable being with extraordinary abilities. But the truth is Oron could be matched by other relevant powers as well. In Marvels Hierarchy, the order of power is laid out for you to see who is the strongest and weakest of that order, although it's subject to change at times since some beings get stronger and others weaker. But what I enjoy is that even though there is an order of strength of power that doesn’t mean someone of weaker status can’t defeat another being of higher ranking. Because there are so many factors that help accumulate the ranking status of powers you are never fully solidified in that position and can be destroyed. As Marvel fans would know, we saw this when master order and lord chaos put aside their differences and joined together to destroy the living tribunal who was considered the second to the one-above-all who is the strongest entity in the marvel universe. Another example was how the Knull, the divine leader of the symbiotes, such as the one called venom from Spider-Man appeared from the multi-verse and decapitated a celestial, who were known to be some of the strongest beings in the multi-verse at the time. As much as there are hierarchies sometimes there are powers that seem to have been forgotten or hidden away to avoid detection. And even though there is a list of hierarchical power such as the one Oron is a part of you maybe never be truly undefeatable with other powerful beings that roam the universe.

 Greek Gods of Old

Another form of lore that helped shaped my character Oron was the tales of the Greek Gods from Mount Olympus. The many stories and fiery battles between themselves and also the titans intrigued me the most out of the many legends they were a part of. Their supremacy and dominance over Earth and its inhabitants were similar to what I wanted to implement in how Oron was perceived. Each Greek god had a role to play in part to help civilization keep structured. They each had an array of followers, some more than others, and had cities dedicated to their names. They were worshipped and in term bestowed their blessings upon the strongest of their followers and warriors. But Out of all the gods I always gravitated towards Poseidon and Hercules the most. Poseidon’s because of the wisdom yet commanding presence the god held and Hercules because of the demi-gods valiant heart and brute strength. So, you can say these didn’t exactly correctly tie with Oron but there are similar traits from these characters and the motions of the Greek Gods that inspired some of the character traits in Oron.  Although Oron is a hard-pressed individual he still flows with wisdom from the amount of experience he has gained from his years of life as Poseidon expressed through his many gatherings with other Gods and mainly Zeus. Oron’s strength seems to be unmatched and comes off as an omnipotent figure, similar to Hercules, to the people of Earth. As you read along in the novel you come to see Orons shortcomings and also weaknesses which were important for me to show. But whatever Greek God it was, even though they were far beyond mortals, they could have weaknesses emotionally and physically. You could be strong-willed and mentally equipped but even the Gods can be shaken just like when they had to battle the titans for their freedom.

Christian Biblical Hierarchy and its Powers

Growing up I was brought into a family with moderate practice of the Catholic Christian religion. Every Sunday for several years we would go to church and celebrate the name of God like a lot of other Christian families and live our lives as close to those religious morals. Needless to say, as I got older I drifted farther away from the specific ideological catholic beliefs when it came to how we were created. I still did and currently have a belief that there is some sort of greater being in the universe, but I have concluded that I have no idea what it is. For all I know it could be some greater intelligence that has no shape or form. It could be some superior alien race that decided to use humans as a test subject for their own means of biological experimentation. Or maybe we collided with other forms of substances and we weren’t the direct creation from any being at all, just a number of substances colliding together which then took billions of years to create our bacterial organisms that finally evolved into what we are today. Personally, I don’t believe in the latter of the possibilities, I think there is some sort of greater being or spirit, intelligence, or energy, whatever you want to call it, but have no idea what it is. But as I started to sway away from Catholicism the stories of the archangels and powers within the bible didn’t leave my mind so easily. Reading upon how God created the Earth and then the archangels and other stories such as Able and Kane piqued my interest. This was the foundation for the background lore of Illithesium and also my wanting to add Oron to a hierarchy of characters that belonged to the Christian religion but with my own twist. God's love with the strength of Michael and Lucifer's fallen grace would play a role in Illithesium and Oron but differently from how the bible displays it. Oron and these characters were beings of great power, yes, but they could be destroyed and were not immortal as we learned growing up in religion class. They had physical forms and could be spoken to although through a language far beyond our capabilities. Their legendary powers displayed in the bible also are showcased but in a way that it could be explained and understood in a more somewhat scientific down-to-earth method. Adding Oron to the lore of characters that I grew up reading about and knowing with adding many different featured twists was creatively fun. And the lore thickens as I’m currently writing the second book which you’ll get to see hopefully sooner rather than later.

