#(the 'and a half' is because the main story and the final epilogue kinda end like that)

[eccentric-nucleus]

so, i finally finished (posting) my huge, novel-length teenage mutant ninja turtles fanfic. i just posted the final epilogue over on ao3!

here is my director's commentary on it, if you want to read even more about it. this contains spoilers for the whole thing. maybe read the epilogue first and sit with that for a minute. also this will probably be pretty incoherent if you haven't read the whole thing. it's just a disconnected series of thoughts i have about the story, really

man, this story. this is maybe the longest thing i've ever written? like 'the new hive' and 'hell game' had more words (i think) but they were mostly a disconnected series of sex scenes with thin connective tissue between them. this is ~200k words of a single, linear, mostly-plot narrative. i'm writing scenes that aren't just about getting the two leads to fuck!! that's weird. it's definitely the most ambitious thing i've written. kind of weird that it's tmnt fanfic. that's just how it worked out, i guess.

so back in 2022 i watched the rise of the tmnt movie because people kept talking about the animation quality of the fights and that got me into a spiral of actually paying attention to the ninja turtles. i had never been into them & genuinely i think a huge part of getting into tmnt stuff was that rise actually varied the design of the turtles so that they weren't all basically identical save for color-coding. turns out visual design was the missing mystery ingredient.

also in 2022 i was burning out on writing 'goblin cave', when what i had intended to be a fun little writing exercise ended up getting algorithmically surfaced and getting me hundreds of comments on each chapter. that got a little stressful and i wasn't really enjoying that, so i stopped. but i was like, hmm you know i mostly just write weird porn but maybe i should write something a little more ambitious. with a plot, and everything. 'goblin cave' was (in my mind) all about a character who was created for violence deciding art was a much more worthwhile pursuit. but the main character of that doesn't know what art is. because it's a magical dungeon core. and i was still thinking a lot about dead zones of the imagination, by david graeber. so i was like, okay, let's do this again but in a slightly more self-authentic way and make it weird gay porn with weird animal dicks. let's give michelangelo ninjaturtle a monologue about how the powerful are utterly insulated from any consequence.

(also early on, after watching most of rottmnt, i stumbled across this blog post about the tmnt comics and the end of the world. that ended up being deeply influential on the fic too. i've been kinda in a state for the past few years and this fic is absolutely a part of me working through a lot of complicated feelings about the world and the future. lol people talk so much about people writing dark fic 'to cope' but this was pretty much the first time i've outsourced my emotional processing by having bad things happen to fictional characters.)

so uhhh where to start here. the setting of the fic is this complicated messy mashup of a half-dozen tmnt continuities. it's very rise-heavy, since... that was the only series i had watched(/read) when i had determined the major plot points, but there's a lot of bits and pieces from all over.

to roughly outline the characters here, a huge influence on mikey's personality in this is... mikey's 'dr delicate touch' persona in rottmnt. in the sense that... okay yes yes that is a kid's show and all of his dr delicate touch lines are, you know, setups and punchlines. you think he's going to be nice but actually he's mean! etc. but in-universe it's like, wait hold on a second. mikey is like the most emotionally-intelligent of the four. he absolutely knows when people are on the edge of flipping out and need a calming out to a stressful situation. and instead he freaks them out more! mikey's hobby is: being mean to his friends & family, for fun! what a fun character trait.

i was thinking about this tweet a lot, too. i read some writing advice once that people tend to make characters who are supposed to be likable too squeaky-clean. nothing but positive character traits for them! but actually every 'positive' character trait is exactly the same as a 'negative' one; it's just a matter of focus and degree. a character is light-hearted and comedic? they can never take things seriously, even when they really should. a character is willing to do anything to protect the people they love? so they're violent and threatening and scary if they happen to decide you're something that they need to protect against. etc. i was really dedicated in this to bringing out the worst characteristics of everybody's personalities.

mikey was also very deeply inspired by: all the garbage progression fantasy stuff i've been reading. i've complained about this several times on this very blog, but a constant theme in most progression fantasy is 1. the main character will constantly get more and more powerful and 2. the main character will never really have their relationship with the rest of the world changed via that power. it's just stat-ups. they just have higher stats so they're more powerful. mikey is the most powerful person on the planet and it's fucking ruining his life. he knows that there's nobody capable of actually checking his behavior, & he's in this constant state of thinking he's maybe a few bad days away from murdering half the planet and incredibly aware there's not really anything he can do about that aside from constantly worry. he's kind of an anxious mess.

mikey absolutely thinks it's more ethical to murder somebody out of the sheer glee of seeing people crushed before you than murdering somebody for something as tedious as mob orders. you're satisfying a deep, raw desire felt from the heart! that's good!

what he'd like to do, in some sense, is just hang out in his studio and chill with other artists, but he knows the world is not gonna let him do that. things will come up. a lot of his being a creepy bystander thing while people get murdered is b/c he's very much formulated his morality to be like... it is not his responsibility to fix other people's problems. other people will do what they want and that has no bearing on him. is that a pretty cowardly and self-serving morality? sure! but he was kinda designed to rule the world & his flinch away from that pretty much defines him as a character in this. that's kinda the morality he needed to end up on to convince himself not to be a genocide machine.

he's incredibly aware he could basically be a superhero, & all it would take is... giving up on all his hopes and dreams and constantly engage with his abilities. and being a superhero isn't that many steps removed from living up to his full design spec and just taking over the world and ruling as god-emperror. idk how well i hit all those notes in the actual fic, but, that's what i was going for. mikey as the narrator clearly doesn't want to talk or think about it so it's never really directly confronted.

raph is... okay so i guess a fairly common piece of fanon, for rise especially, is to characterise raph as having multiple personalities? whether that's him just having alters or him having full-blown MPD depends on the fic. my fun little nod to that is that he's kind of a disassociative mess. he has kind of failed to reconcile the disparate aspects of his personality and he switches between one of several different facades depending on the situation. also, you know. the trauma.

(i didn't really mean for it to be as such, but there is this theme in the story about names? despite everything else mikey has a crystal-clear self-conception of himself and has one name, which he gave himself. raph, who has kinda failed to build his own personality, has a collection of name other people have given him, none of which he feels actually fits him. donnie has a more fluid self-identity and also has roughly a million aliases and false identities & constantly slips in and out of character when it's convenient. leatherhead still going by the name mikey gave him goes hand-in-hand with that bit where mikey meanly thinks about how maybe leatherhead's entire self-conception is hung up on something mikey said to him once, etc. this is one of those things that i'd go back and make more present if i did go back and clean up the rough draft, b/c as it is it's there, but it doesn't really do a whole lot.)

--

this fic was inspired by... i had read a few big aus that were just like, taking the characters and loose bits of setting and going off in completely different directions. some of NeiNing's aus were a definite influence, plus like, this one au where raph is an ex-con mechanic, etc, etc. just like "i am going to play out a completely unrelated drama using turtles as the dolls". maybe most directly influential was Of Knights and Thieves, where donnie & mikey are corporate espionage hacker/thief types and raph & leo are do-gooder vigilantes. the original concept for this was much more heavily focused on the art forgery. in a very early draft the idea was leo would get involved much more actively in trying to track down the creator of the false takenobus. then i was like, "i am going to crash a completely separate story concept about the dark armor into the side of this art-forgery story". the filename for the story is still 'lol grindr hookup art thief'. that is not really where the story went.

oh man, the art stuff. i made some posts about this at the time! that are now several years old. here's one! i did end up getting a traditional woodcut printing of Tokaido 53 stations, no. 11, Hokone. in a lot of ways doing all the art research was more satisfying and fun than writing the extensive downward spiral that was the latter half of the fic. but, hey, that's life too i guess.

also raph in this is... okay, so, i don't mean this in a mean way. i really liked the fics! but cndrow has written several raph/donnie fics where raph is just like... like a repeated theme in them is raph confessing eternal love & talking about how he's like, mentally planning on them being together forever. on the first date. and sure sure everybody has different tastes; i'm absolutely sure that my interest in guys who are mean leads to some stories that are extremely offputting to some people, etc. but it's like, oh man, raph, please slow your roll a little. if somebody said they were planning our future wedding all of ten minutes into talking to me i would flee the room. & the raph in blinded by the summer sun is very much inspired by that. sadly, i never fully committed to that. originally i even had a line in chapter 9 where slash was like 'please tell me you didn't drop the 'i love you forever' on this guy already' to imply that that was, you know, a theme for raph, but i chickened out and cut it. raph as a kind of rolling series of bad relationships characterized by him falling forever in love w/ his latest crush until the relationship detonates and leaves him not really understanding how things went wrong. but i don't think that's expressed well like, at all. but that ideally should characterize a large part of why he keeps chasing after mikey even well after the point where it would be reasonable to disengage. also to convey some of the downsides of a character believing in true love. it's rough out there in the world.

also thank you tumblr user averyterrible for writing this goncharov post. that was the point in the story where i was like, actually i have been writing raph as way too much of a sad boy. if i want to play in the space of crime drama, there needs to be some crime! he's a yakuza assassin. he needs to chop off somebody's fingers with bolt cutters.

--

to me, the central question in the fic isn't really 'will the mikey/raph relationship work out' or 'will mikey succeed in his plans', it's 'why is mikey doing these things'. & i think the leatherhead chunks in chapter 23 finally give enough context to what's going on with mikey to let people answer that? like oh, mikey is a mess.

(lol the initial setup for the early chapters are supposed to give an audience response of like, "oh no, raph has some dangerous secrets" "oh no, raph is a violent yakuza murderer! i hope mikey is going to be okay interacting with raph" "...oh no, i hope raph is going to be okay interacting with mikey")

a lot of the story really is about how... mikey & raph's relationship is in a lot of ways very adolescent? they have not had a lot of prior experience with healthy relationships, and they're trying, but, uhhhhhhh. mikey likes to act like he's so cool and above-it-all and unaffected by things happening, but that's actually just b/c he doesn't really care about most things. when something happens that he genuinely doesn't like he immediately snaps and has a giant meltdown. (we see this once with raph, when mikey has a panic attack and throws up when raph blows him off wrt warning him of bishop, and once with donny about the armor, where mike immediately starts tantruming and threatening to kill himself. mikey is very bad at resolving conflict. he's kind of a brat, actually.)

like every character in this is in some way their worst self. they're all pretty awful people. but they're all also trying to... grapple with their place in the world and try to be better people. to even figure out what 'better' means. this is a story about how 'being a good person' is a constant struggle, not to 'do the right thing', but to even figure out what's 'right'. it's about picking yourself up again after a bad period and going, well, let's keep going. like mikey has a lot of traits but one that i, the author, actually think is fairly admirable is his ability to get back up and keep going after a really bad period. which is funny b/c characterwise that goes hand-in-hand with his callousness. just shrug off all the misery you caused other people, i guess! see above about positive/negative character traits.

(also uh there's another tmnt fic author whose work has a lot of... a Bad Guy is constructed/identified. then helpless children (or teens!) are rescued from him. then the bad guy is ruthlessly & violently murdered. sometimes onscreen, sometimes offscreen. and then it's nothing but chapter after chapter of people being happy and cutesy to each other. and like, i get it. but the, like, recurring theme there of the Bad Guy having done something fundamentally unforgivable that separates from all understanding & mercy, to which the only justice is a violent death, just strikes me as... simplistic. sometimes people do really awful things and part of grappling with that as an adult with an adult moral conceptualization is realizing that you gotta look past your initial reflex to punishment.

or like, mikey's whole childhood in this really fucked him up but a huge part of his identity is him having to form an identity from that. having to make the determination of which parts of him are 'him' and which parts were done to him. lol @ him aggressively and extensively rejecting everything about what draxum made him to do & then blithely being like 'we were engineered to eat humans anyway' as a defense for all the corpse-eating. mikey you just like eating people & have decided that part does align with your self-identity. mikey would really not appreciate anybody being like 'i'm sorry nobody saved you from that' b/c that (to him) would basically be the same as them saying they thought he was fundamentally, irreparably damaged & was going to be forever incapable of being anything other than what draxum made him to be. he wouldn't take it well.)

uhhh what else. i mean there's a lot. fun fact pretty much every time mikey gets mad at somebody else he's hugely projecting. even his pacifism is like... hmm maybe he should have killed draxum. a lot of his talk @ raph about splinter is secretly mikey relitigating his feelings about draxum. oh what's that mikey you think that splinter is only playing happy family b/c he's immortal and he has infinite time to spend humoring somebody's illusions but that when push comes to shove he'll drop all that? gee i wonder if that might apply to any dynamics in mikey's own life. lol at mikey being like "wow red your life is kind of a fucked-up nightmare of weird psychopaths playing like they're happy family" and then two chapters is like "hey come meet my family. we live in my genocidal dad's bombed-out lab and we're treating him like a weird racist grandpa". i kinda wanted something that would complicate mikey just being like "i am a pacifist now and i don't kill anybody"; mikey that's all well and good but like half his inner tension comes from not being sure if he should've left draxum alive. that's kinda the mirror to him debating whether or not actually killing leatherhead would've been better. (in a few years shelldon is gonna go through a period of not wanting to talk to any of them. mikey & donnie are better parents than draxum but that's such a low bar.)

