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reginavulturum · 4 months

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Batman Beyond Series Timeline

NOTE: I created this timeline based on the idea that Terry doesn't become Batman until the second half of his sophomore year and then I just sort of pieced everything together from there and it worked out pretty well for the most part. If I've messed anything up though, please let me know. I've included some further explanations for my decisions about this timeline as well as some thoughts about how this timeline effects the series after the read more. Also it might be helpful as you read this to have the episode list on hand.

Between January and May of 2039, during the second half of Terry’s sophomore year, he becomes Batman. This time spans from “Rebirth” to “Earth Mover” with Terry becoming Batman before Spring but after he turns 16. This puts his birthday between January and, at the latest, March, assuming the Spring Fling in “Golem” happens right before Spring break. This means that Spring break of 2039 occurs between “Golem” and “Meltdown”.

Summer break 2039 occurs between mid-late May to mid-late August over the time span of “Joyride” to “Lost Soul”

The first half of Terry’s junior year begins in mid-late August of 2039 and ends sometime in late December. This time spans from “Hidden Agenda” to “Final Cut” with Winter break occurring between “Final Cut” and “The Last Resort”.

The beginning of the second half of Terry’s junior year starts sometime in January 2040 until Spring break. During this time, Terry would have turned 17. This time spans from “The Last Resort” to “Zeta”. Spring break occurs after “Zeta” and ends right around the time of “Plague”. The rest of Terry’s junior year occurs in the time span of “April Moon” to “Ace in the Hole” (approx. mid-late March to mid-late May) with “King’s Ransom” occurring either right before or right after the beginning of Summer break.

Summer of 2040 occurs from mid-late May to mid-late August. “Return of the Joker” happens sometime after “King’s Ransom” but before “Untouchable” with “Untouchable” being the last Summer episode before the new school year.

The first half of Terry’s senior year begins in mid-late August of 2040 and ends in late December. This time spans from “Inqueling” to “Unmasked”. “Out of the Past” occurs in late October. From “Out of the Past to “Unmasked”, the rest of the season takes place between November and early December. The crossover episode with “The Zeta Project”, “Shadows”, has to occur immediately after “Countdown” in either late November or early December with “Unmasked” happening shortly after that.

The “Static Shock” crossover episode “Future Shock” occurs after “Unmasked”, either right before or right after the beginning of Winter break of 2040 in late December.

The "Justice League: Unlimited" episode "Epilogue" occurs 15 years after "Rebirth" when Terry is 31.

1. The Zeta Problem

(a) In the animated series “The Zeta Project”, we’re told that Zeta (see "Going Rogue" section) broke from his programming and went on the run in early August of 2041. This timeline assumes that that date is incorrect along with any other timeline discrepancies caused by that show. “Zeta” can’t be in August if “Plague” is in March.

2. Assumptions and Explanations

(a) I know some people think that Terry’s exchange with the security guard outside Blight’s office in “Rebrith” (“little early for Halloween”/”just in time for Fall”) means that episode occurs in Fall of 2039, but sometimes a joke is just a joke and it makes more sense for the Spring Fling to occur in “Golem” two episodes later if Terry became Batman only a couple of months at most before that dance.

(b) Max likely discovers Terry is Batman towards the beginning of junior year, around late August to early September at most. I and others place this episode in Fall because a poster for a Homecoming Dance is featured in one scene and those usually happen at the beginning of the school year. I think the GAT is probably a General Aptitude Test given at the beginning of each new school year to determine where students are at academically before finalizing class schedules.

(c) In the episode “Revenant”, Terry’s reference to Willie getting out in time for junior prom after two more months in juvie could be read as “just in time for junior prom [at the end of the school year]” not that they’re necessarily two months away from the end of junior year. With Spring break happening nine episodes later, a lot more time than two months would have to pass for Willie to get out just barely in time for junior prom.

(d) The episode “Eyewitness” most likely occurs in November of 2039 since Sam Young is up for re-election as district attorney.

(e) The reason I set “Out of the Past” in late October of 2040 is because in at least one other Batman cartoon, "The Batman" (2004), Bruce's birthday is in October (see "Trivia" section). If you do a quick google search, there's like three other birthdays/months listed for Bruce across the DC multiverse so I just went with the one that was most convenient to my timeline and I make no apologies.

(f) I tend to think that “The Call” had to occur during Thanksgiving break because I can’t imagine Mary would have let Bruce send Terry to Metropolis if he wasn't on break, but that’s just an assumption.

(g) I believe Terry’s training with Kairi began around the start of his senior year and continued through until part 2 of “Curse of the Kobra”. I believe the events we see through most of part 1 of “Curse of the Kobra” occurred over the same span of time that passes between “Inqueling” and “Betrayal”. Mostly I believe this is the case because Terry’s training probably would have taken months and thinking of it this way makes the timline a bit tidier.

(h) I set “Future Shock” right after “Unmasked” because KOBRA has a new leader (Zander is gone) and I kept it in December on the timeline because Terry looks dressed for cold weather.

(i) In the "Justice League: Unlimited" episode "Epilogue", Terry says that he was 16 when he became Batman. Some people think that means he didn't become Batman until the beginning of his junior year, but it's just as possible he became Batman during the second half of sophomore year if he has a birthday between January to March at the absolute latest (see my first bullet point for why). We know "Epilogue" occurs 15 years after "Rebirth" because Dana says she and Terry have been dating for 15 years and we know they likely didn't start dating until just before "Rebirth" when they were 16.

3. Rebirth Recontextualized

(a) Assuming “Big Time” occurs in September to early October of 2040 and we know Charlie Bigelow spent two years in jail, than he and Terry must have gone to prison sometime in September to early October of 2038. This would’ve been during the first half of Terry’s sophomore year and explains why in “Rebirth” he’s been split up from Matt (his parents think he’s a bad influence) and why things are so tense between him and Warren. If Terry was arrested in September/early October and did 3 months then he might not have gotten out of juvie until around late December/winter break, right before the series starts during the second half of his sophomore year. It seems that between his release and becoming Batman is when he and Dana got together since Mary talks like she doesn’t really know her in “Rebirth”. He’s basically just a couple months out of juvie when he becomes Batman.

(b) The first comic featuring Batman was published in March of 1939, so “Batman Beyond” starting around the same time of year in 2039 is really satisfying. As it happened, it was fairly easy to fit a timeline around that start time without too much finagling.