 My Love for Bodybuilding

As I mentioned up above, bodybuilding has been a part of my life since I was 18 and has allowed me to view life in a specific way. If you want results, then you need to go out and earn them by taking necessary calculated actions in order to have success. By doing this over years I build a physique I had once admired and still admire, for myself through hard work and dedication. Involving myself in bodybuilding and reading upon bodybuilders and strength lifters is what really caused me to adopt a specific look to my character Oron. Now not all my characters look as big as Oron as I want physiological diversity in my novels, but the results one can get from weightlifting and the many ways you can build your body are shown through all my characters. But the reason why I chose Oron to not only be tall and broad but heavily muscular was to give an idea of what a superior being far beyond human capabilities can look like at physical peak performance. But an even bigger and more lasting impression I wanted to leave on my readers was that even the mightiest and biggest beings have demons they have nestled inside them. The strongest of us also have skeletons in their closet they’d like to forget that always come back to eventually haunt us. It was to show that it's normal to have to face your fears and to overcome them. It was a combination of respecting the hard work and ethic that goes into building a body as bodybuilders do, whether they be natural or not, and the strength that has to be applied to overcome the adversity of everyday life obstacles, injuries, and more. And to know that a being that may be tall and strong with power none the likes have seen before can still be shattered as nothing in the universe was made to be perfect and will eventually break under certain pressure.  

Last Thoughts

Oron became a staple in the Illithesium novel and to find out more you’d of course have to read up on the book to see what happens. I hope you enjoyed the character of Oron as much as I did create him and giving him life while watching him grow throughout the novel.

If you liked what you read here or have any questions, comment below or send me an email and I’d be happy to chat with you!

#adam zomparelli #oron #illithesium #illithesium: the awakening

[hellyeahheroes]

Preview Pages and Interview for SUPERMAN SMASHES THE KLAN

Superman Smashes the Klan launches Oct. 16, with the first of three 80-page perfect bound issues. The collected edition of the story will be released in 2020. DC’s official solicitation for the first issue is below, followed by artwork from the issue.

“The year is 1946, and the Lee family has moved from Metropolis’s Chinatown to the center of the bustling city. While Dr. Lee is greeted warmly in his new position at the Metropolis Health Department, his two kids, Roberta and Tommy, are more excited about being closer to their famous hero, Superman!

“While Tommy adjusts to the fast pace of the city, Roberta feels out of place, as she tries and fails to fit in with the neighborhood kids. As the Lees try to adjust to their new lives, an evil is stirring in Metropolis: the Ku Klux Klan. When the Lee family awakens one night to find a burning cross on their lawn, they consider leaving town. But the Daily Planet offers a reward for information on the KKK, and their top two reporters, Lois Lane and Clark Kent, dig into the story.

“When Tommy is kidnapped by the KKK, Superman leaps into action — with help from Roberta! But Superman is still new to his powers — he hasn’t even worked out how to fly yet, so he has to run across town. Will Superman and Roberta reach Tommy in time?

“Inspired by the 1940s Superman radio serial ‘Clan of the Fiery Cross,’ Gene Luen Yang (American Born Chinese, Boxers and Saints, The Terrifics, New Super-Man) brings us his personal retelling of the adventures of the Lee family as they team up with Superman to smash the Klan.”

I’m really curious: How did this get started? Obviously, there’s a history to the Klan of the Fiery Kross and the Superman radio show, but how did you get your in on this particular story?

I first heard about it through the book Freakonomics; they actually devote an entire chapter to the whole thing, how this one storyline in the Superman 1940s radio show dealt a huge public relations hit to the Ku Klux Klan.

I remember reading about it and learning that the incident that set the whole thing off in the original show was a Chinese American family moving into Metropolis. So, I’ve been a superhero fan since I was in the fifth grade — the very first comic I bought was a Superman comic — and I’ve been reading Superman comics since I was a little kid, and I can’t really remember any other Chinese, or Chinese American characters showing up in any of the comics that I’d read. So, it kind of piqued my interest.