(likewise at the end when mikey is like "this is raph's healthiest relationship so far!" to leo, like, this is more mikey projecting. really the raph/casey relationship was probably better for raph & casey, idk, who can say. but is mikey's relationship with raph the healthiest romantic interaction he's ever had? yes, absolutely. we don't get to see the mikey/leatherhead relationship really up-close and personal but it should be pretty clear that it was pretty awful for everybody involved. compared to that, the mikey/raph is absolutely mikey's healthiest relationship so far. just. low bars.)

lol i am a little concerned that mikey's tendency to monologue, & especially his whole political monologue near the end, will get people to think he's just acting as an author's soapbox. i mean, okay, the little author's note where i'm like "as always, mikey is a perfect role model and everybody should do what he does" was a fun little joke. but, oof, the number of fics i've read where the authors feel the need to loudly and repeatedly disclaim that This Story Contains Things The Author Does Not Condone In Real Life is pretty disheartening. way to have absolutely no faith in your audience. but likie, the part where mikey is pretty much flat-out like, "actually i think my moral framework is whatever is necessary to justify my actions" is meant to be pretty damning. maybe not of mikey specifically as a character, just of, you know. the whole world where that's a pretty common outlook among people with power.

--

lets talk about the rape. part of it is that it felt like it would be inauthentic to go through the entire story without mikey seriously violating one of raph's boundaries. part of it is that mikey here kinda has the trifecta of ASPD, ADHD, & bipolar, and the thing with that is it's very easy to just say that but a little more difficult to convey the personality traits involved. this isn't really something ever stated as such in the fic, aside from various people calling mikey crazy + raph calls him a sociopath once. it's kind of too didactic to just flatly state "and this is what's wrong with mikey!" imo. but. this is a story about violent people. imo you can't just gesture to a character with the background level of callousness for the genre and go "okay this is a clinical sign"; you kinda gotta do something more direct. 'wow mikey sure is CRAZY and WEIRD good thing it only shows itself as him being slightly mean to people'. no. mikey has done some pretty horrible things in the past and clearly isn't fully done with that.

(i did pretty much go straight down the list of symptoms there. impulsive, suicidal, aggressive, violent, risky sex, arrogant, limited empathy, no regard for other people or social norms, difficulty with relationships, arson, etc, etc, etc. but it's not like he's a 'realistic' portrayal here, since... i mean, he is a super-powered ninja. there's a level of 'superficial charm' here but we do get enough of mikey's interiority to be able to tell he's a total mess in a way that's not particularly constructed.)

also it's like. raph graphically tortures several people to death & i didn't really feel the need to disclaim that here. murder is usually seen as a lesser crime in fiction than rape. people love their violent blorbos but the second there's the implication of sexual violence people freak out. the usual line people say is that the threat of murder is a little more removed for most people than the threat of rape, which idk if i fully agree with. but part of it is also to draw a line between raph's violence and mikey's boundary violation. like mikey says, well, raph tried to non-consensually murder him a few times too.

anyway i don't think i really stuck the landing with that either, in part b/c raph's response to it. he's a little too pathetically accepting of things at the end instead of being angry + violent. that could use a rewrite or two.

--

honestly i'm kinda sick of this story now? which sucks a little, since i kept realizing things about the story all the way up to the very last moment of editing. if i had waited to post any of this until i was done with the first draft... well, it'd be a very different story if i went back and turned this rough draft into something more complete. i never really did manage to hit the character beats with raph i was hoping to. oh well. like, i still like it. but i can definitely see all of its weak points. i guess that's just part of the process of writing. it'd be worse if you wrote a giant novel and came out on the other side not more aware of your failings as an author.

i feel like raph isn't super well-realized in terms of character motivations. or... his relationships aren't shaded in as well as they could be. if i were redoing this whole thing i'd definitely include some chunks of raph pov just to lay out more concretely what he's doing & what his life is like when he's not in the same scene as mikey. i kinda included that raph+donny conversation at the very end just for jokes, but actually ending every chapter with a little section of non-mikey pov would've helped ground a lot of the characters. raph isn't super well-developed and leo is pretty much incoherent absent external familiarity with his character's deal. they're not conveyed super well, in part because, well, any time mikey is onscreen everybody is having to deal with mikey. it's a problem.

but something that absolutely could have worked as a secondary narrative to the story is the whole thing with raph working w/ the oroku. that was a bit of a late addition to the story. it's meant as a reference to, you know, all the times raphael ends up being compared to/assuming the mantle of the shredder in the comics. but as it is since we don't get any real looks into exactly what's going on in yakuza town when mikey's not around none of that got developed very well, imo.

--

it was very important to me that mikey not learn any lesson here. where things are at in the end are pretty much the exact same as where they were in the beginning. the bit in the pizza scene where he's like 'you guys get to live and i get a boyfriend' is very accurate. literally the only change in mikey's life through this entire thing is that at the end he is in a relationship w/ a guy who he can tell some of what his life is like to. not that it's a super healthy relationship, but it is there.

well, that, and also now he's maybe out of time. (uh, so the laughter at the very end of the epilogue is mikey realizing he's out of time. the whole epilogue really is about how he's got all these conflicting tensions of who-knows-what in his life, & then right in the middle of the tension it's like, whoops, the utrom aren't coming in 10 years or 20 years, they're coming now. and in a week you're gonna be getting some really pointed questions about how you know the utrom envoy. and in a few years, well, there's gonna be some planetary evacuation) like the whole story is about... anxiety. mikey feeling the weight of the future on him in every moment. actually seeing things collapse would be a relief; you'd get the release of all the potentiality collapsing into an actual problem. the moral of the story is you get what you get and in the end all mikey's actions, good or bad or otherwise, have bought him is nine more months of ignoring his problems.

anyway sorry to all the tmnt fans who were expecting a happy cheerful mikey/raph story. this is actually about the fundamental injustice of existence. whoops!

[creepyfruit]

hiii so glad u had fun playing iwatex! im sending this from my main but my iwatex blog is dillypillars <3 what endings have you gotten so far and how do you feel about them?

Hi, I actually love your blog omg

I haven't had many runs in the game yet, rn I'm in the first year of my fourth, but here's the three runs I've done so far.

1st run:

Bestie: Cal

Romance: Tang

Ending: tangent's cure

Alignment: 80 Loyalty

Augment: Eagle Eyes

Like I already mentioned in a previous post tangent's cure traumatized me to the point were I haven't gotten over 30 hearts with my girl tang in any other play through. The whole ecocide that I help cause paired with the fact that Cal (who gets shot and killed in that ending) was my bestie and also all the regular first play through deaths (Tammy, Uncle Tonin, Kom, the old governor I forgot her name, both of Sol's parents, professor Hal) made me feel so horrible. Your home girl managed to eradicate a whole planet and half the cast in one play through 😍🤞.

The one thing I absolutely loved about this ending was the angst. Romancing Tangent and seeing that vision/dream in one of the later years with the planet bare of life and her crying and apologizing was so confusing but hurtful. And then I actually got the ending and omg my hearttt. Poor Tang crying while that lunatic Lum pulled her up on stage and praised and congratulated her broke me. But the icing on the cake is what came after, Sol following Tang after she run of stage. Honestly I might go back to that save to try the other dialogue options but the whole scene of Sol finding out she helped cause this and then the truth about how Lum was forcing them do it and finally Sol forgiving Tang and telling her she still loves her. Ouch

2nd run

Bestie: Nem

Romance: Marz

Ending: Standard Ending as a Novelist

Alignment: 100 rebellion

Augment: Calm Temperament

My second play through was much more uneventful and light-hearted. I still managed to somehow forget to save uncle Tonin and I couldn't save my parents but the fact that Tammy was alive and that I focused on all the yellow stats set me up for a peaceful run. I worked in places I hadn't touched before and therefore I got a lot of fun and cute little work events. My absolute favourite thing about this run (beside the Marz romance ofc) was the whole secret club thing. It was soooo cute and such a sweet reminder that, hey these are still a bunch of little kids. Also the art piece of them solving that mystery is so close to my heart simply because of how adorable Tang looks in it.

I was a bit disappointed that I couldn't stay with Marz in the end but it makes for a realistic story that's for sure (also Marz getting with Tang for a short while after the break up made me giggle, my ship has sailed) I also didn't mange to work at the bar enough so the twins didn't get their moment.

3rd run:

Bestie: Dys

Romance: Nem

Ending: Disabling the Array

Alignment: 80 rebellion

Augment: Super Strength

My latest play through was interesting to say the least. I managed to save my mom finally although I didn't have high enough empathy at the time my dad died (stupid shimmer I have no idea how to cure it yet) and our relationship went to shit. I really wanted to focus on explorations and meeting Sym and I achieved that. I actually thought that disabling the array was a great compromise and I would consider it the best ending if it didn't force me to become besties with Vace in the epilogue, minus points for nemmie breaking up with me as well. I don't like Sym but I still felt kinda bad for taking away his immortality but at the end of the day between submission to the stupid gardeners and constant glow attacks I'll take this ending without a doubt.

Yet another ending were I couldn't keep Dys at the colony because he, yet again, disappeared and was never seen again. I was pretty certain that he wouldn't like this path given how much he sympathises with the gardeners for reasons I still can't understand but it still sucked to see him go since him and Sol spent so much time as expedition buddies. I honestly wish the creators didn't push this ending as the "asshole military dude who wants to kill all the poor animals". Like no I just want to leave peacefully while admiring and coexisting with the planet's native flora and fauna without having the ai soldiers over my head trying to kill me very year.

[journeytojaburo]

ZZ thoughts, comments, questions, concerns, etc…

Favorite Characters:

Favorite episodes: Prelude of ZZ, Hot-Blooded Mashymre, Crybaby Cecilia, Sibling Love Blooming in the South Seas, Leina's Blood, An Afternoon in Dublin, Falling Sky, Ple-Two Under Gravity, Emary's Glory, Vibration, Warrior Once More

Favorite Mobile Suits/Armors:

What I Liked:

While I do think the pacing of the finale could've been better, I was pleasantly surprised by how much it took from the first Gundam's finale with how Judau and Haman's encounter outside of their mobile suits paralleled Amuro and Char's swordfight and how Judau returned to the Nahel Argama on the almost wrecked ZZ (though it actually survived this time)

Not that its predecessors didn't have jokes, but this show was so funny some episodes made me practically laugh until my stomach hurt which those other shows didn't do

On a related note of humor, I think this show handled the transition from wacky adventures to more serious dramatics pretty well. It still maintained some wackiness up until the end though, which is nice

I liked that Judau interacted a lot more with the people he met and locations he traveled to in his obligatory Earth adventure because it made the world seemed more fleshed out. I also like that Judau's experiences on Earth are part of why he wanted to protect it so fiercely, even though he never lived there before himself

What Ple and Ple-Two's stories had to say about personhood and identity really resonated with me as a twin even if they're not really that. Speaking of, I wonder if any other Gundam shows (future entries in the Universal Century or not) are going to have random super sci-fi cloning shenanigans

Kamille's recovery from the injury he got during the Zeta finale not being linear or "perfect" was a nice bit of realism I appreciated. The whole story concept exploring how someone who has psychic powers (vaguely) would heal from brain damage considering that's where many stories say those powers come from was really interesting

What I Disliked:

I think the finale did a good job of wrapping up the story, but I wish it more than literally 5 and a half minutes (yes I timed it) to do an epilogue because it felt really rushed. I think the one thing that got glossed over quickly that I was surprised by was Ple-Two's death because in any other case I feel like at least Judau's reaction to it would have been shown

I wish I had liked the plotline of Judau and his friends getting left to their own devices on the Nahel Argama better, but I don't feel like they dug deep enough into the consequences that it had beyond the scene of Judau punching Bright in the finale. Like on one hand, it would be cruel for the AEUG to cut off Judau from the support system he gained all of a sudden (and also the plot literally couldn't continue as it was), but surely they could've at least brought the rest of the former Argama bridge crew on as extra moral support or something. It just feels bizarre to me to do a "the youth are the hope for the future" message about sending teenagers to war

Going on an unrelated tangent because this isn't something I disliked but it's related to the previous point here...Apparently there's rumors that the reason why Sayla wasn't really present in Zeta or ZZ was because her voice actress (Yo Inoue) wasn't available, and I kinda wonder if the reason Bright basically disappears from the show around when the Nahel Argama enters the picture is because of a similar situation with Hirotaka Suzuoki LOL

The amount of jokes in this show that boiled down to "Haha, wouldn't it be funny if a woman was harassing a man and making him uncomfortable 🤪" with Chara being the main perpetrator of them was really annoying

I was hoping Emary would eventually get a stronger character outside being in love with Bright, and while she did, I don't feel like it was enough to still not get on my nerves (bless her heart though). I don't think she needed to do a 180 and completely rebuke Bright or something, but playing up her love for Bright all the way until her untimely end and not even showing Bright's reaction to her death is a little unsatisfying...