#batman beyond #dcau #batman beyond timeline #terry mcginnis #this is the timeline I use when writing Batman Beyond fanfic #I spent a morning and most of an afternoon feeling somewhat possessed as I created this timeline in a state of hyperfixation 2 weeks ago #it's been edited many times since then including a few times today #this post is mostly a reference for me but I want to be able to show it to other people if they have questions about my BB fanfics' timelin #anyway here's a fun fact for anyone who bothers to read the tags #Earth-1 Batman and my Mom share a birthday

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bigskydreaming · 3 years

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Hi! I was reading a fanfic and it brought up Roy and Dick's fight, which I see a lot of in fics but never what they fought about and consequently why they don't talk. I thought it was a vague excuse/reason why Roy was Jason's friend not Dick's anymore but this fic brought up when Dick was batman so I was wondering if there was actually a fight between them? Btw I really enjoy your metas! They're v thought out and well articulated. Also it's v easy to separate what's your opinion and what's fact which is. Very helpful for me

Yeah this is one hundred percent a fanon thing that's kept deliberately vague to justify why Roy in his friendship with Jason seems to have no positive thoughts or concerns about Dick whatsoever. Now granted, Dick and Roy are not nearly as close in the New 52 as they were pre-Reboot. The lack of their friendship there is definitely one of the things I disliked most about the Reboot - and I actually don't care if Jason and Roy are friends tbh, its the total erasure of his history with Dick as if he can't be friends with both, that like, bugs most.

But so like, yeah, Roy and Dick aren't super close when they interact on the Titans in the New 52, but there's literally nothing in any of their interactions that explains the complete absence of him from Roy's life or a reason that Roy would like, hate him the way he tends to in a lot of Jason-centric fics.

When you factor in pre-Reboot stuff though, it starts to get a LOT more.....uh wyd? And this is why I have trouble buying that people just write Roy and Jason the way they do because its the only thing they know from recent comics. Like one, most fans talk about how they don't even read the source comics, so there's no reason their knowledge of the characters or events would be limited to just recent comics if they're going off wiki summaries and scans anyway. And second, most fans AREN'T limited in their knowledge to just recent comics.

Like, the second people start writing Roy and Jason and Kori but with their pre-52 characterizations and references to events from THAT timeline, it all gets very messy, the way they're like, completely antagonistic towards Dick a lot of the time. Because Roy and Dick were always solid. Yes, they fought. A lot. But they always, ALWAYS made up afterwards. They had conflict about Roy's drug addiction - it didn't stop Dick from being there to support him through rehab, or Dick being the first person Roy called to help him get Lian after he learned of her existence. Dick literally held Lian before Roy ever did? He's the one who first put her in Roy's arms for the first time.

(Which is the prime grudge I and most Dick Grayson fans have about Roy and Jason fics which make Jason like, the absolute apple of Lian's eye. If you want to expand Lian's circle of loved and trusted ones to include Jason as Roy's friend and thus her uncle, like go for it! But there's zero reason that should require invalidating and erasing the fact that Dick was this little girl's adored godfather and uncle for pretty much her entire life. And the way Dick is just shoved offstage from Lian's life entirely, to slot Jason into his place as though they're completely interchangeable, its like....THAT'S the kind of thing that gets people irey about how Jason 'steals' Dick's dynamics and character relationships.

Because there's nothing saying they both can't be major players in Roy and Lian's lives! But just that they're not interchangeable! You need to develop the specific role Jason plays there WITHOUT just overwriting everything Dick actually did in relation to the two of them pre-Flashpoint, which is what you're drawing from the second you write Lian, unless you're specifically going with the few appearances we've had of her within literally just the last year.

But I mean, when people just search and replace Dick Grayson in all Roy and Lian's pre-Reboot stories and act like Jason was the one doing all of that instead.....why wouldn't fans of the source material be annoyed by a character getting credit for interactions and things done for Lian and Roy that Jason literally NEVER DID, while at the EXACT SAME TIME, conjuring some mysterious, unnamed 'Falling Out' that Roy and Dick had, that was clearly all Dick's fault, and resulted from him being basically excised entirely from Roy and Lian's lives?

Same with Kori, for the record, and like despite being Dick's ex, she and Dick have NEVER been like, estranged? She and Dick have often been close even after their breakup. None of it makes any sense, and the fact that a lot of fans don't even try to make it make sense or justify it, and expect other fans to just be fine with settling for an inexplicable reversal of Dick's every actual dynamic with these characters while setting up Jason to occupy the exact same role Dick played in these other characters' lives, like.....lol. Its fun.)

Anyway, back to your question, like, there are fights you can go with pre-Reboot as the source of various conflicts between Dick and Roy - but again, I maintain its just as crucial that they're always written as getting past them. They have a very tempestuous relationship because they are the two people MOST likely to call each other on their shit, two of the two people WITH the most shit in common due to the parallels in their childhoods and the roles they've occupied in the Titans and the superhero community in general, and the two people most resistant to being called out on their shit by each other, lol. Mostly in that case because like, they do recognize that they have a lot in common and understand each other very well, so the second the other is calling them out for something, they're usually like "ugh, if HE'S saying this, its probably true and I am just not prepared yet to be wrong about this. I need more time being unjustifiably rawr about things." Its like that thing where they both look at each other doing something that feels familiar or calls back to their own reasons for doing something and they're like ugh I'm in this picture and I don't like it.

So they clash. A lot. But always with the implicit bedrock of like, there's nothing either of them can do or say to the other that will push the other away for good.

They fought over Roy replacing Dick as leader of the Titans when Dick's wedding fell apart, even though Roy actually didn't want to do it and was kinda pushed into it by the government, but again, Dick like, got over it and realized it was for the best and forgave Roy for it that very same issue. And on and on. It always went like that. So there's plenty of stuff that can be used or pointed at as a source of conflict between the two, but the part I'll always call unbelievable is the idea that they never make up after one of these fights. Why now? What fight, specifically, is so bad between them that despite everything else they've gone through AND gotten past, they can't get past this one? Y'know?

So yeah, that's my take on this. There is no definitive falling out between Dick and Roy as many fics like to point to in order to shove him offscreen and make room for Jason in Roy and Lian's lives, and personally, I just don't find it necessary and I actually think it makes Roy look REALLY bad. Because when you're not specifically detailing all the things that Dick has actually DONE for Roy, the lengths to which he's been there for his friend, and like, specifically invalidating each and every one of them as something that never happened in a particular fic, then literally anyone who reads that fic and has their own awareness of Dick and Roy's friendship is kiiiiiinda likely to be reading that and thinking wow what an ungrateful asshole, when Roy's just written as bitching about Dick with Jason and sandbagging him without any real explanation as to WHY, beyond just 'oh they had a fight years ago.'

(And coming up with some random awful thing that Dick did to justify Roy hating him now isn't like, a superior alternative, lmao, because again, its still just trashing one character for the sake of getting him out of the way of two other characters' friendship and people are going to think what they think about that).