Then, I started working for DC in early 2015; I did a 10-issue run on the monthly Superman comic, and after that I’ve been part of the DC comics family. I had the opportunity to have lunch with Marie Javins, who is one of the legendary editors at DC, and this came up as an idea of what to do.

I’m super excited to be working with the artists Gurihiru. I don’t know if you’re familiar with their work, but they’re so good; they’re a Japanese art studio, but it’s really just two women — one does all the pencils and the other does all the inks. Early on, the editor and I talked about going for an art style that’s just like the old Fleischer Superman cartoons but mixed with a manga influence, and I feel like they totally delivered on that. That’s exactly what they did.

The acting is so good. It looks so simple, but what they’re doing on the page is so clear.

The acting is what puts them over the top. It’s what makes them masters.

One of the things that I like about the first issue is that you show Superman as an inspirational figure not only to the "good guys," but also to Chuck, who’s the child who doesn’t necessarily understand what Superman stands for. The iconography of Superman is shown to be this nuanced thing.

One of the things about the Superman radio show, and the original version of this story, is that it actually comes relatively early in Superman’s career. He was first published in 1938, and the story was broadcast around 1946, so that’s just eight years, and he was already a worldwide phenomenon. And especially in America, he was wildly popular. But I do feel that the Superman that we all know and love today, he wasn’t quite formed yet [at that time].

There were still pieces of him that were being solidified. And as much as the radio show impacted the real world in terms of bigotry and racism, it also helped shape Superman’s character. It was at this point where Superman really did become a symbol of American tolerance, American justice and American hope.

The subject of Superman not being a fully formed character is something you play with in the text of this book, as well as the subtext; Clark is still learning who he is — his power set, his abilities and his cultural heritage. He’s literally a character in flux, just as he was at the time when the original radio show was broadcast.

The more I read about the radio show, the more fascinated I was. When Superman first appeared in 1938, he was essentially a glorified strongman, you know? He couldn’t fly. He was superfast, superstrong, he could jump high, but even then, there was a limit put on how high he could jump. It was specifically said that he could jump 20 stories.

A lot of his development actually happened in the radio show. He actually flew for the first time in the radio show; the radio show was where Kryptonite showed up for the first time. A lot of that comes from the fact that the radio show got so popular that it became a daily thing, whereas the comic was still monthly; they really needed to develop Superman — his mythology, his world — really quickly.

So, when I learned about that, I thought, this is a comic book adaptation of this old radio show — we should play with some of those elements. We should play with the fact that he doesn’t fly, or that Kryptonite is a brand-new thing.

But despite that, he remains Superman as we know him. There’s this essential Superman-ness that comes through on every page. You talked about reading Superman when you were a kid; is this something that you just inherently “get”?

My parents were born overseas, and growing up, I went through this period of time when I had a hard time vacillating between two identities. I had a Chinese identity at home, I had an American identity at school, I had two different names! When I was a kid, I did gravitate toward Superman, but when I got into my teenage years, I started getting into characters I thought were more “cool” — cool in quotes! [laughs] — but one of the things that drew me back to Superman was realizing that he was an immigrant from Krypton.

Like, all of those things: vacillating between two different identities, having two different names, having two different sets of cultural expectations. All of the realities of my childhood, all of it was encoded in Superman.

I actually have a theory about this — the reason why Superman presents himself as “perfect” is because he’s an immigrant. I saw it with my own parents; they came here and people perceived them as “foreign,” [and] they were always cognizant of this. The way they dealt with that was by trying to be perfect citizens. I think Superman does the same thing; the reason he tries to be a perfect citizen is because he knows he’s an alien. As I built a connection with the character, that’s what it became. He really became an icon for me after I saw all of this — [Jerry] Siegel and [Joe] Shuster knew all of this, they were children of immigrants. They put all of this in the character.

I think a lot of time, when we see him on cereal boxes, or whatever, we miss that, but it’s the core of the character. The core of Superman is that he’s an immigrant from Krypton.

That ties in with something else I enjoyed about the first issue — that there is so much about Superman being confused about his cultural identity. It plays against what’s going on with Tommy and Roberta’s family — it’s a connection that you’re not hitting people over the head with. You’re showing that Superman is an immigrant even as he passes as, as you said, this “perfect citizen.”