This one is really petty, but I really did not like the outfits Judau and pals picked up like halfway through the show (Ple especially) 😭 I genuinely had tears of joy in my eyes when they put their old ones back on

Overall Conclusion: This was a fun show that was a nice breather from the despair of Zeta, with its own brand of fascinating dramatics. I wish we lived in the world where it got at least one more episode to make the end feel complete, but it did its best with what it had.

[matt-lifesage]

Ciel’s route continues to restructure and recontextualize all the way to the end by changing how Type-Moon endings work, which kinda threw me for a loop until I figured out what they were going for (spoilers for the ending of A piece of blue glass moon)

So Day 14 of Ciel’s route closely follows the original’s final day and ends on the same cliffhanger. But this time, the following epilogue is completely new. It's a somber ending but still an appropriate and satisfying one that does a great job wrapping up the story and ripping out my heart.

After getting this first ending, you unlock the ability to go back and hit certain flags for an extra ending--leading to an original version of Day 14 which is an insanely indulgent, lengthy action sequence that ends on a far neater and happier note, leading into a tweaked version of the original game’s true ending for a complimentary super happy ending to the super sad one--though it doesn’t resolve most of the dramatic threats too well, only sends the main trio off on a nice note.

I like this structure. Gating you into a 'Normal' ending before giving you the option for the extra stuff is neat. I do have a couple notes, though, because what really threw me off for a minute was that in previous Type-Moon visual novels, this second ending would have been called 'Good.' It’s 'True' this time, despite not feeling like a traditional true ending. In the past, the 'Normal' was a complimentary sadder take on the events, but never mandatory and didn’t necessarily do a good job at wrapping up the loose ends. But 'Normal' this time is mandatory and does a better job at wrapping up parts of the story. What complicates this is the flags to get 'True' in Remake are the choices that led to the original’s 'Good' and original's 'True' lead to Remake's 'Normal' and-- (and at this point, anyone reading this who hasn’t played both games is totally lost……)

TLDR: Ciel's True End works nearly the same way previous game's 'Good' endings did, and I would have called it 'Good' to remove the connotation.

Weird pedantic nonsense that only bugs me aside, I did have some mixed feelings about that ‘True’ Day 14.

The final battle is indulgent in all the best and worst ways. Do you want an all-out brawl with a fully-powered Arcueid? A first half featuring Ciel operating at her total demigod peak, and a second half with Shiki teaming up with Roa and using his full vampire abilities in an apocalyptically bombastic action set piece that invokes Evangelion meets Drakengard meets FGO?? Yeah, it’s some great spectacle--but not to be a traditionalist, it’s really not why I read Tsukihime. As awesome as it was, power-scaling Shiki is actually the opposite of why I find him an interesting protagonist in a fight scene. But hell, this route was the only chance Type-Moon had for justifying something like that--same with showing off Arcueid at full power. I understand the desire to pay off the 20 years of hinting at what her character can do with something totally insane. I’m glad it exists for that reason alone.

Here’s the deal though: It’s a fitting sequence for finally showing off Arcueid’s insane potential as a super boss, but it’s not a fitting climax to the route it's in--hence why they structured the endings for this fight to be ‘extra.’ If they didn’t include the Normal Days 14 and 15, I would absolutely hate this. And I think they knew that which is maybe why they gated it inside an ending you need to work for after getting that first ending.

My annoying #not-my-tsukihime instinct aside and dead where it belongs, my legit criticisms of this sequence come in the form of a recommendation: Maybe take a couple days to read it because it is oppressively long. We’re talking about almost 4 hours, and I know plenty of people with slower reading speeds than mine. It got to the point that I didn’t feel like the characters were going through a gauntlet to get to their happy ending. I felt like I was going through a gauntlet to get to their happy ending.

Also, for what dramatically adds up to be a tweaked version of the first Day 14 you read… I don’t think its dramatic scale matches the insane stakes it suddenly drops you into. Type-Moon has been excellent at aligning drama with spectacle (see Heaven’s Feel’s climax and Mahoyo’s True Magic payoff), but here it feels inflated (see what I did there) far beyond the reach the route can justify. Honestly, both of these criticisms aren’t too big of a deal when seen through the lens that it is something extra. Which is exactly what it is! So the VN manages to get across the tightrope unscathed.

Beyond that, True Day 15 was fantastic. Beautifully done. Invoking the original epilogue as well as Kagetsu Tohya and Hollow Ataraxia. Even if I found the climax on the verge of exhaustively over the top (seriously, maybe spread your read of it across multiple days. DON’T DO WHAT I DID), the epilogue was the perfect note to end the novel on.

Now if you'll excuse me, I’m going to start clawing at the walls in anxious anticipation for The other side of red garden.

[lenievi]

I've finished The House in the Cerulean Sea and it was... such a ride for my thoughts LOL

I didn't like it for the first hundred pages, after that, when the MC finally arrived at the place where the story would take place, it started to pick up, but I still didn't really feel compelled to read on, so my progress was very slow. Then when I got over the half of the book, I finally got into it, and because I'm a sap, I liked the ending (pre-epilogue).

The romance part - if you can call it that since it was very subtle, but written in a way that I, personally, like (i.e. not explicit, just traces and hints and more unsaid than said... but still very recognizable as a romance; but I kinda lost interest in the epilogue when they got together lmao) - was the best part of it for me, but I think that's kinda a problem because it was not a romance book. It was just a book with romance in it.

One of the issues for me was the fact that I just didn't like the main character for half of the book, and I don't know if that was the intention, or if we were supposed to empathise with him from the beginning. Because I sure didn't, and like I said, the first one hundred pages were frustrating because of that. Usually, I follow the character's growth, here it was more about me and how my feelings toward the MC changed...

There were other issues and things I found weird, but overall it was fine, and I guess I'm glad I continued reading. But I can't forget the whole week of feeling meh reading this just to have fun during the weekend (it took me from Monday to Friday to read around 200 pages, and then I read the other approximately 200 pages over the weekend because I got to a part yesterday from where I did start enjoying it)

The parts with the kids were fine, but at the end of the day, I'm a sap for a romance that is written in this particular way.

[scalamore]

(Spoilers/Speculation) Tori

This is purely speculation on my part, but there's a chance that Tori's "ending" will be different in the manhwa than the novel. I say this, because Tori has gotten more focus in the manhwa thus far compared to the novel, and she's written in a way where the audience is intended to feel sympathetic to her situation. Here, it's more obvious there's a discrepancy to her: she cares about Lari/Rupert, but at the same time she doesn't. All the extra focus on the ribbon Lari gave her in S2 serves to show how "the sweet Tori" is still there. During the main story, she dies and is "finally at peace" during the rebellion. The whole point of that is that her suffering has ended, she no longer has to be compelled to obey orders from Eva forever anymore, and she's finally "free" (a big theme of the series is one's freedom and ability to make one's own decisions and choices). She doesn't appear in the first set of side stories (the epilogue), but has a small mention in the end, and a year and a half later, when the second set of side stories were released, she makes an appearance again as a "pure, untainted.... person (?)".

As a big fan of the series, I felt thematically the second set of side stories and Tori's inclusion and reasurrection kinda cheapens the theme of the main story - The end of the main story is supposed to be bittersweet, how you can't save everyone, and there is always a loss amongst the success. Eva had a tight hold of Rupert and Tori - and at least Rupert was able to escape her clutches. Tori had already died before the start of the series, was "living" as an alchemic doll for years, and lived long enough to have her thoughts and personality distorted by Eva's command for destruction. Since she had already died, there's no way she can return to being a human, which is what she truly wanted - she wanted to grow up and become and adult. But her other wish, is to be free and see RupeLali happy. During Lari's talk no jutsu, in that moment, Tori made her decision to stop listening to Eva, for RupeLali's sake. She then completely broke down shortly after - it was inevitable she would. Meanwhile, in the second side story which takes place an unknown amount of time later, her blue eagle core crystal had been absorbing the Holy City's holy energy in that lake for years, and she somehow manifests a physical body again?? (Her alchemic body dissolved into dust, leaving the crystal behind) and she lived for a period of time as a mysterious girl in the middle of the lake?? She had all her memories but didn't remember them until she conveniently meet Ellie and Rupert? It took Lari some more talk-no-jutsu and she immediately stopped trying to murder Rupert, and now they're all a happy family eating dinner together with Louis at the dinner table?? Tori now travels the world and acts like an auntie who sends souvenirs back to Ellie, yet still physically looks like a 9 year old? She's not a human, nor an alchemic doll... what is she then??? It's great at the very end Tori is now alive, has a family, a place to belong, is now happy and free to do whatever she wants, but I didn't like how RupeLali forgave her so easily (as well as her trying to murder Ellie and Rupert again), and forgetting how much trouble she caused in the main story... and she somehow was resurrected through some unexplainable reason to get a super happy ending, tied up with a nice bow.

I didn't like how kind Lari was, crying for Tori in the side stories as well and missing her so much: Did she forget how many times Tori tried to frame or kill her?? or threaten her?? Did Rupert forget that Tori had intentionally withheld info about Lari's plans to disappear while he was freaking out where she was that night? Or that she was the one who was going around spreading rumors Lari was a slut or framed her for poisoning him? I'm keeping appropriate expectations for the inevitable moment they give Tori a happy ending in S4 >_> *grumbles*

[this-marvellous-world]

Why is this apparently the only way I can end my Critical Role fics? Who knows! But the final chapter of my long CR fic where Caleb gets kidnapped has now been posted

[roseofithaca]

So I just finished reading this book...

And its sequel Misrule...And I have thoughts. Well, feels, actually.

I've gotten back into reading over the latter half of this year and particularly have been reading / listening to a load of sapphic books. They've ranged from "meh" to "that was kinda cool." This was the first series that actually gave me the same feels as a TV or movie usually does. It had me by the throat and I just loved how morally grey EVERYBODY was.

The plot is essentially "combine Wicked with Maleficent but make it gay and a lot darker than both". There is a lot of manipulation and liar revealed plot lines, to the point it almost became a little annoying, until I just kinda accepted the mindset of "this is a game of thronesy story where everyone is a lying asshole." - but I still loved them. It really took me on a journey with the main couple where I was shipping them and then not sure if I did, I kinda started shipping something else and then went back to shipping Alyce x Aurora while being aware how toxic they were- and because its all through Alyce's pov, it does really well making you go through those emotions with her while also wanting to punch her half the time for the dumb useless lesbian choices she makes. There is one character I kinda felt could've had a better ending, it was almost like the author didn't know how to end her story and this love triangle so just...got rid of her, but it doesn't feel out of place, just felt like she deserved more.

Was it perfectly written? Not....always. I mean you could make a drinking game at the amount of time Alyce curses "dragons teeth" and end up with cirrhosis. But I feel like this is my ACOTAR, which I also read this year and spent the whole time thinking "I want this but sapphic". It is gay fae x humanoid action romance tragedy everything and I had a lot of fun, and at the end I was listening to the final chapter while walking my dog and trying not to cry in public. The ending was so satisfying, to the point that the epilogue almost felt unnecessary- but it was still a sweet and hopeful note to end on.

Just hoping that Netflix picks this one up to adapt, there are so many epic moments I'd love to see on screen.

[generallypo]

[   Constellation ’Director of the False Last Act’ is looking at you.   ]

------

dark academia!hsy, yeeee! the white coat is fantastic, but unlike kdj and yjh, she doesn’t really switch up the color scheme. no, her bum-aesthetic purple hoodie does not count. i think she’s super hot. i yell about how much i love her under the cut.

------

yo han sooyoung is actually amazing, incredible, powerful, witty, drop-dead sexy... what makes her so irresistible? let me explain

1) yeah, kdj takes the kdj company to end of the scenarios, but please. how many times does he have to kill himself to get there? not to mention his intentional (and unintentional) kill count? 

sure, he does the job, but damn is he kind of inefficient about it. say what you like about hsy’s methods or personality, but the 1863rd round far surpasses the 1864th in terms of the lives preserved while still managing to take the team to the end.

without the benefit of cheat-like knowledge, skills, and resurrections, hsy almost single-handedly orchestrates the events of the 1863rd round to a satisfying finale. kmw, problematic as he is, survives and becomes an admittedly better person, yjh finds a timeline where he can rest in peace, and the rest of the cast have their eyes set on the hopeful end of all scenarios. all this, while only being HALF of a person (hsy originally split off into two after misusing her avatar ability). do her actions lead to the happiest ending? no. but it’s the one that sacrifices the least and saves the most. for the greater good, in other words. 

hsy may be an intrinsically selfish person, but unlike kdj, she has the ability to grasp the entire picture and avoid tunnel-visioning into a crappier, more convoluted and self-sacrificial solution. ironically, it ends up saving more lives. perks of being a talented writer, i guess. 

and the 1864th hsy emerges as a leader in her own right as well. the epilogue arc shows her assuming roughly the same role as her 1863rd self in kdj’s absence: yjh breaks off from the main group (AND BECOMES A TERRORIST AKFDJDSLKSL HAHAHA) to assume a similarly antagonistic role to the remaining members of kdj company. as a result, she’s the most powerful lawful incarnation remaining, and once more the incarnations circle around her for direction.