Anyway, my now standard stock disclaimer that like, there doesn't actually need to be a canon fight obviously, for people to just write things this way and handwave that Dick and Roy had an epic falling out years ago and now they just hate one another or whatever, or just Roy hates him or vice versa. Obviously people are free to do what they want. They don't need a reason other than "I want to write it this way so Jason and Roy are friends and Jason doesn't have to 'share' him with Dick or have his friendship be overshadowed by their greater history together." That just happens to be a reason that no Dick Grayson fan is ever really going to be happy about, lol, for what should be perfectly obvious reasons, so it honestly shouldn't be surprising to people that fans of the source material often gripe about it.

Because yeah fanfic is a tremendous opportunity to transform the source material into something better, but if what's better for some fans actively takes away what was working perfectly well for other fans the original way, they're going to say that. Especially in a fandom where so many new fans take their view of the characters and their dynamics from fics rather than the source material - when fandom has that much of an influence on what new fans perceive to be 'canon,' fans are perfectly within their right to emphasize what is ACTUALLY canon and what isn't, so that new fans at least have the opportunity to determine for themselves what take they want to go with, instead of just accepting at face value that the nature of say, Dick and Roy's relationship is just that Roy hates Dick because of some mumble mumble ancient history vague mumble details not found mumble mumble fight.

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writtenbyhappynerds · 4 years

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Fanfiction 102- Writing Superpowers

Another week, another lecture. Like supervillains, writing superpowers came up during Fanfiction 101. We see a lot of characters with superpowers, and we have written many many characters with superpowers. Superpowers or gifts or quirks, whatever you call them, can be poorly executed much like characterization; they become vague, mary sue-esque, and they don’t let me as the reader know what’s going on with said character. Defining superpowers is a lot like defining the Rules of the Universe (as discussed in Unit 1 of Fanfiction 101) where defining and setting parameters for superpowers will protect the canon of your characters as well as their validity.

The most important thing you need to do when writing superpowers is to figure out what those superpowers are and what they can and can’t do. I’m very over vague Elsa ice powers that started with being able to freeze things and ended with visions of the past. Magic is the most difficult superpower to write because it is the most freeform, but you have to define limitations, costs and put a cap on those capabilities that don’t involve the OC collapsing from overuse because that’s such a cliche. A great example is The Fairly Odd Parents. Cosmo and Wanda can’t make money, can’t make true love, and can’t kill or bring someone back from the dead. Their time and agency to cast magic on behalf of someone are limited, and they can’t cast whatever magic they want; it has to be limited to what the child they serve wants. Writing setbacks to magic is a lot like writing character flaws. You need to take the time to give limitations. By giving magic limitations you have an easier time creating plot and adversaries for your characters because it’ll be easier to create a character that would really challenge your OC.

A common exception to writing flaws in superpowers is DC or Marvel Comics. I have seen many many times the scene where, “an OC’s file gets passed around and we the audience get to read a laundry list of superpowers including but not limited to fire, ice, air, metal, lightning, etc.” I understand that superheroes in DC Comics have an abundance of superpowers. Look at Wonder Woman or Superman. Do not fall down that rabbit hole. You will struggle to write conflict for your character if you give them that many abilities. Hell, Superman’s own writers struggle to write conflict for him. It’s why he’s the most iconic but ultimately most boring character. On top of that, the “passing around a file” scene is another very overused cliche. I understand that it’s an easy way for the audience to see what the OC can do, but I think we as writers can challenge ourselves to be better than that. In addition, don’t take away the choice to share from the OC. If we’ve learned anything from X-Men, it’s that superpowers aren’t always taken well and some would rather die than be seen as a mutant or a freak. We know that these unnatural abilities are strange and confusing and that the people who have them need time to grow. They don’t need their supervisors outing them to God and everyone. Let your characters share their powers on their own terms. Let them have a special moment with the cast where they get to feel wonderful and special and magical. You’ll reveal more about the OC’s personality and develop a deeper relationship with the cast. Here’s an example.

Let’s say we’re writing Avengers fanfic. Let’s say we give our OC control over light. Here are two scenes that are revealing the same information to Captain America. One is done on the terms of the OC, who we’ll call Astrid, the other is done by Nick Fury.

*****

Astrid led him back to her room. It was like his own, the same size, and the same basic tidings- bed, dresser, desk, chair. While his had been dark gray, as had the rest of the team’s, Astrid’s was bright white. Steve noticed heavy black curtains tucked back from her window. The black stood out against the white of the rest of her room. She had a smile on her face. Her eyes were alight with excitement, and she pointed up at the ceiling.

Covering the ceiling of Astrid’s bedroom were over a hundred hanging crystals. They had different shapes, sizes, and lengths and all swung from the ceiling on thin clear strings. Astrid turned off the lights. She pulled the black curtains out and covered her window which plunged them both into darkness.

“I had to beg Nick for these. I told him it would be good practice.”

“Practice for what?” A light turned on. It took Steve a moment to realize the light was coming from Astrid’s own hand.

“No one’s really told you what I can do yet. I wanted to show you myself.” Carefully, she pulled one of the crystals down and let it rest in the palm of her hand.

Rainbows bounced off the walls. Tiny refractory lights bounced around the room, off each crystal that was a brilliant gem in the darkness. Off the metal of Steve’s shield. Off the brass buckles of Astrid’s shoes. She grinned merrily, a beautiful cascade coming around the both of them.

“It takes me forever to fall asleep. I never want to stop looking at them.” Steve smiled, studying the way the light danced on her walls.

“Yeah.” He breathed. “I get it.”

*****

And the other, done by Nick Fury.

*****

Steve sat at a roundtable with the rest of the team. At least, he thought he did. Looking around, he could see one person missing from the group.

“Where’s Astrid?” Fury and Coulson exchanged a look. Coulson handed over a file and strode out of the room.

“Agent Dawes is currently occupied. We thought it best to tell you without her.” Fury slid the file across the table. “Along with being an Agent of SHIELD, Agent Dawes joined up because of her… condition.”

Steve opened the file. He could see a picture of a much younger Astrid looking back at him. Her date of birth, her parents, everything was laid out before him. When he flipped the page he found page after page of notes.

“She can do what?”

“We don’t have a real name for it yet. Just light manipulation.” Steve kept reading. The reports dated back years prior, with medic referral forms, personal statements, and even more photographs of Astrid.

“Is Astrid a potential threat too, Director?”

“We all are. Agent Dawes recognized her own risk ahead of time.” Fury took the file back. “She’s been training for years. She has it under control. Stark and Banner already know about her-”

“I’m the last to know?” Steve said angrily. He looked at Tony and Bruce.

“Hey, not my fault you got here late.” Tony turned back to his phone.