I hope so. All of that was in the character from the very beginning. His immigrant status has been there since the very beginning and is, I think, closely tied to his being an American icon. Those two things go hand-in-hand. The immigrant story and the American story are pretty much the same thing.

How much of that is present in the original story? Was the original radio serial as interested in Superman as an immigrant explicitly? Did Tommy and Roberta play such important roles, even though they were Chinese American characters?

For the radio show, I would say that the lead character was definitely Superman, and after that, the focus was on Chuck, then Tommy. Roberta, Tommy’s sister, didn’t even exist in the radio show. For me, I wanted to center the story on this Chinese American family. I really do think of this book as an Asian American book — maybe not just that, an immigrant book. By putting this Chinese American family center stage, it really highlighted the specific immigrant side of Superman.

Spinning off that, there’s the fact that this story is being published today. We’re at a point in history now where even the discussion of immigration in America is this impossibly charged topic. It feels important at this moment to have a story — specifically, to have a Superman comic — that pushes back so clearly against bigotry and racism, that does make the appeal for tolerance.

It’s not just America. You read the news about Europe, India, or the Philippines. I started this project because I thought it was something that I needed to understand. There’s a Chinese tradition that you use the events of the past as a way of talking about the present; I did come onto this project thinking about that, thinking, if I can understand the historical context that there was something about the present that I’d understand a little bit better.

One of the things that came out of this — we’re at the tail end of the third and final book right now, as we speak; I’m just about done with the revisions — and one of the things that I’ve learned is that the world learned something about tolerance after World War II. Not just America; all of us learned something about tolerance. World War II was the worst nationalistic instincts of the world come to a head — the worst instincts of our species had manifested themselves pretty much everywhere in the world. And then, this Superman story, which arrived a year after the war ended, was primed to convey the lessons the world had learned to a younger generation.

I just think that, maybe we’re so far removed from that period that we’re beginning to forget those lessons. That was the impression that I got.

Did you go into it with the idea that this was a lesson that needs to be retaught? This is, after all, a project aimed at younger readers? Were you thinking in terms of, lessons needing to be relearned in today’s culture?

To be honest, I was more going into it thinking that there were things that I personally wanted to understand better. The original storyline was very didactic, but I don’t think it was just about the lesson that was explicitly said in the story. It was also about the historical context in which that story came out. I wanted to go in to try and understand that a little bit better. I’m hoping that me wrestling with those issues comes across in the story.

You said that Chuck was one of the lead characters in the original version of the story, and one of the things that’s compelling about the first issue is Chuck’s story. He’s a character who’s leaning toward bigotry and hatred, and is pretty explicitly being taught that by his family, but you don’t write him off; there’s the implication that he can go another way, he can learn to be better.

Chuck’s a character in the original radio show, and in the comic adaptation, we kept all the big pieces of who he is. He begins as kind of a bigot, but he has an arc. To fill out that arc, I did read a book called Rising Out of Hatred, it’s written by a guy named Eli Saslow. It’s the biography of Derek Black, who is David Duke’s godson; he went from being the heir apparent of the American White Supremacy movement, and he’s the exact opposite now. When he’s not in hiding — he had to go into hiding — he’s speaking out against the views he was raised with. I read that book wanting to understand how someone could make that transition; I wanted to embed some of that in the character of Chuck.

Changing gears somewhat; you’re a National Ambassador for Young People’s Literature, and comics specifically. When you’re working on a project like this, especially on a character as iconic as Superman, is this something that you can see as a tool for new readers to use to get into, not just Superman, not just comics, but stories about things that are happening in the real world? Stories that matter.

I actually feel really lucky to be working in comics today. I think over the last, maybe 10 to 20 years, we’ve seen this shift in the public perception of comics. More and more, people are open to the idea of comics dealing with serious topics, and I hope this project fits in with that. I do think that there is a growing wave of comics that want to tackle the very heart of what it means to — do you know the book Bitter Root? It’s an Image Comics title that’s coming out right now.

Yeah, Sanford Greene and David Walker’s book.

I think that book is one of the best examples of using genre to talk about very important and serious topics. I’m trying to do something similar with this Superman book.

- Admin

#Superman Smashes the Klan #Roberta Lee #Tommy Lee #DC