2) independent, confident, competent (hot and kinda shameless about it). this woman has the most delightfully unrepentant attitude towards life -- how to defeat the man with the strongest defensive ability without dealing a single blow? summon a horde of your naked dancing clones to terrify his innocent sensibilities, and then cackle at his helplessness. the fact that her sponsor is literally the chuuni-est cringefest in the entire galaxy and she gives no fucks about him is just additional comedic gold. her undisguised disgust for what should otherwise be a highly respected/feared entity is a clear indicator of her supremely dominant position over everyone else, and i admire her consistent irreverence of everyone and everything.

hsy is the only character who can consistently bully kdj, brush off his deflections, and bully him again. 1863rd round hsy gives kdj about 50 migraines in the span of 5 minutes of conversation before confirming her superior wit. jhw comes close, but unfortunately, she actually respects the rat bastard. i wish i could mention yjh, but let’s be real: he -- and just about every existing version of him -- has been whipped for the guy for at least 250+ chapters now. 

hsy, on the other hand, has no regard for anything except herself... man, i respect that so much. what a queen. 

and i won’t lie! i didn’t like her in the first fifty or so chapters. plagiarism? homicide? kind-of-in-general-just-being-an-obstacle-to-kdj’s-plans? yeah, i almost fell into the trap of disliking her purely because she didn’t cave immediately in the grand scheme of kdj’s plotting -- thereby denying me the power rush that came with seeing kdj bulldoze his way through the puny attempts of small fry characters. she’s neither a friend nor a despicable foe, but rather someone who acts independently and in her own self-interest, WITH the ability to thwart major players if need be. aka, the one who frustrated kdj’s plans -- and me -- the most. 

going by my previous isekai/power-fantasy trope experience, i figured she’d get pegged into the sexy-but-sassy harem candidate, or get killed off if that didn’t work out. in hindsight, i’m just pretty fucking dumb, but honestly, i can accept that with gratitude -- 

-- because in fact. the whole ‘she-gets-in-my-way-so-she-either-goes-into-the-harem-or-dies’ trope in light novels/webnovels and the like, is, frankly, misogynistic and boring as hell. i had some admittedly low expectations for ORV, which consequently blasted my ass to the moon and left me there sobbing for 42 years as i mourned my stupidity and paid my respects to its incredible ending and character development. hsy is a particular delight, especially in her meta awareness of these tropes -- blatantly stating she isn’t obligated to kdj for saving her life and declaring the damsel-in-distress cliche as ridiculous, for example. 

and it really is, because suspension bridge effect aside, you’re not gonna want to bang a total shady stranger in the middle of the apocalypse. it’s the little statements of self-awareness, self-worth, and frankness that build up hsy’s charm. as ORV progresses, these little windows of her personality bloom as her presence takes stage center -- and then BAM! you really get to know how strong she is, how hugely capable of love she is, how subtly but wonderfully she expresses it, how she leads and protects those close to her, and how damn good she is at it. hsy is amazing. we stan an iconic queen -- no, black flameS EMPRESS. *kneeling*.

3) writes an entire EPIC, just to keep one lonely, broken fifteen-year-old alive. like. at that point in ORV, i knew. i knew. hsy is the fucking GOAT. seeing her spend the rest of her life on WOS, making sure it reaches completion because it’s the only thing that will sustain kdj until the advent of the scenarios... that hits too hard. inadvertently, it also damns the rest of the world to the terror and tragedy that the star stream brings.. but that’s the call she makes in order to save kdj’s life. 

obviously, there’s no precise beginning to the timelines -- ORV is so neatly crafted in its cycle of writer, protagonist, and reader -- but i’d have to argue that hsy holds the greatest power in the trinity. creating the existence known as ‘yoo joonghyuk’ and granting life-changing hope to an otherwise forgotten boy.. is pretty powerful. yjh, for the most part, is a slave to the scenarios (until he breaks free in the 1863rd and 1864th rounds, in particular), while kdj (unwittingly) admits it himself: he’s truly the most powerless god in existence. i forget exactly where he mentions it, but it’s in response to lgy’s reverent commentary that, with all his knowledge and presumed confidence, kdj seems like the protagonist of story or a god to him. kdj’s inner monologue, of course, is appropriately self-deprecating and scarily accurate.

in a lot of ways, WOS -- and ORV itself, really -- is a love letter to readers. it’s a two-way connection, writer and reader, between someone who creates with all their passions and someone who consumes and responds with equally sincere feelings. Ways Of Survival -- the story of a man who defied death and grief and great powers far beyond his being -- is a fictional guide to surviving in a ruined world. but to a battered, bullied, and ostracized boy, it’s not just escapism, or wish fulfilment anymore. WOS is the map to navigating the hell of his reality. there’s a certain power in the right words being spoken -- or in this case, written -- at the right time, even if it’s only for the temporary burst of endorphins upon reading an especially delightful chapter. even if it’s forgotten the next day, you’ve managed to connect. you’ve touched another person’s heart. you made them think about questions they’ve never considered before; maybe, you made them smile. 

what can i say but the honest truth? ORV, without a shadow of doubt, has most certainly reached me. i’m a goner for this story and its excellent characters -- long, long gone. something has changed, something that wasn’t there the previous day. 

the mark has been made on the reader -- small as it is, it’s irrevocable. behold, in all of its little magnificence: the power of a writer, and their story.

[davidmann95]

now that it's over, thoughts on Bendis' Superman as a whole?

pretenderoftheeast said: So, thoughts on Bendis' Superman and Action Comics' tenure altogether and separately now that it's over?

Anonymous said: Best and Worst things about Bendis' Superman run

Anonymous said: Now that it is over, what are your thoughts on Bendis' runs on Superman and Action Comics as a whole?

Anonymous said: Retrospective thoughts on Bendis' Superman as a whole now that it's, I guess, done?

Anonymous said: Hey so since Bendis’ Superman stuff seems to be done, what did you think of the run as a whole?

I decided to hold off a bit on writing on this one, if only so that I could reread the Action Comics side of it since Superman stood out in my memory a lot more. But now I have, and as we’re heading into a bold new era of Superman (and it’s coming in fast - just since I made my Superman in 2021 predictions we’ve gotten Ed Pinsent finally reprinting his legendary bootleg Silver Age Superman, Steve Orlando announcing his Superman analogue book Project Patron, an official shonen Superman redesign for RWBY/Justice League, PKJ’s Super-debut turning out far better than I ever expected, Superman & Lois’s first proper trailer largely taking people pleasantly by surprise, and my learning that there’s a Sylvester Stallone Old Man Superman analogue movie titled Samaritan coming out this summer) we’re ready to take a look back with at least a touch of perspective. I’ll lead with complaints, so everybody who’s been waiting for me to say that Bendis on Superman was Bad, Actually, savor this because it’s as close as you’ll get.

The Bad

* I hate to say it, but rereading that side of the run there’s no two ways about it: the structure of Action Comics as a whole is a mess. It baffled me from day one that it was the more acclaimed of the two books for so long - I guess people are hardwired at this point to think of ‘street’ stuff as where Bendis is supposed to be - because it was immediately clear that Superman had a well-defined story he wanted to tell, while Action was the usual Bendis off-the-cuff improvisation. It’s barely even a story in the same way, and it’s certainly not the ‘Metropolis crime book’ people took it as: it’s 28 issues of Superman and his supporting cast stuffed a pinball machine with the Red Cloud pinging off of each other as we wait to see who falls in the hole at the bottom, and partway through Leviathan and the Legion of Doom and 90s Superboy are tossed into the mix to keep it going a little longer. On an issue-to-issue basis it’s frequently really good, but the core plot of the book is *maybe* six issues stretched out over two and a half years.

* I’ve gone into this some before, but structure-wise Unity Saga also has problems: Phantom Planet rules but either it needed to be cut or the back half needed to be a year all its own in order to accommodate the scale of what it’s attempting. It’s got an interstellar civil war leading into the formation of the United Planets, family drama, Rogol Zaar’s whole deal, and Jon’s coming of age, and I’d say only that last one is really properly served. Even Jon forming the United Planets, while contextually somewhat justified in terms of 1. The situation being so far gone he’s the only one who’d even think in those terms, 2. Things being bad enough that these assorted galactic powers would be willing to try it, and 3. Him having the S on his chest to sell it, isn’t at all built up to within the run itself.

* Rogol Zaar sucks. He’s made up of nothing but interesting ideas - he’s an ersatz warrior ���superman’ of a bygone age of empires up against the new model, he’s the sins of Krypton as a conservative superpower come home to roost, he’s while not outright said to be definitely Superman’s tragic half-brother and the culmination of everything this run does with Jor-El - but none of them manifest on the page, he’s just a big punchy dude with a dumb design who screams about how you should take him seriously because he’s totally the one who blew up Krypton. Even a killer redesign by Ryan Sook for Legion of Superheroes can’t fix that. There are lots of bad villains with good ideas who are redeemed with time and further effort, but I can’t imagine Zaar getting that TLC to become a fraction of whatever Bendis envisioned him as.

* The second year of Action Comics, after establishing itself in its first as one of the most consistently gorgeous books on the stands, leads with Szymon Kudranski’s weak output and then concludes with John Romita Jr. turning in some career-worst work. The latter is particularly egregious because for that first year Bendis writes a really collected, gentle Superman so him getting pushed into being more aggressive should have an impact, but Romita draws such a craggy rough-looking Superman in the first place that it mutes any sort of shock value.

 * WE NEVER LEARN WHAT’S UP WITH LEONE’S CAR, WHAT THE HELL. You don’t just DROP THAT IN THERE and then NEVER FOLLOW UP.

The Good

* Superman got his real clothes back after 7 truly ridiculous years.

* Bendis fundamentally gets Clark’s voice in a way unlike almost any other writer - even all-around better writers of the character almost never approach how spot-on he is with having Superman speak and act exactly how Superman should.

* Supporting cast front and center! He writes a dynamite Lois, Perry, and Jimmy (even if many of Lois’s more out-there decisions in the run don’t end up retroactively justified the way you’d hope), Ma and Pa are more fun than they’ve been in decades in their brief appearances, he manages to turn having Jor-El in the mix into a positive, and the Daily Planet as a whole has an incredibly distinctive vibe to it like never before that I hope is taken as a baseline going forward.

* The non-Rogol Zaar baddies? All ruled. Invisible Mafia and Red Cloud are both brilliant ideas executed solidly if overextended. Zod as Kryptonian Vegeta, Mongul as a generational perpetual bastard engine primed to be incapable of self-reflection, and Ultraman as “what if Irredeemable but he’d never been a good guy and also he was a Jersey mobster” are the best versions of those characters by numberless light-eons. Lex is on-point in his sparse appearances. Xanadoth as a mystical cosmic monster older than time who still talks like a Bendis character is however unintentionally a hoot. The alt-universe Parasite is a more intimidating Doomsday than Doomsday ever was. And Synmar as an alien culture’s attempt at creating their own Superman and messing up the formula when they make him a soldier can and should be a legitimate major ongoing villain coming out of this run.

* Pretty much all the art other than what I mentioned already. Fabok does a good job bookending The Man of Steel and Ivan Reis does the work of his career anchoring Superman (special props to Reis as well for drawing the first ever non-Steve Rude interesting-looking take on Metropolis), and meanwhile you’ve got Jim Lee, Jose Luis Garcia Lopez, Doc Shaner, Steve Rude, Kevin Maguire, Adam Hughes, Patrick Gleason, Yanick Paquette, Ryan Sook, Brandon Peterson, and David Lafuente doing their own parts.

* Closely related to the art, all the little flourishes with the powers. Super-speed having a consistent visual with the background coloring changing, Clark internally putting numbers to the degrees of force behind his punches and what situations which numbers are appropriate for, ‘skidding to a halt’ mid-flight before crashing through a window, the shonen-ass major throwdowns as portrayed by Reis, how his super-hearing is handled as a prevalent element. Lots of clever bits that added flavor to what he does.