*****

Do you see the difference? See how much more personal the first one is? Not only do we get to see Astrid actually use her powers, but we get a moment of bonding and trust between her and Steve, whereas in the second one her personal information is being divulged on her behalf. Not by her. It’s beneficial to make these superpowers personal, in the sense that the OC should be able to tell people on their own. Let them establish that trust with their team, and don’t shove it off to Nick Fury or Coulson or even Batman. It’s their gift, they need to share it on their terms.

Superpowers and The Rules of the Universe go hand in hand in many ways. What I mean is the Rules of the Universe apply to superpowers as much as they do to timelines and cast desires and canon. When you write superpowers, they have to make sense with the world they live in, and not every OC needs superpowers. If you look at Twilight, you’d most likely have an OC with more subtle, less combat-oriented abilities (see Edward’s mind-reading or Alice’s seer talents). If you give an OC something heavy combat-oriented in this universe it feels a little clunky, and a little more like the Avengers but vampires instead of vampires with talents. On top of that, not every vampire needs to have a talent. It’s totally okay to have a vampire who can’t do anything special. I’m more compelled to read stories with those characters because they seem more realistic. It’s okay to have a character less important to the Volturi than Edward or Alice, or less gifted than Jasper. You can explore their individuality without tying them or limiting what makes them special to “they are a vampire and they have a gift.” Another example is Harry Potter. In that universe, the only extraordinary gifts we know of are Olcummency and Parseltongue. One is something you’re born with, the other takes patience and practice. It would be unrealistic to give a Harry Potter OC additional gifts. It would be rare to give them either of the aforementioned gifts because if something is described as rare in the canon, it shouldn’t include your OC. Your OC is not an exception to something’s scarcity.

Let’s talk about powers themselves. I have several gripes with superpowers, and we are going to discuss all of them. First and foremost, something that kind of shows your own ass as a writer is using the -kinesis phrase of a superpower beyond the common ones people know (telekinesis, psychokinetic, etc.). It looks like you just googled, ‘list of superpowers’, and found atmokinesis and put it in because you liked the description. Who talks like that? No one knows what those -kinesis phrases actually mean we just use them because we think they sound cool. Don’t tell me that the character has atmokinesis, just tell me they can control the weather. You don’t need to use big words to make your gift sound impressive. It’s what they do with the gift that makes it impressive. Going off of this, not every superpower needs to be combat-oriented. You don’t need to give people super-strength, invulnerability, or fire powers for them to matter or be useful. It’s actually more creative and more unique if you take a superpower that isn’t combat-oriented and find a way to make it mean something. The best example is the Tumblr post that will be linked below, where the OC’s main ability was helping. It was helping out wherever they could and trying to make a difference and making the lives of their friends, who had some of the “strongest” superpowers in the universe, better. It is beautifully written, an incredible short story, and shows the value of being there for others versus trying to save the day. If you are writing a character with superpowers, I would absolutely recommend reading it.

Finally, make it make sense. With superpowers, it’s kind of like the old saying, “if you describe a hammer hanging on the wall you better use the hammer before the end of the story.” Don’t describe something that you won’t use. So things like controlling taste, smell, temperature, those are things we never see used in the narrative, so there’s no need for the character to have control over them. If you’re struggling to come up with superpowers, the Editor and I have a few methods we’ve developed over the years to get off of and stay off of the superpower list websites:

I like to have my superpowers mirror the character’s backstory. I have a character who was kicked out of their home at 16 and therefore became a “hearth” where they could bind one location to appear at many, and with the turn of a knob bring the group from New York to Seattle to London. I did this to represent the character making their own home once they were exiled. Another example is a character who was almost killed in a tsunami. They can breathe underwater, and swim impossibly fast. You can give characters with a passion for drawing the ability to bring inanimate objects to life, characters who went to Antarctica as a researcher who came back with ice powers, characters who lost their twin that can multiply themselves, or characters who suffered amnesia that can now modify the memories of others. It’s fun to tie the gift to the story, and to me personally, it feels more cohesive when I do that. However, this isn’t for everyone. When you do this, the character’s superpowers shouldn’t become their whole personality. That should never happen in the first place, but especially here.

Another method we’ve used and we like is contrasting superpowers. If your character is blind, give them telekinesis (Scott 2015). If your character is afraid of heights, give them the ability to fly. If they’re afraid of dogs, make them talk to animals. Learning to get over their fears and weaknesses in the grand journey of mastering one’s powers shows growth, and shows character development, and we should never shy away from an opportunity for character development.

A final method that we’ve recently adopted is genetics. Something you see in Avengers fanfics is that the OC was inexplicably kidnapped and experimented on by HYDRA despite them having no shortage of volunteers as we see in Avengers: Age of Ultron, therefore, the existence of these OCs who are usually kidnapped doesn’t make sense. That is only mildly my business. What is my business is these test subjects having powers that don’t really make sense or that we don’t understand how they got them. It would make sense realistically, that a character who HYDRA experimented on would have powers that affect their vulnerability and less “shoots fire out of their hands.” This is because we can only assume that if they’re not using an Infinity Stone, they’re splicing and combining genes from animals to make a perfect soldier. If that’s your cup of tea, using a genetic connection to explain someone’s powers, go for it. The Editor and I have been using recently is the idea of gifts passing through generations. Let’s return to our new hero Astrid. Instead of being experimented on by HYDRA, having a backstory where she was maybe mugged or is afraid of the dark, or a backstory where she loves creepy-crawly dark spaces, we can say the following:

“Wait… How many people can do what you can?” Tony looked up from his phone to Astrid, who had become engrossed in her newest prism. “Hey! Glow-stick!”

“Mmm?” Tony tossed her his phone. “Oh… you don’t have to friend him.”

“Why isn’t he here?” Astrid stood up and walked back to Tony, handing him his phone.

“Why isn’t who here?” asked Steve.

“My brother Jeremy. He’s like me.” She shrugged her shoulders. “He didn’t want to go. I texted him when Director Fury reached out, and he didn’t want to give up on his Northern Lights project. My cousins said no too.”

“What do you mean, your cousins?”

“Didn’t you know? I thought you knew everything Stark. My gift’s genetic. It’s been in my family for generations. I have my brother, and like, 3 other cousins who can do what I can. I’m the only one who responded to Director Fury’s text.” Astrid sighed. “If my cousin Dixie were here, she’d tell me that means I’m the idiot of the group. C’est la vie.”

****

You can totally make superpowers genetic. It’s something that isn’t done often and is very fun because you can get into subtle mutations or variations of the same power. With Astrid, since we know she controls light, maybe the gene mutates with one of her cousins who can bend light in a way that they appear invisible. Maybe one of Astrid’s children can make the light into solid objects. Try making your superpowers a recessive gene. It could be a fun way to showcase the OC’s support network and give an explanation for their gifts that’s uncommon.