* While Unity Saga has problems, the whole of what Bendis does in Superman as a means of forward momentum for Clark and his world is excellent. The sort of three-act structure of: 

** Clark is led to question his place in things over the course of a few adventures

** Involvement in the larger cosmos and the impact it has had through and on his family makes him realize the answer to his questions is that he needs to step up in a bigger way because there’s no benevolent larger universe to welcome Earth with open arms, nor a cosmic precedent for everything turning out for the best without some help

** As a consequence of the lessons learned by this change in the status quo Clark is inspired to make his own personal change in revealing his identity (with Mythological basically being an epilogue showcasing a ‘standard’ standalone Superman adventure while simultaneously highlighting his new status quo and how it fits in as a summing-up of Bendis’s take)

…does a great job of shepherding through ideas that lend a lot of forward momentum to Superman of the kind he hasn’t seen in a long time. Not perfect, but far lesser stories with far lesser ambitions have made huge impacts, so I’d certainly hope at least some of this sticks around even if, say, regardless of any retcons to the main line there are always going to be stories with Clark as a disguise and Jon as a kid. Oh, speaking of whom,

* KISS MY ASS, EVERYTHING WITH JON KENT RULED

Ahem. Probably a less confrontational way of putting that.

Do I think there was more gas in the tank for Jon as a kid? Totally, making him likeable and viable was the one really good thing the Rebirth era accomplished for Superman and I expect we’ll continue seeing more of it in the future one way or another. But whether or not him being aged up was Bendis’s decision, or working with marching orders to set up the eventually-(kinda-)discarded 5G, the coming of age narrative here is fire. He keeps the essential Clark Kent kindness and bit of Lois Lane cheekiness that reminds you he’s still their kid, which is a combination Bendis is basically precision-crafted to write, but his trials by fire give him a background entirely unlike the by-the-numbers “and here’s how Superman’s great kid grew up to be a great superhero too” narrative you’d expect while still arriving at that endpoint. If superheroes live and die by metaphors then Jon in here is what it means to grow up written as large as possible: leaving home for the first time (and seeming to shoot up overnight!), getting into the muck of how the real world works, being beaten down by authority wearing faces you’ve been taught to trust, scrambling to get through with the whole world against you, and in the end getting through by learning to rely on your own strength while keeping your soul intact and your head held high, and even managing to speak some truth to power. It gives him a well-defined life story with room to go back to and explore the intricacies of each leg of for decades to come in a way Superman hasn’t had since the original Crisis - someone someday is going to write a The Life & Times Of The Son Of Superman miniseries and it’s going to be one of the greats - and negates any question that he’s earned his stature as the heir apparent.

* Coming out of this, Superman’s world is fascinating. He’s out but rather than giving up his day-to-day life he’s openly spending part of his life as CLARK KENT: SUPER-REPORTER and part of his job on the cape-and-tights side of things is now KAL-EL: SUPER-SPACE-DIPLOMAT, Lois Lane coruns a foundation helping people whose personal continuities have been fucked over by Crisis shenanigans, Jimmy Olsen owns the Daily Planet but is still doing Jimmy Olsen stuff because that’s how he gets his kicks, and Jon Kent is going to college in the future. I’m not anywhere near naïve enough to think that’s how things are going to be forever, or shortsighted enough to think there’s no value left in the traditional setups, but god I hope these developments stick around for a long, long time to come and potentially become the new ‘normal’ as far as the ongoing shared universe stuff goes, because it all feels like the right and promising next steps to take for the lives of these characters. However it got here, for all the pluses and minuses along the way even if I maintain the former very much outweighed the latter as a reading experience, Bendis has a lot to be proud of if that’s the legacy he leaves on these titles.

* The recap pages at the desks!

[pigeonclaw]

Getting more practice with my computer by drawing the main characters from a fic I wrote way back in 2012/13. Still kinda fond of them.

Some general info about them, because I’m thinking about it.

Smokepaw: A young, antisocial apprentice who didn’t know what his place in the Clan should be. Ended up sacrificing himself to save the others from a fox.

Cloudywing: Smokepaw’s sister, and the ThunderClan protagonist after he died. Enthusiastic, friendly, and a bit reckless.

Dappleshade: Half RiverClan, raised in ShadowClan by her father after her mother died. Her brother drowned as a young apprentice, and she copes by working extra hard to prove her loyalty.

Brindlebird: Originally a warrior apprentice, but switched to medicine cat after being gravely wounded during her assessment and deciding that the warrior life wasn’t for her. One of the older and more mature protagonists.

Graystorm: Medicine cat apprentice, and lighthearted in the beginning. Becomes very serious as tensions rise, but remains kind and understanding.

Hazelfrost: Fierce, bold, and direct. Takes on the antagonist herself, and loses her ear and breaks her jaw and nose in the final fight, barely surviving. The only protagonist to receive her full name before the epilogue for some reason.

Were these characters well-written? No, and neither was the story in general lol. But it was a fun time.

[popculturebuffet]

Top 12 Three Caballeros Moments: Ride of the Three Caballeros Epilogue!

Salduos Amigos...and Adios, as this is the FINAL part of my 20 part look at those happy amigos, those snappy chappies in matching serapes, those birds of the feather, THE THREE CABALLEROS, THE RIDE OF THE THREE CABALLEROS! Yes after 19 other articles, all paid for by megafan and patron of the blog @weirdkev27​, it’s time to bid our boys a fond farewell.  And what a ride i’ts been... we’ve had trips to Bahia, animaton sequences requiring a LOT of 1940′s cocaine ,Jose reinacting the plot of “Come a LIttle Bit Closer” by jay and the americans but ironcially not in the Badman Jose roll,, a less happy reunion where Donald went full vanilla ice for a few moments, Panchito giving us his long and storied family history in song form, Donald needing a vacation after his girlfriend punched him in the face and instead getting eaten by a giant snake, FLAMENCO MASTER HORACE HORSECOLLAR, Soccer with super cars, and our heroes having a warm and fun reunion and having to admit their lives didn’t turn out so good while Dewey jacaksses around in the subplot.

 And all of this lead into their very own series where our heroes met a goddess and wayne knight all in the same day, defeated THE MIGHTY MINOTAUR, got into a giant robot fight on the fucking moon, meeting the roman gods who live on and tend to the norse world tree for some reason, preventing a stupidly started lava apocalypse, going to goblin jail via song, meeting some literal dead presidents, chasing a bear around a fancy rich people town, getting into the ch-ch-chalk zone, fighting a wrestling match against the respresntive of the god of death, dying and coming back to life as a result of said wrestling match, going to camelot to train with king arthrus’ self helf book, going to a yeti spa and finally returning for one last battle with an evil wizard, his pet monkeybatdonkeyrat, and wayne knight, and have to put up with Donald’s shrill abusive ex girlfriend through about half of it. All in all good stuff and i’ll always be greatful for kevn funding this and giving me the chance to both finally watch legend and in general cover these wonderful characters. While i’m sure Panchito and Jose wil lbe back for the big finale of Ducktales, I’m gonna miss these guys and hope they get another shot at the big time one day. 

But Kevin had a great idea, one I decided to do for free since this thing cost 100 dollars together as it was a movie, and 20 episodes of television, so it was a LOT to do.  Fun but a lot of work. A top 12 list of the best moments from across the works covered for this retrospective. From the movie to the series, these are the best of the best moments of the best boys around. So without further adeu join me under the cut as I throw one hell of an after party for one hell of a ride.

12. The Cold Blooded Penguin (The Three Caballeros (Movie) )

This one is low because it doesn’t exactly involve the boys at all as this was a short in their movie. But what can I say, I love penguins, especially Opus.

And the charming tale of a pengy named Pablo who has trouble with the cold and wants to head off for warmer climates just never ceases to entertain me. It’s adorable, pretty funny and just a nice little start to the film every time I watch it. Especially his friends with the sleepy, depressed eyebrows. Really relate to them, especially the tall one with a ponch, aka me as a penguin.  Not much else to say hence why it’s so low, but I really enjoyed this short and can’t help but put Pablo on the list.. and wish he’d gotten a nod in Legend, but then again given we weren’t given a second season they were probably just saving him. 

11. Charon’s Fabulous Cruise (Legend of the Three Caballeros) Another Cabs free entry but I Just love this concept: Charon, ferryman of the river sticks.. deciding since he’s not getting as many customers to turn it into a cruise ship complete with add. IT’s low both because it dosen’t involve the boys and it dosen’t take up much of it’s episode.. but damn if it ain’t funny. And Jim Cummings just brings his all to it.. granted HE always does, the man’s a legend for a reason, but dosne’t make his performance any less lovely. WIsh we got a second season just so we could see this guy again among other reasons. 

10. You Don’t Get a Vacation You Take it (Legend of the Three Caballeros)  Wayne Knight as Sheldgoose.. was easily one of the best parts of Legend of the Three Caballeros. While the show itself was fairly high quality it’s other main villain Feldrake eventually fell into just calling Sheldgoose a moron and hitting him as his only character. IN contrast while at first apperance Sheldgoose was just a rich asshole with hair that looks like a bad toupe but apparently is his actual hair and what he choose to go with and a hell of a moustache.. and while that’s all true, he’s also cunning and manipultive, often making Feldrake’s plans work simply by using clever manipulations. He’s funny, enaging and the sadest part of no second season is not getting more of this guy. Hopefully he’ll show up in another.. even the comics using him without Wayne Knight’s Dulect Tones would be nice. He’s a good villian and would fit just as well in the classic comics being either a snooty nuisance to donald in some way, or being a rival fro scrooge, also being rich but his family having earned it by stealing from others.  But for now what we got ain’t bad and hte best example of just what sheldgoose is capable of is also his first bit of contirbuting more than as a set of hands for feldrake, phrasing. His vilian song. Yes Wayne Knight FINALLY gets a villian song. Your very welcome. 

The song is just fun, a Luau type song with a sinster undercurrent and wayne knight just having a hell of a time, alternating between speaking and singing> It’s low on this list because i’ts an OKAY song, i’ve seen better villian songs, I just really liked this one, and because it dosen’t exactly involved the boys, but I still hold to my convictions in putting this one on here.

9. Panchito Romero Miguel Junipero Francisco Quintero González (House of Mouse) Only House of Mouse entry, and suprisingly it’s not Donald squeaking “And i’m donald duck!” , which has been burned into my brain for a few decades. No it’s the groups OTHER song in there second apperance on the show Not So Goofy, sung by the incomprable Rob Pauslen. While I sitll think he was easily the worst Jose of the bunch, and that the roll never should’ve been given to a white man to begin with, credit where it’s do: he wasn’t a have bad panchito. He only voiced everyone’s faviorite rooster, suck it Foghorn Leghorn, once, for a song, likely to capatalize on the fact Paulsen was famed for Yakko’s World and other songs where he sang a lot at once, but boy did he make a meal of it. Observe.

The song is lightly hampered by the fact it also uses his version of Jose which is probably the worst work i’ve heard from Rob. And given it’s the only roll i’ve heard of his that wasn’t very good and he’s still VERY CLEARLY trying his best, that says a lot to the guy’s quality. And im not saying all this to avoid backlash, I stand by what I say and how I say it.. i’m saying it because I truly love and respect the guy this just was not his best work. This song however is Rob on full blast, using his ablitlity to talk fast no matter the voice to give us one heck of a lively performance and name for Panchito, one that was reused for Ride of the Three Cabs though sadly minus the song, as I would’ve LOVED to hear Jamie Camill belt this one out. But the lively animation and liveleir performance earn this one a spot.

8. Baia, Donald (The Three Caballeros) For this one i’m squishing three different but related parts of the movie together: The “Have you been to Baia, Donald” song, the train trip there and the awesome musical number at the end. But all three flow together as one great sequence with the frist two serviing as a fun prelude for a fun sequence as Donald and Jose try to woo a lady named Yaya, played by Aurora Miranda, and get into a big and fun dance number that for the time is AMAZINGLY blended with the live action work. The song is an utter ear worm, the seqeunce is fun and it lacks some of the creepiness Donald’s later session of flirting had and the colors are vibrant as hell. Wonderful, beautiful stuff. It’s really hard to talk about as not a lot happens in it other than a fun bit of song and dance.. but sometimes tha’ts just waht you need: a bunch of actors, two of which were animated, moving and groving to a heckuva beat. 

7. I Love You Guys (Legend of the Three Caballeros)  This was just a very sweet moment but one I treasure. The Cabs beat a giant horrifying rage beast.. by genuinely apoologizing to donald, telling him they love him then having a group hug. After a full episode before this of them just kinda ignoring what he cared about, Xandra and the boys genuine apologies and Donald genuinely telling them “I love you guys” and realizing for the first time in his life he’s genuinely loved and appricated. It just feels so fucking nice. Shame they didn’t you know.. end the Daisy plot with him realizing he dind’t need or or that he wasn’t angsiting over a selfish goldigger in the first place but hey, you take what you can get sometimes and the getting is good here. 