Our final note is that if you are writing a character with superpowers, we want to see the character learn to use those powers. It is so boring to have a character come out of the gate with gifts that they’ve mastered perfectly, OR, have a character initially struggle, but learn and master their gifts in 1 training session. That’s so boring to the reader, because there’s no development, and there’s no struggle. If a character earns their powers and is experiencing the new and wonderful, we want to see that struggle. That way at the end of the story when they have near-perfect control the ending is so much more satisfying because we know what went into that. Look at Avatar: The Last Airbender. The final fight with Ozai and Zuko’s final fight with Azula is the ultimate show of growth and mastery. You clearly see that neither of these boys are the same kids from the beginning of the series. The same is true for Percy Jackson, where all the Olympians have moments where they have powers, but don’t know or can’t use them. Let us see the struggle. It makes the journey more worthwhile. And, speaking of Avatar, no more “can control the four elements.” We’ve all seen the show. We all know the source material. It’s not original and your OC is not the Avatar.

Next week is a big one! We’re talking about diversity. Not only diversity in race but diversity in LGBT, in experience, and how to capture and make your stories diverse, and where it makes sense to have a story that’s diverse.

Xoxo, Gossip Girl

References:

The Ables. https://www.goodreads.com/work/best_book/41929531-the-ables. Accessed 26 July 2020.

https://idontknowartdump.tumblr.com/post/169046958039/inkskinned-writing-prompt-s-at-18-everyone

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thenixkat · 6 years

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Thoughts on the cartoon Static Shock

So these notes n’ stuff was part of my 4th? rewatch of the series. I’d watched it once to actually finished the show since I never caught all the eps when it was airing on tv, another time when I was on a Static Shock kick, and the 3rd time streaming it with friends to see what they thought of it. Each time I picked up on more stuff like character and events, but this time I gave it an actual serious watch to get details, timeline, and a solid handle on characterization and abilities, and plots that I can work on for my fanfic. And taking off the nostalgia goggles and giving it a real hard critical look?

It’s not great.

It’s about average like it still makes it to my top ten superhero shows but its like probably number 7 on that list. It is still absolutely my favorite show in the DCAU; but ya gotta take into account that I don’t like Superman, I hate Justice League b/c it’s very much a drama and its ep should have just been released as hour-long things, I refuse to watch Batman Beyond, and I prefer The Batman over Batman The Animated Series. What I’m saying is literally the only other thing in the DCAU that I’ve watched and liked was Justice League Unlimited and even that I have issues with.

If I’m ranking DC shows that I like I’d go:

1. Teen Titans

2. Black Lightning

3. Static Shock

4. Legion of Super-Heros

5. The Batman

6. Justice League Unlimited

So what do I like about Static Shock?

Black people. Like, holy fuck there’s so many Black people in this show. With different skin tones, hairstyles, eye colors, body types. Got em as good guys, bad guys, and neutral parties. Got a Black girl as the protag’s main love interest. Introduced a slew of original Black heroes and villains to the pasty as fuck DCAU, even if the rest of that universe likes to forget that Static Shock takes place in it.

Just, I love dorky science types like Virgil and Richie? Also, I like their friendship very much. That is some good shit right there even if I hate the ship and thus don’t interact with most of the fandom b/c of it. And paying close attention to it added a lot more complexity and depth to the characters than I’d known was there.

Also, I don’t normally like female characters, but Shebang is good. I like her very much and I will not forgive the writers for “She-Back!”. Also, Sharon is a boss. Daisy is the best girlfriend and could literally do so much better than Virgil, that boy is blessed to have her.

And I do like to see superhero noobs who have no fucking clue what they're doing and keep trying their best. And I like more stuff where like the hero does more than just fight people? And has a life outside of heroing?

The show is also just, genuinely entertaining to me? Like both as an adult and as a kid its fun to watch. It's something that younger me tried to catch on tv.

My problems with the show?

This show does not do right by its female characters. Frieda drops from the face of the earth for long stretches of time when by all rights she should appear at least as often as Daisy. The show forgets that Frieda and the main boys are very close friends. The main girls are never brought in on the loop as well as their intelligence gets completely underfunded that they don’t figure out the loop exists in the first place. Others like Trina and Shenice just fucking vanish, much like Frieda, even when they shouldn’t. Sharon spent an episode being blatently ooc. Also, Virgil’s mom literally got fridged for drama and male character development. And doing a bit of reserch it also fucked up a femal character from a different show and then killed her off in a brutal graphic manner.

There are plenty of spots where the writing is either noticibly lazy or outright incompetent. Especially in the aformentioned area in handling characters. Other times there’s the plot of an ep being pushed in a direction that doesn’t make sense given what we’re being shown, or don’t make sense going by just... fucking basic ass phsiscs, or doesn’t make sense b/c it contradicts things we’ve previously been shown.

Speaking of that! The lack of continuity very much hurts the show. Characters at the very least should learn from previous experiences. Past events should effect the present and the future.

Also, I’m not sure what’s at fult for it, either the Y7 rating or the writers’ lack of nads, but the show ignoring many many deaths and how they’d logicly effect characters also robbed it of some of what it could have been. For the same reason is probably why the gang and coruption of city officials and such dropped from the show so quickly. Its possible that I would have not noticed this as much if I never watched Black Lightning (which is fucking good btw) and seen it done right.

And as a show for kids some of the episode have fucking gods aweful messages or undertones. I will not forgive the use of the ‘what measure is a nonhuman’ trope in “Toys In The Hood”. Nor will I forgive the narritive fucking around with characters and their relationships to punish Shenice for being a confidant Black girl in “She-Back!”. And I don’t know who the fuck thought that telling kids that people who break the law don’t deserve human rights and its ok to use them is human guinea pigs was ok in “Wet N’ Wild”. And did no one stop to think that maybe they shouldn’t portay a dude poisoning the community of an in-universe predominantly Black comminity with largly untested and potentially dangerous experimental chemicals on the reasoning that “most of them are thugs” as a good guy. Idk, someone shoulda stopped and thought a little bit about that in the entire time it took the ep to get made. WHAT THE FUCK WRITERS.

What I would change?

-Have Frieda and Daisy in on the loop. Frieda either figures it out or is told in the 2nd ep and Daisy figures it out in her debute ep. Sharon figure it out durring ‘Brother-Sister Act’ and she isn’t written wildly out of character. Have the 3 of them become superheros, expand the fucking team.

-Remember that Shenice and Trina fucking exist?

-Remember that all of the other villians that nly show up in 1 ep still exist and would likely be able to escape from prison about as easily as the onse that do get to make multible apperences.

-Remember that BacPac isn’t a backpack and can act with his own agency.

-Scrap 90% of ‘Toys In The Hood’.

-Have characters actually effected by people they knew dying in the Big Bang? I. E. Hotstreak’s entire posse never showed up again and he should feel some fucking way about that. Virgil and Wade had known eachother for years.

-Do something with the fact that Brainiac did fucky shit to Richie that should have lasting and possibly traumatic concequences. Also all of the nanites, where are they?

-Have Dr. Todd be a villian and the heros and villians working together to stop his plot b/c holy shit its unethical.

-Just... so many things. Little improvements.

#nix meows #static shock #nix thinks dc

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annstage · 6 years

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Interview s Devin K. Grayson

Stává se vám, že při čtení komiksu byste se rádi autora na něco zeptali? Šance jsou, že si sednete a najdete společnou řeč. Jak jinak, když jsme nakonec všichni fanoušci. Dostaly jsme možnost vyzpovídat Devin K. Grayson, autorku mnohá komiksů, které určitě znáte a máte rádi. V krátkém rozhovoru, který nám ochotně poskytla se dozvíte více o tom, jak si zachovává přehled v časových linkách během psaní nebo, co si myslí o zobrazování skupinových menšin v pop kultuře. Rozhovor jsme nechaly v původním anglickém jazyce.

CZ: Devin se ke komiksům dostala po zhlédnutí animovaného Batmana, který na začátku 90. let běžel v televizi. Následně se v komiksovém obchodě začala více zajímat o svého jmenovce Dicka Graysona, známého též jako Nightwinga. Práci pro DC dostala po ustavičném volání a zasílání svých děl. Potom už následoval zájem o psaní o členech Batman rodiny, o Nightwingovi a je autorkou dalších již světově známých titulů. Devin je otevřeně bisexuálkou.

Mezi její nejznámější tituly patří Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans a další

EN: Devin got to comics after watching Batman: The Animated Series in early 90s. Following that event she went to explore to her local comics store to find more about Dick Grayson who she shares the last name with. After bombarding DC company and calling them to see her works, she finally got the position of a writer for this huge publisher. She enjoys writing about the Batman family, Nightwing and many other notable characters in comics. Devin is also openly bisexual.

Her notable works include: Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans and more

Timelines. What was your way of dealing with confusing comics continuity? And especially within the Bat-verse? I hope this isn’t disappointing, but to honest I no longer follow DC continuity at all. In the past I’ve compared leaving a comic series to breaking up with a lover; you hope they’re doing well, but you don’t really feel the need to check up on the details of their continued existence without you. ;-p When I was actively working in Gotham, though, I relied on a combination of extensive background reading, informal updates from friends (about what they were reading) and colleagues (about what they were writing), and sheer force of will. By sheer force of will I mean that to write in the Batman universe -or in any established fictional realm, really -you need to have a clear vision of the world and the characters moving through it. And that means that if you have to, you ignore anything that doesn’t fit into your vision. My preferred method of working on franchise characters is to do what I like to call a deep dive. Before I start writing, I read everything about them I can get my hands on, including academic analysis and summaries. Inevitably, I’ll find something that grabs me - with Batman it was his relationship with the first Robin, the idea that he was as driven and dark and scary as he was, but was also raising a kid. For the Doctor Strange novel I wrote, I started completely cold (I’d never read a Doctor Strange comic when I first got the assignment) but the first thing that grabbed me was the death of his sister. The few times I’ve worked with Superman I spent a lot of time thinking about how he was raised as a farmer. Whatever it is, I let it carry me further into the character’s world and/or psyche and I try to explore facets of it as I write about them. At that point, I’m pulling on previous continuity, but I’m also creating my own, new continuity. Comic readers tend to favor really tight continuity, but you have to remember that you get that at a cost. Every creator comes to the table with their own ideas about the characters and their own references and their own stories, and the more you make them toe the line, the less you’re making use of their uniqueness. When I started working for the Bat-office, there were several different Bat-books, each with a slightly different take. Batman was for superhero stories, Detective was more mystery/noir , Legends featured contained stories that could fall anywhere in the history of Gotham, Chronicles was more of an anthology and testing ground for newer talent, and when I started Gotham Knights, my explicit intent was to have it highlight the relationships in the primary Bat-family. To some extent, those books all existed in unique fictional universes, until we deliberately brought them together for crossover events. I mention this because I worry that superhero comics have a tendency to become overly homogenized when everyone has to adhere to a strict continuity. No matter how great any given writer is, do we really want ALL the comics coming out of any given publisher to feature his language, ideas and storylines? The stories you hear about Batman - all of them - are legends. Some may be spot on, some may be less than true, but the great thing about fiction is that, unlike reality, it isn’t actually necessary or useful for all of us to agree on what happened. Alternate takes are welcome, which is one of the reasons I’ve always championed fanfic. tl;dr: I learn it. And then I ignore it. ;-p

Can you remember writing some scene or part of a story and being beyond excited of how it is turning out to be? Do you usually anticipate reader’s reactions for something particular that you wrote? Okay, two separate questions here. First: yes, absolutely. A secret about writers is that behind closed doors, most of us suspect we’re talentless frauds and that at any minute someone is going to notice that we’re literally just making stuff up. But at the same time, most of us have a few moments every week, or a few lines in every project, where we stop, grin, and think, “damn, I’m good.” I am probably not supposed to share that secret, and I apologize to my colleagues for doing so, but the thing is…writing is magic. You can study all the craft of it, learn all the structure and all the tools (as you should) and still, there’s a point where you feel like you’re just listening and writing down a story that is coming to you from somewhere else. And when it’s good, it’s such an amazing feeling. It leaves you a little bit in awe. Specifically, the two things I remember are 1) having to stop and catch my breath the first time I wrote the word “Batmobile” in a script I was getting paid for and 2) the first time I saw the art come in for USER, and characters that had previously existed only in my head had suddenly been brought to life by John Bolton and Sean Phillips. Those were both very exciting moments. As for anticipating the reaction of readers; no, I don’t do that. I don’t even really think about the readers when I’m writing beyond, perhaps, the artist (who I want to keep engaged) or editor (who I want to keep happy). I think it would be a little paralyzing - not to mention futile - to try to guess how people will react. You don’t even really know who’s reading it, honestly, which is one of the reasons why it’s really nice to meet readers at conventions. But I’ve always suspected that the best writing comes from writing to and for one specific person - usually a colleague or loved one.