6. The Cabs Song .. in Comic Form! (The Three Caballeros Ride Again!) 

Another fairly quick one to talk about but one’s that damn impressive. The Three Cabs ride again is a wonderful story that reunites our birds of a feather for an adventure in mexico.. and one of it’s two best moments, the other one way further up from Don Rosa’s classic, seriously check it out it’s good, is when the boys, to distract their enemy for the story, play their classic song.  Musical numbers.. are hard to pull off in comics. As Linkara, comic critic and one of my inspirations check him out on youtube he’s really fantastic, has mentioned quite a bit not having the sound to go with it is an uphill battle. But i’m not as against this as he is.. as long as you can convey the ENERGY of said song and perofrmance in the page. As long as you got that, you can pull it off and boy oh boy oh boy did Rosa ever. While it’s only about a page and a half long it’s just a fun, wonderful litlte sequence, from the crowd that has no reaction til lthe end when our big bad clubs them with the guitar, to our heroes swipining tablecoths to seve as serape to Donald falling outside, it’s one of the highlights of an alreayd impressive story. 

5. Jam Session (Ducktales, The Town Where Everyone Was Nice!) 

Only one Ducktales moment but it’s a keeper to be sure and now I HAVE seen Legend... I can say as I did there Jamie Camil REALLY shoudlv’e been kept as Panchito but “The Town Where Everyone Was Nice”.. really was still ag reat version of the characters and still kept them true. It wasn’t AS good as the Legend versions.. but honestly that’s fine. Not every version HAS to be good as the others and they were still wella cted, wonderfully animated and the story was great. And the moment that shows it off best is the boys quite moment after lunch, where they remincse, have fun, think about old times.. then hear a radio and slowly but surely have a fun dance number together, playing like old times. It’s this moment that makes me REALLY question why people hated this so much, as this one tiny moment captures the cabs chemistry and comrander in just two short minutes, Donald getting angry, Jose defusing int with a dance then him joining in, the three just jamming iwth whatever’s on hand and jose magically playing the fluit with his umbrella. I’ts all just so charming I love it. The end version of the three cabs IS really awesome, it just didn’t make the cut. Still liked it though.. but this.. this is better. Sometimes less is more you know?

4. The Three Cablleros Song (The Three Caballeros (Movie) ) Look you knew this was coming, I knew this was coming, we all knew this was coming. But the song is no less awesome, with fluid animation, wonderful vocals and lyrics, and an unberably catchy tune. It’s iconic to the characters, having popped up in four different renditions during this retrsopective, all of them pretty damn good, but no one tops the original.  Even the two more dated bits, some latin baby and Panchito having a gun solo, somehow don’t hamper what’s otherwise an iconic moment. It’s fun, it’s fancy free, and it establishes the boys dynamic perfectly, one that as we’ve seen would last a few lifetimes and probably will last forever. 

3. We Say So! (The Three Caballeros Ride Again) While Ride again is a VERY good story, it’s best moment is ironiclaly it’s end despite leaving you wanting more and more. After a fun adventure and a laugh over it being for nothing really, our friends return to Jose’s job at a night club, which his manager, who understandably has issues with Jose choosing wooing ladies over actually doing his job sometimes, only gives him back because it’s a big night but needs a big act. The first touching moment here is the fact the boys pitch in without being asked because hteir friend needs them. But the real moment is what happens after: The Triplets return from the hotel, still bemoaning as they did ealrier in the story that Donald has no friends and assume when they see him on stage and see him crash off it that he incited a riot.. only for his friends to assure him he’s a very fine fellow and they say so.. and in an instnat the boys realize donald DOES have friends.. and the best friends a duck can ask for. And after a lifetime of being spat on and barely winning.. Donald gets an unquestioned victory, stnading proudly with his friends for a packed house who still want more while his nephews look on proudly. I say so.. and what I say is that this moment is one of Rosa’s finest and one of the most touching thigns the man’s ever written. 

2. This is Just Where I Came In (The Legend of the Three Caballeros) The Legend of the Three Cabs was excellent and it ended on one hell of a high. After a heck of a fight via callbacks that barely didnt’ make the list, our heroes rush in to stop Feldrake. their sorcerer nemisis,  from reviving.. only for it to be too late. He’s back in full and soon warps reality around him leaving the boys hometown of the New Quackmore insitute as a series of rubble, buildings and people clinging desperatly to both floating in a hell of a starry backdrop, the only chance to stop this from happenign to the world resting in our heroes. And it’s so we catch up with where the seires began: our three heros decked out in truly awesome armor, though why Panchtio’s is roman I have no idea, fighting a giant and mosnterious felldrake and while his deisgn in that form is eh, his threat is palpable and the fight is goregous and pitch perfect.. and only gets better when we catch up, as Xandra swoops in to save htem from the cliffhanger the series started with. It only isn’t up top because of tow reasons; I like the first moment better.. and the boys do fall in a magic pool of amulet juice and emerge with powers due to a character we just meet when they do so. It’s a bit of a cop out.. but even with it being a cop out and a dues ex machina of the HIGHEST order.. it dosen’t stop it form being awesome when our heroes emerge merged with thier amulets energies, in their signutre colors and whoop felldrakes ass with a revivied Xandra’s help and then nearly reseal feldrake before his being resealed, but in Sheldgoose, resotres everything and our heroes get a WELL earned bout of praise from the town and a fancy mansion and in donald’s case a new job. A specatuclar, tense and gorgeous finale to a wonderful series. 

1. Ride Em, Vaquero! (The Magificent 7 (Minus 4) Caballeros)  Look I know it sounds like a bit of a downgrade to go from a battle for the fate of the world to our heroes fighting a spoiled prince and a giant anaconda just to make it out alive.. but frankly this battle is more tense, has all boys showing off even better, and has a climax so awesome even saving the unvierse with suddenly gained magic powers can’t top it.  For the setting our heroes end up trapped in a lost city with the bad guy of the comic, Don Rosa’s second to last and his second of only two cabs stories, prepared to get away. But then Donald snaps, spurred on bya ll the shit he had to put up with back home,and TACKLES the fucking guy in his boat getting into one hell of a scrap. And if that wasn’t enough, what brings this to true glory is a giant Anaconda who shoed up earlier, popping up.. leading to Donald fighting our big bad.. WHILE BEING TANGLED UP IN A FUCKING PYTHON. 

What truly clinches this as the best of the best for me though is Jose and Panchito’s actions, with Jose fighting the guy off off donlad, and actually having his umbrella WORK this time, and while the bad guy gets the raft from our heroes.. he falls off a cliff. So how do our heroes escape.. simple .. PANCHITO LASSOS THE FLEEING SNAKE AND THEY RIDE IT OUT AS SEEN ABOVE THROUGH A POND FULL OF DANGEROUS CREATURES WHO ALL STARE IN AWE AT THE SIGHT OR FLEE.  You.. you just can’t top that. The awesomness, the teamwork, the sheer balls on panchito..i t’s all just so beauitful and sums up what the boys are about: Deft teamwork, camradire.. and doing utterly insane shit as only best friends can. 

So with that.. this ride has come to an end. As I said before and will say again, it’s been fun, easily the biggest project i’ve done so far, and easily one of my faviorites. I love these guys and geninely hope we see them again real soon. So before I go, i’d like to say some thank yous. I”d like to thank ALL of the talented people involved in the making of the original film, as there are way too many to mention as it was a package movie but without you lovely and mostly deceased people we’d never have these wonderful guys. I’d like to thank Don Rosa for bringing the boys back and better than ever and beautifully so AND returning to them again. I’d like to thank Henry Gilroy and Phil Walsh, who wrote the first and second house of mouse cabs episodes for bringing the boys back to the screen, as well as series creators Robert Gainway and Tony Craig and the MASSIVE pile of storyboarders for both episode.  I’d like to thank the people behind mickey and the roadster racers, while your episodes were not very good I am glad the boys got more screentime, i’d like thank Frank Angrones and Matt Youngberg for their wonderful versions of the boys and total respect to their legacy, and i’d REALLY like to thank Matt Danner for giving us a wonderful series and finally giving the boys a starring roll again. 

I’d also like to thank the MANY voice actors who voiced these wonderful characters, your beautiful all of you. To Donald’s voice actors for this retrospective i’d like to thank Clarence Nash, you absolute legend may you rest in peace, Tony Anselmo, may you keep on living please god we’ve lost a lot of good people lately don’t be one of them, and even Daniel Ross, who might not be the best Donald but he’s one of only five and you can’t take that way from him. 

For Jose i’d like to thank Jose Olivara, without you I don’t think we would’ve even gotten to the Cablleros as a group, Rob Paulsen, you tried your best and your still a winner in my heart, Eric Bauza, you genuinely were the best, and Bernardo Del Paula, who gave Bauza a run for his money and I hope returns in the role in the future. 

And finally for Panchito we have Joaquin Grey, again wouldn’t of had the rest without you man nice job, Carlos Alarzqaui, did the job and did it well, Rob Paulsen, gave us one hell of a song, Jamie Camill, the best around no one’s ever going to keep him down, Arturo Del Purto who while I prefer jamie.. still was excellent and I wouldn’t be mad if he returned again. 

And last but not least I’d like to sincerly thank @weirdkev27​. These reviews have GENUINELY helped me finacially since i’ts hard for me to find a job since I cannot drive and have a disablity, and thanks to htem i’ve been able to live comfortably and thanks to you in general i’ve been able to do what I love and get paid for it. You got me to do this wonderful restrospective, have been a genine support to the blog and a treasure to work with. Thanks man, your the best.  So with that, it’s time to ride off into the sunset. If the cabs get another apperance outside of ducktales, I will pick this up again... and wether it’s in a year or ten you bet your bottom peso they’ll be back. Who says so? I says so. 

[itsonlystrange]

STRANGER THINGS THEORIZERS/ANALYIZERS, ANSWER THIS QUESTION PLEASE!

How do you think season four will end? There’s talk of a “middle of the action” cliff hanger, having season five pick up directly after episode five with no break in between. I don’t see how that would happen as usually the end of the season has a “final battle”, and I don’t see how a season could pick up directly off of that and then immediately go back into the action for season five.

Usually with ST, the first 2-3 episodes are relatively uneventful. It’s usually one or two characters that are on to the mystery, and there really isn’t a major event until episode four.

Examples being:

Season 1: End of e3, Will’s “body” was found.

Season 2: end of e3, Will gets possessed

Season 3: end of e3, Will realizes the Mind Flayer is back.

So, there’s a pattern here. You get regular domestic, school, normal related stuff in the beginning, until the end of episode three/ episode four, where revalations are made.

So, with this theoretical “middle of the action, end of season cliff hanger”, it would be confusing as to where it could pick up, and how?

Usually with st we get three acts. The first being the relatively normal start of the season. Only one or two characters are on to something. The second act is in the middle of the season, where most characters are preparing to confront the main issue of the season. This is where discoveries are. Then the third act is where they finally confront that main issue. Then there’s a 1-3 month time jump where things are back to normal.

But for this theoretical season five ending, that wouldn’t happen. There’d be an ambiguous ending, maybe one where everyone is hanging on for dear life, and then credits. And then season five picks up right there. Which would just totally destroy the construct the writers have created for their seasons. Not only for act three of season four, but for all of season five.

There would be no “calm before the storm” or an ‘act one’ if we just pick up in the middle of the action again. It would mean that season five is essentially just a part two to season four, which I don’t see working out well for stranger things. They have a layout that they’ve used, and I feel like doing something this spontaneous, especially for the end of the show, right now, seems off. The final season of any show is undoubtedly one of the most important. It doesn’t matter if the first or middle seasons were fantastic or bland, if the final season doesn’t do better and doesn’t end with a WHAM, then the show will go down in history that way. The final season determines how a show is remembered, how the critics remember it, and doing something like this for a show as big as stranger things this late in the game seems risky, not to say they wouldn’t do it. Because if they did, it would mean they had had this planned for awhile.

I’d also like to add that I am not opposed to this idea! we don’t know how it will end which is the exciting part! This is all speculation. I think that they would 100% be able to tell a compelling story while not following the format they have previously. However, it is definitely something the writers would have to be cautious of. Especially since ST seems to take big gaps in between seasons, having season five pick up directly after season four, while in real life we’ve waited a good 12-18 months, it would definitely leave some fans feeling disconnected. Especially because a lot of fan favorite moments are those “calm before the storm” montages or episodes. Hell, the shopping mall scene from season three was so well done and almost every fan I know enjoyed it. So having it pick up in the middle of the act could potentially be jeoprodizing that, and also potentially losing character development. A lot of times in tv shows (not necessarily in stranger things, but sometimes it has happened!) a character will be so caught up In the drama or the main event of the season that they will lose their character development. Season two of ST did it best, season 3 did it worst. In season 2 (and one!) they were able to keep that compelling drama and the main supernatural events but also keep the characters developing even in the last episodes, rather than have the drama fill up the whole episode and the characters own thoughts to the point where a majority of that characters personality for the end of the season solely revolves around the drama. But in seasons one and two, they were able to have characters develop, and do better, and progress, even while the major cinematic events were happening. However In season three, we got a lack of character growth, especially in those final episodes where character growth had previously been so prevalent. Don’t get me wrong, characters DID develop, but for a season that’s tag line was “one summer can change everything.” not much changed- character wise. Sure, plot lines came and go, new ones were introduced, but the characters stayed relatively the same. No revelations were made. For example: Will had a plot line that was just utterly dropped. They spent so long building that dramatic sequence up and his fight with Mike and the destruction of castle byers and then they just left it. Which, I understand, was done of purpose. They obviously left those lose ends untied up for season four. Or how about El: she got a scene which supposedly was supposed to prove how she was independent and didn’t need mike (because she totally doesn’t and is a baddie!) but then in the end crawls right back to him, despite obviously not caring about their break up previously and seeming much happier without him. Lucas didn’t progress at all. Mike stayed the same, except he realized he totally didn’t like El at the end of season 3. But other than that, Mike didn’t change much. He didn’t get any scenes where he realized “oh! I was such a jerk!” He just CONTINUED to be that way. Max didn’t progress too much. I was hoping she would open up or allow herself to be vulnerable, or maybe she could realize why she is so harsh sometimes, other things that would have made for a great arc. Dustin didn’t change much, he just got smarter, I guess? And so on so forth. Everyone is relatively the same. We never really see Nancy and Jon resolve the fight, besides the elevator scene. When they BOTH had great points in that fight and I agree that they should both work on those issues. And the only thing that really changed was the Byers moving and Hopper ‘dying.’