What would you tell to those saying comics are not a real or serious literature and shame it readers for needing to “have pictures to understand the plot”? Unfortunately it is still a case of misunderstanding. Well, first of all, I try to make a distinction between superhero comics, the publishing subgenre, and comics, the medium. Superhero comics are not, if we’re being honest, always serious literature. But comics as a medium is an amazingly complex and diverse form of story-telling that supports everything from newspaper comic strips to literary fiction graphic novels. It’s particularly remarkable for being the most collaborative form of story creation and story consumption available, relying on multiple creators for its inception and relying on readers to actively simulate time, motion and sometimes even events out of the spaces between panels. The best book I’ve ever read on the topic - and one that could make even a hardcore cynic reevaluate their understanding of what “comics” is - is Understanding Comics by Scott McCloud. There are also so many amazing graphic novels out there, from Spiegelman’s Maus to Chabouté’s Alone. Unless it’s not comics they have an issue with so much as superheroes, in which case you can talk to them about contemporary mythology and the power of allegorical story-telling. You’re right, though, that it’s a very misunderstood corner of publishing. I don’t often have people try to tell me it’s not literature, but I can’t count the number of people who have learned what I do for a living and assumed I have a lot of material I can share with their child. The idea that comics are for kids is a throwback to 1950s American marketing. As I’m sure you and your followers know, comics haven’t really been for kids in over five decades. I still haven’t shown my ten-year-old my Batman or Nightwing work and don’t plan to for some time. The last thing I’ll say on the subject is that sometimes people have to be taught how to read the art in a comic. I think people unfamiliar with comics assume that the pictures in the panels are just literal representations of the words, which is rarely the case. Comic fans are actually quite accomplished readers who know how to invest in long stories, detect subtle tensions between artistic and linguistic storytelling, actively participate in moving narratives forward and, of course, engage with huge, complex fictional universes.

Do you feel like there is not enough representation of bisexual heroes/superheroes in comics and pop-culture? We know Diana Prince is bisexual and she never got a canonical girlfriend. Yes, I agree. The LGBTQA population, as a whole, is grossly underrepresented, along with non-heteronormative relationships and non-gender binary individuals. Just this morning, actually, I was told I couldn’t go forward with a storyline exploring a canonically confirmed asexual character joining an asexual support group, because the publisher wanted to play “that angle” down. As someone who is openly bisexual, this distresses me, but not half so much as the appalling underrepresentation of people of color and women, especially considering that both groups each make up more than half the population. As the recent phenomenal success of both the Wonder Woman and Black Panther movies demonstrate, the world is more than ready to embrace corrections to these imbalances, but the people (oh, who am I kidding? Read: white men) who run the engines of pop culture - not to mention literary culture, history, and advertising - are incredibly averse to change. It’s so, so important to see yourself reflected in your own culture, but the presence and participation of women and people of color, not to mention bisexuals, is so deeply biased it’s difficult to fully comprehend the multiple levels of exclusion. It’s hard for me to even talk about this these days because I don’t know where to start. The relentless use of female characters to stimulate growth in male characters? The complete absence of female internal lives in so much of literature? How about just pure invisibility? I remember watching TV one evening and noticing - all at once and with a shock that I’d never seen it before - what I call the gender ratio. The world, according to movies and television shows, consists of one female for every three males. There are exceptions to this, but watch how often it’s true. And of course, it’s even worse for people of color, who tend to appear at about a one to nine white people ratio. Now walk outside. Is that what you see? Of course not, not even close! But we’re so used to the culture we’ve been fed that we hardly notice anything’s amiss when we look at entire fictional landscapes almost wholly devoid of women and POC. What do you think that does to our psyches? To our sense of fitting in in the world? To our sense of, and compassion for, one another? The dearth of bisexual superheroes strikes me as a wasted opportunity to explore organic and complex ranges in human sexuality - great story-fodder, that! - and I hope it changes. But not all superhero stories have to deal with the sex lives of the characters. Every single one of them, though, has to confront both the gender and race of the characters portrayed, and holy f--- do we have a long way to go there.

We were delighted to see the #VisibleWoman going around Twitter earlier this year. Did it prove itself to be useful? What you do you think about this way of using social media to make a statement and make it work? This plays directly into what I was just talking about. It’s so weird to think about, but we are so often literally invisible - in fiction especially, but in the real world, too. As a writer, I spend a lot of time summoning and then editing the default story ideas that come from my subconscious, and once I began to be aware of the issues we’ve been discussing, I was dismayed by how deeply all of that background misogyny had lodged itself - it’s an issue I’m still exploring and excavating today. I grew up hearing people say that women were important and should be treated fairly, but I saw so few of them. They were absent or scarce in most movies and TV shows, whittled down to a small subgroup in literary fiction writing, hard to find in the music world, almost never part of political news or history lessons…I can’t even imagine how different my internal world would be if I’d been exposed to a more balanced cultural tally. So, yes - I do think the hashtag was useful, both as a marketing tool (my single tagged tweet garnered me over three hundred new followers and is now pinned to the top of my account) and as a huge, warm searchlight picking accomplished females out of the crowd. Just being reminded that there are women working in comics and games and STEM and business and politics is enormously helpful. Having a platform available to connect with and support them is that much more powerful. I do have concerns about social media, some quite grave. But #VisibleWoman stands as an example of best possible usage.

And finally, do you keep in touch with your high school or college teachers who taught you English or Writing? Do you think they know you have became a successful author and would they be proud of you? Great question! My answer is multi-tiered because those people - mentors - change and evolve over time. So the short answer is no, I’m not still in touch with any of my high school or college teachers and I doubt they’ve kept track of me. I went to three different high schools and so didn’t form strong attachments to many teachers - the one exception was a Social Living teacher at Berkeley High, Nancy Rubin, who I did stay in touch with for many years after I graduated. She didn’t teach me to write - though she did encourage us all to keep daily journals, which can be a gateway drug to compulsive writing - but she was that special teacher who saw all her students as individuals and honestly cared about our opinions and our struggles and our lives. I was actually still in touch with her when she published her first book - Ask Me if I Care, Voices from an American High School - and I was very proud of her! I’m sure she’d enjoy hearing about my crazy career, but she was proud of all of us, even then, just for being. I didn’t make a strong connection with my college writing teacher, the novelist Mona Simpson, but was crazy about my post-collegiate writing instructor, the novelist Brian Bouldrey, who was still part of my life when I first broke into comics and was enormously tickled by it. Now that you’ve got me thinking about him again, I think I’ll try to track him down again and send him a copy of my Doctor Strange novel. xD In comics, I have three main mentors and I’m still in touch with all of them and know that they’re proud of and happy for me. Overall, the professional comics community is very supportive and full of hard-working people who care about the medium, the characters, the readers, and each other. Thank you for these great questions and for you interest in my work!

Thank you, Devin! It was a pleasure and we are grateful for your amazing and detailed answers, and of course for your time :)

Rozhovor původně publikovaný na blogu Comics Holky

#interview #comics creators #devin grayson #nightwing #batfamily #batman #batman family #women in comics

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zorilleerrant · 3 years

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2017

January

an amorphous thing A poem about misogyny, in all its forms. I never quite got the ending to do what I wanted, but overall I think it’s strong.

Fandom: Cho Chang bio I don’t know if you want to call this a ficlet or what? I think I’m going to expand it or something. Just a musing on why she’s called Cho Chang.

poem This is sort of a poem and sort of a joke because fuck the environment I guess; it was topical at the time I think.

musing on seasonal affective disorder An addition to something I really liked that someone else wrote, because I was having feelings about SAD. The initial story is wlw; my addition is nblw even though I was trying to match the tone and style of the original.

there is a demon A poem about femininity, bisexuality, and mental illness. Our narrator is, I think, a makeup youtuber? Or something like that. This was written in response to people saying just awful things about makeup hobbyists.

HP fic: Courage Hermione deals with racism. I always headcanoned Hermione as middle eastern, so I wanted to add something with that because I don’t see it a lot even when people intentionally make her nonwhite.

American Gods/Sookie Stackhouse fic: Small Town Mentality A little character study about Shadow interacting with Sookie. This was when I was rereading American Gods, and I was like. You know, these books have similar vibes and similar canons. Timeline wise it’s set about halfway through American Gods and a few years before the first Sookie book. (The title is about not-my-business isolationism, not racial violence.)

The Maze Runner book review Musing on the worldbuilding problems in the book and how writers can and should do better than that.

February

Shadowhunters fic: Parabatai A lot of people were invested in the part where Jace could tell that Alec boned. Just my take on the thing. There’s sex in this one. Probably my most popular fic to date.

March

untitled Beauty and the Beast fic From the perspective of LeFou waxing poetic about Gaston.

Shadowhunters fic: Love Will Tear Us Apart Magnus blames himself about Raphael drinking Izzy’s blood. So tbh I don’t actually remember this fic and I don’t think anyone liked it? I will have to read it over at some point and see what it is.

Shadowhunters fic: A Fish Without a Bicycle This is a companion piece to Parabatai; going along with the Parabatai bond being a sort of metaphor for an erotic relationship, it posits Izzy as aspec and explores that a little.

Shadowhunters fic: Answers Another companion piece. Just a lot about Alec exploring his sexuality and trying to figure stuff out.

Shadowhunters fic: Forever Home Magnus being A Dad, to cats and other magical creatures.

April

queer is not a slur Just a poem bitching at people about the ‘omg q slur’ nonsense.

untitled six word story look it’s only six words either read it or don’t. (it’s not very good.)

the two genders A poem about how stupid gender essentialism is, and how people apply it to literal newborn babies.

untitled poem ???

May

Static Shock fic: No Flams Prepz Hotstreak talks to a (presumably court mandated) therapist.

Static Shock fic: Worry Static’s dad worries about the kids in his life.

Static Shock fic: Everybody Makes Mistakes Character study on Virgil, pilot centric. (Contains guns.)

mall gothic Yes, that’s a pun. No, I don’t know what the point of this was either.

let me tell you something about not being confident in your writing A poem about writing and your feelings about what you’ve written. It’s supposed to be inspirational probably.

ROY G. BIV A poem about what does and does not exist. Implicitly about LGBT+ gatekeeping but there’s nothing direct in it. I like this one a lot.

June

flag a poem on why I didn’t like the Philly pride flag back when everyone was gushing about how pure and perfect it was.

pride a poem that I think was mostly bitching about people being like ‘don’t do xyz you’re ruining pride!’ or like gatekeeping or whatever. not sure if it stands up without context

Ocean Short story about a nonbinary mage questing after a fantasy sword. Written on the assumption this is a typical high fantasy universe so no there are no proper safety protocols or historical preservation procedures. Mildly comedic.

poetry isn’t real just a micropoem about poetry, the most common topic for poetry

I have a poem about gatekeeping. someone probably told me I wasn’t allowed to use the word queer (again) or like accused me of not understanding queer history? I don’t know it happens. this poem is probably triggering if you’ve got issues with violence generally or queerphobic violence in specific

queer is another poem about gatekeeping. prose poem. I don’t know man people keep going on about bullshit

Static Shock fanfic: Protest Static meets Magneto. The timeline on this is obviously confusing af, but like, imagine it’s during the corresponding irl point of any of the major ups of BLM protests, within Static’s timeline somewhere after he’s got the hang of heroing but before he’s really used to it, and in Magneto’s timeline, somewhere during the initial rise of the Brotherhood. This was just an idea that got stuck in my head and that’s about it.

Static Shock fanfic: Attraction Virgil/Richie. Just an excuse to write puns.

Static Shock fanfic: Marathon Static & Rubberband Man. Fluff

Static Shock fanfic: Frieda Character study. Also ruminating on bullying and sexual harassment. (It’s about the gun violence episode, if that gets to you.)

Static Shock fanfic: Educational Overnight Crossover with Batman. Mostly animated Batman continuity (although largely backfilled from Batman Beyond), but I don’t think it super matters to the text of the thing. Static pretends to be Batman and has to face off against the Riddler. Also featuring Richie in hot pants (as Robin).

July

okay. so. musing about writer’s block, self-esteem/mental illness, and the thought processes that go into writing. maybe a prose poem? I don’t know what you would call this particular form

growing up depression poetry

August

a few points bullet list formatted poem about writing and writing advice

Welcome to Fae Mart humorous story about retail in Faerie

September

Let’s Talk About Slurs it’s a poem about people who smugly claim they’d never say a slur

on good and evil a prose poem or something. about how bigotry is learned (and, sort of, unlearned) and why attitudes about it make no sense

Queer as Folk fanfic: Not Always in the Same Way Hunter being bi

November

just the same prose poem about intersectionality and bigotry and how people always conflate everything into neat little soundbites. there’s a bit about reylo at the end there, too, because I kept seeing shit about it at the time, so watch out if that’s a thing for you

December

tw villanelle yeah I only write villanelles what about it? anyway this one has a bunch of violent rhetoric and bad opinions; it’s from the perspective of antis. it’s not very good but the rhymes sound nice

#my writing

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comicsholky-blog · 6 years

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Interview s Devin K. Grayson

Mezi její nejznámější tituly patří Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans a další

Her notable works include: Nightwing, Gotham Knights, Vampirella, Nightwing - Huntress, JLA/Titans, User, The Titans and more

Thank you, Devin! It was a pleasure and we are grateful for your amazing and detailed answers, and of course for your time :)

A i my velice děkujeme a doufáme, že jste si interview užili stejně jako my!

- Kara

#comics holky #interview #women in comics #comics ladies #devin k grayson #devin grayson #nightwing #batman #batfamily #comics #dc comics #dc #gotham

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