Now, I may be going off the rails here, sorry. But my point is: we KNOW they can do great character development while also keeping that science fiction action and mystery we love. But we also know they can butcher it and not even realize !

There are definitely pros and cons of doing this cliffhanger thing. Of course, nobody really knows what will happen. We still have to factor in new characters, or if these new characters will even be apart of season five at all. We could be left with sort of a half middle of the action cliff hanger, similar to season one or two, where the audience knows that mr mind flayer is back, but the characters don’t. Maybe we won’t even get a month time skip, and maybe we’ll get only a few days! Maybe season five will only pick up one month after season four, instead of 6 months to a year! We genuinely don’t know!

Season three was the weakest, but it wasn’t bad. They showed their diversity, and that they could switch things up if needed. All I hope for is good character growth at this point. And if too much action jeoprodizes the character growth (like season three!) then I don’t want it! But I know it’s totally possible to have both. They did it twice, they can do it again! I have high hopes for season four and it’s ending. And in no way am I against the idea of us kinda getting a shot and fire cliffhanger ending that bleeds into season 5.

Anyways, I doubt this will happen. I feel like they will follow the format they usually use. Give us a time jump in the last 20 minutes of season four, everything seems fine, season five picks up a couple months later, everything’s fine for a few episodes, WHAM! Action, ending, epilogue, roll credits. Not to say I wouldn’t enjoy a ‘middle of the action’ ending cliffhanger or whatever, I probably would! (Hoping they are able to balance it out this time instead of jumbling all the ‘growth’ into the first and last bits of the season.) This is not meant to say that I would dislike something like this. In fact, other shows have done something similar and I enjoyed them even more then a regularl time skip! I’m doing my best to show both sides of the argument here. I know a lot of people have their own opinions on this topic.

I’ll enjoy whatever they do, but I’d like to hear your opinions on this! How do you think season four will end?

[nokistar]

So I beat Ikenfell and I have THOUGHTS

(Full Game Spoilers)

It’s really nice to have a queer cast that can just... exist and not have their queer-ness be critical to the plot or their character arcs

Petronella owns my heart, even if they don’t do much in the story

Gilda was such a fun character. I wish they actually let her speak after she joins the party.

Her theme is a BOP

Also her character arc is never resolved??? Like, she talks about wanting to be more powerful and more liked and it’s obvious she’s misunderstanding why people liked Safina so much: her personality, not her power... But then they never follow up with Gilda never actually learning this and growing as a character???

Also also: I really didn’t know how to feel about her and Maritte’s relationship since Maritte never really responds to her?? I half-thought Maritte was just ignoring it until the epilogue where it turns out she liked Gilda back... but then it fell apart, making the entire arc feel unneeded.

The game has a thing about skipping over important points to character arcs

Rook really needed to be less confident in himself. Like, he would have been so much more interesting if he was nervous and guilt-ridden over being a library-obsessive introvert who kinda blew off his friends, even if it’s completely understandable.

Especially with the subplot with his relationship to Safina. When he goes to talk to Petronella, it just comes off as, “Sorry you felt left out. I was always in the right, though, since I told Safina I didn’t like it. I still went along with it and never told you, though, but I’m not taking the blame there.“

The script really feels like a first draft, especially in the second half

Like, it has good bases for characters and their arcs, but they’re never followed through or have no connection to the main story

Pertisia did nothing wrong. This is a Pertisia appreciation post.

Also I half expected them to fail breaking Perty out of the mirror and her to join the party as her cat

Ima sure exists! and I honestly can’t say anything else about zir character.

Okay, zir theme slaps, but also raises some questions:

Why is it playing in a boss fight against Gilda, Ibn, and Bax?

The lyrics make zir out to be more about change and fighting for the future... but that’s never apparent in zir actual characterization

Like, Ima is, for lack of a better word, the straightman of the group. Levelheaded, a leader... and nothing else. Ze’s boring. All the conversations involving zir end up being so personality-less. Ze’s barely a character.

Also ze is a teacher? Why am I playing as a teacher in a game focused around high-schoolers??

Also also: Why does the game treat zir as the main character after the halfway point of the game?

Speaking of the halfway point: the story really starts to fall apart here (not helped by the Ima thing). Instead of the focus being on Safina (which all the characters have a specific relation to) the story becomes about saving the world from a situation we’re given no context to. I don’t care that much about Aeldra accidentally becoming a villain because we’ve never actually met Aeldra and grown a connection to her.

Also, we’re never actually given context as to what the sapling is??? The cast seems to get that it’s the source of all magic or something, but we’re just supposed to infer this from how the cast talks about it. Before that, it’s just represented as a really important plant.

The endgame just feels unneededly cruel. Like, the finale is just you beating up two people having mental breakdowns.

Okay, that was all really negative, so let’s talk positives:

I really like how Safina is a deconstruction of the ‘reckless teen hero‘ trope

“My entire life consists of flirting and bad decisions.“ - Safina, probably

Also, I love how she’s not forgiven. She needed to grow before she could be and in the epilogue it seems she did.

I love the side cast. The gal who talks to bugs, the mice mage, and the shark obsessive are all really fun characters, even if you only see them once or twice.

Perty’s character arc is the one that I’d argue is more better done than not. It ties back into the main plot (even if the Unseen boss is a bit forced) and is just a tragic story with a happy end. It makes sense she and Maritte end up together in the epilogue, since Maritte is the one who constantly makes sure she’s okay and apologizes when she breaks Perty’s boundaries to save her.

Also, I kinda managed to break the Unseen boss. My party was Maritte, Perty, and Petronella. Maritte and Perty were both down because of the Doom status effect and I had Perty backed up into a corner with the Unseen and its summons on the field... except the summons couldn’t attack because the K.O.-d party members were in their way and they had no ranged attacks. I can’t believe that worked and am kicking myself for not getting a screenshot of it.

Also I ADORE the battle system.The combination of Paper Mario-style action commands and a tactics-based field is extremely fun to fight in, even if missing the inputs is really unforgiving.

I need a sequel or spiritual successor with the same battle system and a better written script. There’s so much to this game to like, even if the story’s quality kind of falls apart halfway through.

[bladekindeyewear]

Bloggin’ thru new Homestuck^2 bonus, The Influencers part 2.  Kinda got my gears ground during part 1, but that largely wasn’t this sideplot’s fault, so I should still be able to enjoy it.

Reminder, bonus update blogging is always light on detail because I don’t wanna spoil all the paid content, but I’ll give the gist of my reactions and go into anything plot or character related that helps understand the main story, as well as giving you a real top-down view of “what happens” so you know what it’s about and whether or not to invest in looking yourself.  (And I don’t necessarily have to give you anything that isn’t main-plot-relevant.)

So where are they going to follow the main party?  They shouldn’t need to record the funeral I’d assume, because that already would have been televised (and awful for Jane’s PR)...  *click*

9/28/2020 - The Influencers, Part 2

TEACHER: Time’s a-ticking. TEACHER: The next plot point is yours to change, if you want it. Don’t you feel it calling to you?

Yeah, just hanging a lampshade on this whole parallel sideplot I guess.

> (==>)

Whatever it is, Imode feels it. A tiny string of relevance spooling out from their belly. They want to follow it.

That’s pretty Lighty and/or Seery.  I’ve used that terminology to describe the pull of Light and its “relevance” connotations even since the only fanfic I’ve ever written, back in 2011 during Homestuck’s run, and it’s obvious enough terminology that I think Rose later mentioned it somewhere like in the Epilogues.  Are these three kids perhaps going to get a fourth, and become their own session by the end of this like Harry, Vrissy, Tavros and Yiffy might?

They can’t stop picturing their friend, Harry Anderson, arrested or tortured or worse. They’re not sure what there is to be done to stop this chain of events, but they’re sure as shit gonna find out.

(”They” is almost certainly referring to Imode here, not all three, since Imode uses they/them.)

Alright, self-aggrandizing used for good.  Show off the sort of thing that Vriska could have accomplished if she actually used her talents for her team for once.  (Besides, like, the similar thing she did just recently by making a scene.)

> (==>)

Imode is the first to choose pursuing this path over bootlicking, and the others are sure to follow.

> (==>)

Yup, Avril and Silas follow.  (Had to be reminded of ALL of their names, it’s been months since their single named appearance.)

> (==>)

Crockercopters overhead but none taking note yet, just ominous setdressing

> (==>)

IMODE: lemme take a ⏱️ to 😮‍💨 before we figure out where to go next. AVRIL: wait don't you know? IMODE: Huh? AVRIL: we were following YOU this whole time.

Oh, that answers the first question I asked.  They have NO clue where they’re going.  Let’s see if they luck out and find the clock tower.

IMODE: You 👂 what he said about the next step 📞 to us, same as i did. Don't you feel it pulling at you?

Literal pull? Powers? Future player?  --All baseless speculation of course.

SILAS: Woah are you seein’ this.

Vriska’s probably putting on her very public display now.  (This is a bonus so I’m skipping lots of banter and arguing.)

> (==>)

Oh, they just saw John flying up to the clock tower in his outfit.  And catching sight of him fly is rare celebrity gossip stuff so of course it’d stand out to them, apparently.  (Only one of them is athletic apparently, the other two are groaning at the prospect of more running.)

> (==>)

Avril always enjoys running, but there’s something else thumping along to the rhythm of the thuds of his feet and beat of his heart. He’d thought Imode was nuts for feeling it just a minute prior, but now he’s realized he isn’t deadweight, that he hasn’t fucked up someone’s life irrevocably, and it pushes him faster and faster as he tears ass toward the belltower.

(Did we know Avril was he/him before this?  Probably but if so I forgot.)

Okay, since we’re getting glimpses into each of their headspaces narratively that BOTH have had some oblique aspect references, I have to at least OPERATE on a guessy assumption that there’s a sort of classpect-for-each-of-them thing going here.

I’ve quoted both those whole paragraphs here... so what do I see?  This is going to be a bit tougher because I don’t care as much to remember these characters...

Imode had some Lighty-or-Seery language, and then could not stop picturing bad things happening to Harry, wanting to avert that chain of events.  So something of a Seer or Mage would make sense.  But given how easily Lighty stuff and the Understanding classes (or at least what we think those are) can be conflated, Mage of Light seems a bit of a premature jump.  Heck, I’m only saying Mage because a Seer of Light already occupies a starring role, and because her first act on that feeling was to jump after it herself and tell the others:

IMODE: Stay here and 👢👅 your way into fame if that's what you really want. IMODE: I’m ✈️. Follow me if you’re not 🐔💩.

--leading by example rather than directing the others into battle.  Only half-caring if they followed, willing to pursue it herself if necessary.  So, potentially more “Active”.

As for Avril... the word “heart” is mentioned there, sure, but the full context is “there’s something else thumping along to the rhythm of the thuds of his feet and beat of his heart”.  I’m inclined to think that the rhythm/beat references, especially the even footsteps and heartbeats hitting like a metronome, might be more tied to Time?  But if so, I don’t see anything class-related.  (Could also be Blood, and him thinking of what he owes in the last sentences could be reinforcing that?  Big question marks for now.)

> (==>)

Door to the belltower’s locked.  The kids figure John’s forgotten that his son can’t fly.

AVRIL: this is it, this is the thing we can help with! #feelinit #vibes IMODE: OK I'm excited that you believe me now, but what are you gonna even do? IMODE: use your big all-star 💪 to break down the 🚪?

--so they think they can “resolve a missing plot point” by getting the way into the clock tower open?  Is this going to be a theme or running joke of the Influencers sideplot, showing plotholes resolved in bonus content like how we finally saw how Gamzee’s body was relocated last time?  When I was explicitly mad about that?  (This seems like a much smaller one though.)

Apparently in HS^2 proper they remarked that the door SHOULD be locked, but Vriska just opened it anyway and wasn’t surprised it was unlocked, which she would’ve ascribed to her luck -- how the universe just makes way for her.  (And we’re literally seeing HOW the “universe” “made way” for her this way, through these Influencer kids.  Even though Vriska could have broken down the door in a second and it’s practically meaningless.)

> (==>)

Avril just has the key!

AVRIL: so like my photoshoots are like, #modernfashion #myworkout #urbexp IMODE: Yea, your 📸 are why we’re all in this mess. We know. Get to it. AVRIL: fair. ok well this is the urban exploration part. AVRIL: a lot of the public infrastructure buildings in the kingdom have the same weird, shitty deadbolts on them. AVRIL: its like they were mass-produced for ease of access or something. AVRIL: none of the deep crockergov stuff, but a lot of the kingdom maintenance buildings. AVRIL: so once you swipe one key, you got access to it all. AVRIL: that’s how i get a lot of my hard-to-get shots #tradesecrets #tellnoone

Hhhmmmmm.  So what does this tell us about his potential role?  Getting places you’re not supposed to is associated with the Thief, Rogue, Bard, and sometimes Knight classes... as well as the Time/Space aspects, or the Void and Breath aspects.  A Thief or Rogue of Time could do the trick, and fit with the rhythm paragraph earlier... whereas Space doesn’t have the same rhythm associations even if it is “places” he’s getting into for these shots.  And photography, snapshots still in time, is something Dave was also explicitly into.  Plus, this exploit he’s showcasing is specifically for older buildings, playing into history/archaeology from an urban perspective.

So, Time is looking like a safer and safer bet for him.

> (==>)

lock click

> (==>)

long-hair swoop, cheer

SILAS: Yeah, I’m tickled a near-disproportionate amount by the unlockin’ of a door, so I’m inclined to believe you were onto somethin’.

Still no real hints about Silas, yet.

AVRIL: ok so. we did it, right? #missioncomplete AVRIL: feels a little anticlimactic #tbh IMODE: idk, I think so? whatever I was feeling doesn't seem so immediate anymore. IMODE: I wonder if-

Okay, that’s some near-confirmation that Imode was LITERALLY FEELING the plot or some such.  We’ll probably end the Influencers sidestory eventually with at least solid GUESSES blatantly obvious for their potential Hero Roles or the like.

> (==>)

Ah, Vriska and the kids are coming-- and we get the Silas paragraph(s)!  Silas is green-themed with green text, and a session with a Time player has a good chance of having a Space player too, so let’s see if...

Silas doesn’t know what being spotted by the other kids might mean, metaphysically or logistically or legally. She’s not particularly pressed by that sort of thing. But this is a day that’s come with more introspecting than she’s used to having to endure in a year, so she's ready to get moving before it becomes an issue.

As Harry Anderson, Vrissy, Vriska, and Tavros proceed to have this conversation, Silas pushes to catch up with Avril’s pace. She’s not sure where they’re headed, and has no clue what all this means for her. She knows the step she’s taken isn’t one she’ll be able to backtrack from, but she’ll figure that out tomorrow. For now, one foot in front of the other.

That...

I mean there’s a lot of talk of time-FRAMES, from a lazy perspective, but just-pushing-forward-in-the-here-and-now is reasonably Spacey? ...hm.  I was excited for the Silas paragraph(s) but I don’t see any immediately-apparent pattern meant for us to discern classpect info here.  Maybe a female Page example (since we could use one), propelled along by events without knowing what’s going on at first, too early in her journey to have taken more than her first step up the gradual incline of her long-term potential?

I really don’t know I guess.

Anyway, that’s the end of the bonus upd8!  See ya in a while.

[snowdice]

Gaps in His Files (Part 6) [Relabeled; Refiled Series]

Fandom: Sanders Sides

Relationships: Logan/Patton

Characters:

Main: Logan, Patton

Appear: Remy, Virgil (but only in the epilogue)

Summary:

Logan Berry has learned many things the last 10 years: a lot of math and physics, a bit of humility, and how to be a hero being just a few. Through his education, his experience teaching, and his exploits as the superhero Bluebird, he’s changed in a lot of small and large ways. He has recorded these changes in well-organized documents and files. He’s even had to create two new file designations: a red one for files about his moonlighting at Bluebird, and a light blue one dedicated to his boyfriend, Patton.

When Bluebird is targeted by a memory device and all of those 10 years of progress suddenly disappear, Patton Sanders and Logan’s extensive files are left as his only resource to get those memories back. But what is Patton supposed to do when there are clear gaps in his files? And what does he do when he is one of them?

This is set 25 years before Sometimes Labels Fail though it’s story is completely independent of it and it is not necessary to read that one first.

Notes: Superhero AU, memory loss, past child abuse, past child neglect, unhealthy ideas about ones place in relationships, emotional suppression, self-deprecating thoughts, medical procedures mentioned, very brief unhealthy views of sex

Part 1 Part 2 Part 3 Part 4 Part 5

There are some *cough* illusions to sexy times in this one. Also Patton is um... not doing okay.

Patton said words that he’d usually scold Logan for using when, after the warning, Logan’s eyes fluttered closed and he toppled forward. Patton caught him around the waist. He sighed. “I really wish I had your powers right about now,” he groaned while eyeing the distance to the couch.

Patton was not a weak man, but Logan was not a light one. He managed to maneuver him onto the couch, though his feet dragged the entire way. Patton situated him with a pillow behind his head and then went into the kitchen to grab the quite extensive first aid kit Logan kept there.

A quick check up told Patton that there was nothing physically wrong with Logan baring a few scrapes from the fight. Which meant Patton’s usefulness was quickly dwindling.

He resisted kissing the man even just on the forehead because that would be bad and wrong when he didn’t know who Patton was to him. Instead, he contented himself with gently stroking his hair back into place and covering him with a blanket from the closet in the front hallway.

After that was done, he went to the kitchen. He braced himself against Logan’s refrigerator door and took a few deep breaths. He guessed it was an almost breakdown in Logan’s kitchen kind of day. When he was eventually able to wrestle control over himself, he calmly opened the refrigerator. There were leftovers from two nights before when Patton had tried his best to teach Logan how to cook chicken enchiladas. Logan had resisted the venture by attempting to distract him by any means necessary (mostly kissing and wandering hands). It had half worked, but they’d still ended up with something edible even if the kitchen had been a complete mess.

He could have just warmed them up, but he needed something to do that he could pretend was useful. He found some frozen cooked chicken and started thawing it in the microwave while he chopped up some vegetables from the refrigerator. He stir-fired the vegetables with some soy sauce and garlic and added the chicken to the pan at the end. With no idea how long it would take for Logan to wake, he dished out a portion for himself and placed the rest in the fridge.

Eating did nothing to fill the growing hole of numbness inside him, but at least he wasn’t hungry.

If this was his own apartment, he would have just left his bowl on the table and the pan in the sink, but it wasn’t his apartment, so he washed and dried them both and put them back where they belonged.

Then there was nothing else to do.

…

He went back to the living room. Logan seemed to be sleeping easy and showed no signs of waking up anytime soon. Patton sat down on the chair next to the couch.

He must have fallen asleep because the next thing he knew, Patton’s eyes were closed, and he could feel a presence hanging over him. “What?” he asked without opening his eyes.

“We are in a sexual relationship,” Logan’s voice informed him.

Patton blinked open his eyes to look at him. He was leaning a bit too far into Patton’s space than would normally be polite, boxing him in against the back of the chair. “How…?”

“You have a key to my apartment, are comfortable enough in my kitchen to not only cook but to put everything back into place perfectly, and I have a hickey on my inner thigh.”

Patton’s face went red immediately. “Oh my god.”

“It is not a difficult deduction,” Logan continued. “I do have to compliment you. It is quite a large mark, assuming of course, that was the intention.”

Patton hid his face in his hands. “Oh my god.”

“It’s interesting. I have never had any romantic inclinations that I can remember. Is it just sexual?”

“What? No!” Patton sputtered.

He hummed, eyes scanning Patton like he was trying to figure out how he worked or perhaps more like he was trying to figure out what aspects of Patton would serve to intrigue a future version of himself enough to give him the time of day.

Patton swallowed. “Could you, um, give me a little space now, you think?”

“Why?” he asked with a frown. “I’d imagine you’d be used to such closeness considering we have had sex.”

“Yes, and at the moment, you are mentally a high school student.” Patton reached up and pushed at his forehead with two fingers. He stared at Patton for a few moments without moving and then slowly stood back up. Patton pushed himself into a less reclined position. “How’re you feeling?” he asked.

“My head still aches though not nearly as bad as it did before and, other than the small injuries I observed you have tended too, my body feels fine.”

“That’s good,” Patton said. “Let’s get you something to eat, and then I’ll check you over a bit more thoroughly to make sure there isn’t something I missed.”

Logan agreed and Patton dished him out a serving of the stir fry he’d made earlier and popped it into the microwave. Patton checked the clock: 4:30 am. He’d slept for a while. “Want coffee?” Patton asked. He nodded. Good. Patton was pretty sure he himself was going to need it. He started the coffee machine and Logan continued to watch him intently as though he’d never seen anyone make coffee before (not true as Logan had confessed to sneaking coffee behind his parent’s backs at the age of 12.)

“Could you tell me what you know about my current self?” Logan asked when Patton set the two mugs of coffee down.

“Sure, but do you want to be more specific? I know quite a bit about you.”

“You said I am 28 and I can afford an apartment. Do I have a job?”

“Sort of,” Patton replied. “You’re in your last year of your math PhD program and they pay you to teach a couple of low-level classes.”

Logan nodded. It likely wasn’t a surprise to him as even at 18 he’d been planning to attend graduate school in either math or physics.

“What am I teaching?”

“Calculus at the moment. Two discussion sections a week. You’ve taught up to discussion sections for first year graduate level classes, but you went for an easier assignment in your last semester to work on your dissertation.”

“Yes, yes, that all seems to plan,” he mumbled more to himself than to Patton while tapping his formulating-a-question pattern on the tabletop with his fingers.

“I seem to have a superhero persona. You are at least aware of said persona. Do you know how or why that alias came into existence?”

“Bluebird,” Patton provided. Logan’s nose twitched, and Patton laughed a bit. “No. You didn’t pick it, but it grew on you. You created the persona when you were 22 and just starting your graduate program. You were taking a physics course and noticed some strange behavior from your least favorite professor. It turned out he’d snapped under the pressure when one of his TAs missed a final exam the semester before and started to build a dooms day device. You were originally more of a vigilante actually, but when he almost killed a bunch of people, you quickly ended up a hero to the city. You just kinda… didn’t stop.”

Logan considered this for a moment. “That does make sense,” he admitted and then looked back at Patton. “Give me a brief overview of my foes,” he demanded and then tacked on, “please.”

Patton allowed himself to be grilled about Bluebird all through Logan’s breakfast from his enemies and allies to the public’s perception of him to details about the ‘special car.’

“You know a lot about me,” Logan said finally. “You answered all of my questions easily.”

“Any question you can come up with has likely already been deemed important enough information for you to share with me at some point.”

Logan scrutinized him with narrowed eyes. “How do I organize my files for Bluebird’s ventures.”

“Red files, hidden in your office, organized by different file types, and then by date.”

“What type of fabric is Bluebird’s costume?”

“A 60/40 bamboo/cotton blend because of ease of cleaning, breathability, and texture reasons.”

Logan paused and thought long and hard. “What’s Bluebird’s favorite color?”

Patton rolled his eyes fondly. “That’s just a question about you silly.” Logan continued to peer at him. “HEX number 3673b9.”

Logan looked surprised. His eyes scanned Patton up and down. “How many people know I’m a superhero?”

“Oh, uh, just me,” Patton said quietly. “At least that’s what you told me. Well, I think Remy may have guessed. He was in the surgery when you accidently said my name in mask, and he knows you and I pretty well now so…”

“The surgery?”

“Oh,” Patton said. “Right. I’m a doctor. I never remember to tell you that…” Logan raised an eyebrow. “That’s how I figured out who you were,” he explained. “I hadn’t told you I was a doctor and when you were going under anesthesia after being hurt helping the city, you called me by name and asked why I was a doctor. It wasn’t a hard guess from there.”

Logan nodded, his eyes sparking with understanding like they did when he finally figured out a concept he’d been struggling with for days. “A doctor,” he commented idly. “A useful companion to have.” Patton felt himself flinch, but Logan didn’t seem to notice having looked away and down at his coffee. Dismissing Patton as simply useful.

Well at least he was honest.

Patton bit back his emotions carefully. Actually, perhaps this was a good thing: the memory loss. Well, not a good thing, but maybe an opportunity. Maybe without Logan having years of knowledge about Patton and preconceived ideas about how he had to interact with him, Patton could figure out what on Earth was wrong with him.

Want to read more? Click below!

AO3 Part 7